Harrison's Reports (1931)

66 HARRISON’S REPORTS “God’s Gift to Women” — with Frank Fay and Laura La Plante ( Warner Bros., April 25; running time, 74 min.) A sleep inducer! Mow and then there is a laugh, but not strong enough to awaken one from his slumber. It is a musical plot, produced without music, and without color. Mr. Fay is too old to be presented as a lover; therefore, he does not awaken one’s interest. Besides, he is a jellyfish ; and no one is interested in this sort of hero. He is supposed to be a "terror” with the Parisian women ; such a terror, in fact, that he, although he pushes them away, cannot get rid of them. He spies the heroine and becomes so fascinated with her that he determines to add her to his string. He manages to get an introduction to her. He soon falls in real love with her; but the American papa objects to his marrying his daughter, because of his unsavory reputation. When the hero tells him that he loves his daughter sincerely, papa agrees to put him to a test for six months, during which time he is to show that he has got rid of all his women friends and was able to live an angelic life. The heroine’s papa sends a doctor to examine his physical condition. The doctor orders him not to see the heroine for a long time, until his heart becomes strong enough to stand the shock. He takes to pills and to soft cushions, and soon becomes a mollycoddle. The heroine is announced and the hero tells the butler to let her in, even if it were to cost his life. The father, who had arranged everything with the doctor to test him, seeing that he is willing to risk his life for his daughter, becomes convinced of his sincerity and gives his consent to him to marry his daughter, and his millions. The plot has been founded on a story by Jane Hinton. It was directed by Michael Curtiz. The talk is fairly clear, but the sound is poor. Little children will be bored with it. Indifferent as a Sunday show for small towns. NOTE: It is a theme substitution. For the facts, see the substitution article in Section Two, this issue. “The Iron Man” — with Lew Ayres ( Universal , April 30; running time, 72/2 min.) It has been produced so well that, despite some defects in the characterization, it manages to hold the interest of spectators who like virile plays. It is about a young boxer, whom his manager, by good management, succeeds in making a champion. The weakness in the story lies in the lad that the part Mr. Ayres, as the hero, plays lacks sympathy during most of the picture. He is presented at times as ungrateful to the man who had made him (Robert Armstrong) though they had been life-long friends. Another weakness is the fact that most of the action revolves around Ayres’ unfaithful wife, and her ability to prevent him from seeing what she really was. But good handling has overcome most of such weaknesses. The wonderful character Mr. Armstrong portrays deserves the greatest credit for such an accomplishment; he never gives up hope through all the ingratitude of the hero, and eventually succeeds in awakening him. The closing scenes, where Armstrong, no longer Ayres’ manager, calls on Ayres after the latter’s ignominious defeat in the ring, as was to be expected , show a great touch of human sympathy : Ayres, battered by his opponent, was in his room, still in his trunks, holding his head between his hands, a sad sight. Armstrong en.ers and Ayres, realizing how ungrateful he had been to him, sobbingly attempts to beg his forgiveness. Armstrong stops him and orders him to put on his robe, just as he had done in the days when he was managing him. At this point the picture fades out, leaving a fine impression,— of Ayres' regeneration and of Armstrong’s loyalty to a friend, despite disappointments. The story is by W. R. Burnett : the direction, by Tod Browing. Mr. Browing deserves credit for his ability to overcome some of the antipathy of the hero’s part. Jean Harlow is Ayres’ unfaithful wife, John Milljan, the lounge lizard. Ned Sparks, Eddie Dillon and others are in the cast. NOTE: For substitution facts, see Section Two of this issue. “Ladies’ Man” — with William Powell (Paramount, released April 25; 75 minutes) The only thing Mr. Powell does in this picture is to pose ; he walks around and looks like a peacock, particularly w-hen pretty women are around ; and there are a large number of them, for he is presented as a man who is hounded by women, married or single — he shows no preferences. At times he tries to drive them away, although he is usually unsuccessful— he is so fascinating. But he finds one with April 25, 1931 whom he is honest — he confesses