The Film Daily (1932)

Thursday, Nov. 17,1932 DAILY "KONGO" th Walter Huston, Lupe Velez, Conrad Nagel, Virginia Bruce ■G-M 85-mins. FAR-FETCHED TROPICAL MELODRAA WITH VENGEANCE THEME THAT'S DT VERY PLEASING. Not very palatable entertainment. It s a disagreeable theme, the chief charters are in a state of squalor all through I e story, and it is run off with highnsion hokum that makes the affair pretty rd to believe. Huston is a strong-arm pical planter with a trick power over e natives and a maniacal obsession to get njeance on a rival planter who came be een him and his wife years ago and also used Huston to become a cripple. Be vin^ the other man to be the father of girl by this woman, Huston has the girl ought up in a convent until she is 18 d then brings her to his tropical hide iray and proceeds to inflict vile punishent on her. Just as he is about to comete his vengeance on the girl and her prosed father, Huston learns that she his own daughter. He then helps her escape with a doctor who has fallen love with her. Virginia Bruce is the rl and Conrad Nagel plays the doctor, pe Veler has a Tondeleyo role. Cast: Walter Huston, Lupe Velez, Cond Nagel, Virginia Bruce, C. Henry Gor>n, Mitchell Lewis, Forrester Harvey, CurNero. Director, William Cowen; Authors, Chesr DeVonde, Kilbourn Gordon; Adaptor, on Gordon; Cameraman, Harold Rosson; itor, Conrad A. Nervig. Direction, Okay. Photography, Good. 'THE AMAZON HEAD HUNTERS" rincipal 49 mins. UNUSUAL AND HIGHLY ENTERTAIN>IG ADVENTURE FILM FEATURING f\LD CANNIBAL TRIBE. This film covers four years of travel id adventure by the Marquis De Wavrin, Belgian explorer, who took his expedion through the wild Amazon region in outh America. His final objective was to iach the Head Hunters far in the mounlinous interior where few white men have ver penetrated. As far as these adventure ictures go with their attempts to pho ograph primitive tribes, this one is easily he most successful. De Wavrin secured mass of detailed material showing the hrunken heads of their enemies. To some lis may appear gruesome, and it is doubtul that it can exert any feminine appeal or this reason. It looks like a picture 9r males who like their entertainment trong and robust. An early sequence hows a novel and sensational bull-baiting i a public square of a town in Ecuador, here are hundreds of natives all baiting he bull like regular matadors, and every nee in a while the bull gets a victim, 'he incidental material leading up to the lead Hunter sequences has real enter ainment in novel scenic shots never before ilmed, wild dashes in boats down dangerus rapids, crossing perilous chasms on rail improvised bridges, etc. This lad De Vavrin certainly had courage, and the film hows it all the way. No credits, except Marquis De Wavrin, ead of expedition, and Frederick Shields, 'ho does a competent narration which is ery entertaining. Fifi D'Orsay in "THE GIRL FROM CALGARY" Monogram 64 mins. FIFI D'ORSAY GETS OVER PLENTY OF SEX APPEAL IN LIVELY DRAMA WITH MUSICAL FEATURES. This is quite a pretentious picture in the indie field, with some rather elaborately staged musical numbers, bevies of chorus girls, and Fifi D'Orsay as the star of the stage revue singing several hot-cha numbers in her vivacious French manner. The theme is that of Fifi as a girl in the town of Calgary in Canada who is taken in hand by a self-appointed press manager. Paul Kelly plays this part, and puts her over as the winner of the beauty contest at Atlantic City. Then he sells her into a Broadway musical production as the star. The backer of the show is a big financial man who falls hard for Fifi. The press agent and the girl love each other. But when her sweetie learns that the big shot wants to marry Fifi, he goes to Chicago to give her a free hand and not spoil her chances. But the rich gent tries to pull a fast one on the girl, the boy friend saves her, and then the usual happy ending. A pop number with plenty of sex, music and action. Cast: Fifi D'Orsay, Paul Kelly, Astrid Allwyn, Robert Warwick, Edward Featherstone, Ed Maxwell. Directors, Phil Whitman, Leon D'Usseau; Authors, Leon D'Usseau, Sig Schlager; Adaptors, same; Dialoguers, same; Cameraman, Harry Neumann. Direction, Fair. Photography, Okay. "MAN BRAUCHT KEIN GELD" ("His Majesty, King Ballyhoo") (In German) Capitol 87 mins. LIVELY COMEDY OF GERMAN VILLAGE LIFE FEATURING HEINZ RUEHMANN. A pleasing little travesty on American promotion methods which carries a lot of light comedy touches and amusing characterizations. Heinz Ruehmann, the young comedian, carries the bulk of the picture, and does it very satisfactorily. He plays the role of a bank clerk who adopts American promotion methods. The father of his sweetheart has sold everybody in town stock in his oil wells, which go blooey, and everybody is sore and busted. Along comes their millionaire Uncle Hoffman from Chicago for a visit. They soon learn that uncle is also penniless. But the bank clerk conceals the bad news from the town, and starts to promote the oil wells all over again on the strength of uncle's rep as a millionaire. The comedy centers around the poor uncle's terror at being found out, and his attempts to escape and go back to America. But the clerk persists, sells the bankers and business men the idea that uncle deserves unlimited credit. So everybody buys stock, the oil wells start booming, and the clerk becomes a great business genius in the eyes of everybody. Cast: Heinz Ruehmann, Hans Moser, Hans Junkermann, Ida Wuest, Hedy Kiesler. Director, Carl Boese; Author, F. Altenkirsch; Adaptors, Karl Noti, Hans Wilhelm; Dialoguers, same. Direction, Satisfactory. Photography. Good. RilEMTLE5$I.V/> Guards Your Investment Our New York and Hollywood plants are especlaly equipped to develop negatives — to render a COMPLETE film laboratory service. 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