Harrison's Reports (1929)

2 HARRISON’S REPORTS January 5, 1929 ‘^Give and Take” (PT) — with Jean Hersholt and George Sidney {Univ., Dec. 23; synchr., 7,089 ft.; Sil. 6,552 ft.) This is the second talking picture Universal has produced, and one can safely say that it is a vast improvement over the first, “Melody of Love.” In fact it is as good a talking picture as any that has been made by Warner Bros., with the exception of “The Jazz Singer,” “The Singing Fool,” and “My Man.” It is chiefly comedy, with Messrs. Hersholt and Sidney impersonating two Germans, lifelong friends. The voice of Mr. Hersholt registers very well. So does that of Mr. Sidney, as well as of every member in the cast. The recording is good except in a few scenes where it is manifest that the director had difficulty in placing the microphone opposite the talking player. In some of the situations the comedy is almost of the side-splitting variety. It is caused by the situations, by the subtitles and by the acting. The story revolves around a manufacturer who is induced by his young son, just out of college, to ■ install in his plant social democracy, whereby the workers would have a voice in the management of the factory and would receive a part of the profits ; and around the love affair of the young son with the lifelong friend’s daughter. In the scenes that show Sam Hardy as an escaped lunatic, with George Sidney at one time, and Jean Hersholt, at another, in mortal fear of him, until George Lewis arrives and informs them that Sam Hardy is sane, the comedy is “fast and furious.” Sharon Lynn and Charles Hill Mailes also are in the cast. Basil Dickey is the author, and William Beaudine the director. “Give and Take” is a good entertainment not only as a talking picture but also as a silent picture. “The Shopworn Angel” (PT) — with Nancy Carroll and Gary Cooper {Par., Jan. 12 ; Synchr., 7,373 ft; Silent; y, 112 ft.) Not a bad story, so far as the story material goes, although its morality may be questioned by many of those that will pay their money to the box office to see it. The trouble with it, however, is that it is too slow ; this is owed to the part of Mr. Cooper, who is depicted as a young man from Texas, unworldly-wise and innocent of the ways of Broadway. The part requires him to go through the picture quietly, as an innocent person. Because of this, the movement is slow and at times it becomes extremely tiresome. The part of Nancy Carroll is not very pleasant ; she is presented as a chorus girl, who wears diamond bracelets that her small salary could not buy. In fact, it is shouTi plainly that she is supported by a wealthy man. The best part is the last thousand feet, where there is considerable human interest, and where the characters talk. The human interest is not aroused by the talking ; it is in the story. But the talk happens in that part, and it helps considerably. It is caused by the fact that this hardened young woman, who at first befriended the hero in a facetious spirit, is shown as having fallen in love with him, and as having given up the luxuries her lover had been providing her with so as to be true to the hero. They marry before the hero embarks for the war front in France. The scenes that show the heroine accepting a part in a chorus instead of being the leading woman as before, being willing to start from the bottom up again, and being sustained by her true love for the hero, are pathetic. The story is by Dana Burnet. It has been directed by Richard Wallace. Paul Lukas and Roscoe Karns are in the cast. “The River” (S) — with Charles Farrell and Mary Duncan (Fox $2 Special; Rel. Date Not Set; 7,814 ft.) As a study for phrenologists, psychologists, psychoanalysts, and for others whose sp>ecialty is to analyze the human mind and to find the motives for man’s actions, “The River” is a piece of art. But as an entertainment, it is a piece of junk. There is not a situation in it that appeals either to the emotions, intellect or sense of humor of the average picture-goer. What is actually shown is a sensual woman with a preverted mind, who thinks mothing else but of her sexual desires, and who, after causing her husband to commit a murder, meets the hero, and innocent country boy, but a caveman, and becomes infatuated with him. When he tells her one time that he will spend the evening with her because he wanted to have a good time but takes out the checker board to play with her, because that was the extent of his good time, she turns her face in disgust. How preverted the heroine is may be judged by the fact that she has two pet crows as companions to liven up her dull moments while her husband is away serving time in jail for the murder he had committed, evidently at her behest. One of the situations shows the heroine reclining on the coucli and “inviting,” with her actions, the hero ; it is what in common parlance called “hot stuff.” In one situation the lieroine, whose mind worked peculiarly, is shown as trying to stab the hero with a knife. The whole picture is gruesome and leaves an extremely unpleasant feeling, even though the direction and acting are artistic. The plot has been founded on the novel by Tristram Tupper. The picture has been directed by Frank Borzage. Others in that cast are Margaret Mann and Ivan Linow. “The Gun Runner” — with Ricardo Cortez (Tiffany-Stahl, Nov. 20; 5,516 ft.; 64 to 78 min.) This is a picture that unfolds in a fictions LatinAmerican Republic. Its quality is good, and its magnitude of the program grade. The interest of the spectator is held pretty alive throughout, and at times he is held in fairly tense suspense. Suspensive scenes are those that show the President of the Republic deciding to have the hero shot for having liberated the leader of the revoluntionarj’^ forces after arresting him ; the hero had done so because he had found out that the girl he loved was his, the revolutionist’s, sister. The love affair between Nora Lane and Ricardo Cortez is done well. Mr. Cortez is rather a pleasant chap, because of his constant smile. Gino Corrado is good as the revolutionist, and John St. Polis as the President of the Republic. The plot has been suggested by Arthur Stringer’s novel of the same name. The direction is by Edgar Lewis.