all to her but tells her that she is the only woman he had ever really loved, and for whom he was ready to make sacrifices. He determines to prove his worth to her by trying to live a new life. But he had gone so far with the former life that it proved his undoing, for an irate husband, who had discovered his wile s secret relations with him, calls on him at his apartment and when he fails to kill him by shooting (for Powell had kicked the gun away from his hand), he drags him out on the roof and, by almost choking him with his fingers, applied on his throai, overcomes his resistance and throws him to the pavement below, killing him. The sight of the struggle on the roof and the hero’s sad ending are not, of course, pleasant ; they leave one in an unhappy frame of mind. The story is by Rupert Hughes ; the direction, by Lother Mendez. Kay hrancis is the woman Powell had fallen in real love with. Carol Lombard, Gilbert Emery, Olive Tell, John Holland, Maude Gordon and others are in the cast. The talk is pretty clear. Not for children, or for Sundays in small towns. Of the adults, not many will grow ecstatic over it; it is a story that should have been left out of pictures. (Not a substitution.) “Women Men Marry” ( First Division; release date not yet set; 67 minutes) There is merit in this picture for audiences that do not object to triangle themes. It is similiar to the Tiffany “Soul For Sables,” which recently was made by the same company under the title, “Extravagance ;” only that, instead of a sable coat, a wrist watch is the cause of the tradegy, which in this instance is only a near-tradegy, for none is killed by a jealous husband. The picture, though made by an independent concern (Headlines Pictures Corporation, whoever they are), vies with pictures of this type produced by the big film concerns, which have unlimited money at their disposal. The clothes Natalie Moorehead wears are expensive, and the home furnishings lavish. The construction of the plot is such as to hold the interest of the spectator well at times in pretty tense suspense. The scene at the home of Steve Bradley (Randolph Scott), where Rose Bradley (Sally Blane — wife of Steve Bradley) comes face to face with John Graham (Crawford Kent), from whom she had accepted a present, even though against her will, is the most suspensive ; the spectator fears that her husband, who had noticed the wrist watch on her hand, will become aware of the fact that the two had met before and the secret wall come out. Another suspensive scene is that where Kenneth Harlan attempted to murder Crawford Kent : — Randolph Scott and his wife, Sally Blane, arrive in New York where Randolph had secured a position. Kenneth Flarlan and Natalie Moorehead, old friends, receive them. Natalie is not so careful about her morals and drags Sally to an entertainment, where she meets (as Miss Rose) Crawford Kent. Sally does not like the set-up and begs Natalie to take her home; but Natalie prevails on her to stay a little longer. Sally goes home alone and Natalie, having become aware of it, rushes and overtakes her so that they might meet their husbands at home lest their suspicion should be aroused if Sally had returned alone. The following day Kent sends Sally a jewelled wrist watch, which he had shown to Randolph. Randolph invites his employer home to meet his wife in gratitude for his having decided to send him to England to represent his company. Sally is surprised to find out that Kent was her husband’s employer. She tries to explain at the first opportunity she had but Kent will not believe her. In the meantime Harlan, convinced of his wife’s infidelity-, takes a shot at Kent at his home. This happened while Sally was there to explain her conduct and to return him his wrist watch. She escapes and returns home in a highly nervous condition. Randolph calls on Kent on business and is shocked to find him apparently dead. Noticing his wife’s purse he takes it and returns home. Harlan returns, too. and tells them and his wife that it was he who had shot Kent, giving his reasons. Natalie upbraids him and informs him that she will leave him. He takes a shot at her but misses, although every one thought he had killed her. It is learned that Kent had not been killed ; he had onlybeen stunned. A reconciliation is effected between Randolph and Sally-, and between Kenneth and Natalie. Kent, realizing that Sally had been loyal to her husband, decides to send Randolph to England just the same. Chas. Hutchinson directed it from a story by John Francis Natteford. The talk is clear. Not for children or a Sunday show for small towns.