Hollywood Spectator (February 29, 1936)

Hollywood Spectator Page Thirteen in this production. In addition to its great amount of action, the film has much talk—all genuine in realism. It pleases me to credit Dalton Trumbo with some superb screen writing. If we must have a lot of talk in pictures, there should be more Dalton Trumbos discovered. Particularly fine in his screen play is the dialogue. If Road Gang, his first assignment, is any criterion of what we may expect of him in the future, he will be a leader among film writers. I congratulate WarnersFirst National for providing him with an opportunity of revealing his ability in this line. Many SpecraTor readers remember him as the author of constructive and entertaining articles which in the past adorned its pages. Responsible for a masterly directorial job, quite his most notable, is Louis King and for a well-photographed picture is L. W. O’Connell. Road Gang has successful acting. Donald Woods, in a different role, does splendidly, giving a performance that is rich in sincerity and conviction. Kay Linaker has a part which offers little chance for breadth of appeal; her portrayal at no time strikes a false note. Henry O’Neill and Joseph King, as political leaders, are excellent. King, recently brought from a career of many years before Broadway footlights, never becomes stagey in the film, which is noteworthy, considering that some of his scenes easily could have been played with an unfitting air of the theatre. Marc Lawrence is excellent in a small role. Carlyle Moore, Jr., Joseph Crehan, Olin Howland, Charles Middleton, Addison Richards and William Davidson lend good assistance. Road Gang is another of the series of well made pictures being produced for Warner Brothers by Bryan Foy. Recommended Highly BOULDER DAM, a Warner Bros. picture. Screen play by Sy Bartlett and Ralph Block; based on story by Dan M. Templin; photography by Arthur Todd; supervisor, Sam Bischoff; director, Frank McDonald; ass’t. director, Frank Mattison; film editor, Tommy Richards; art director, Hugh Reticker; musical director, Leo F. Forbstein; music and lyrics by Wrubel and Dixon; musical director, Leo F. Forbstein. Cast: Ross Alexander, Patricia Ellis, Lyle Talbot, Eddie Acuff, Henry O’Neill, Egon Brecher, Eleanor Wesselhoeft, Joseph Crehan, Olin Howland, Wm. Pawley, Ronnie Cosby, George Breakston. NQUALIFIEDLY do I recommend this to every adult | seeking an intensely diverting hour at the cinema. — It requires no deep thought to realize what principally is responsible for the high success of Boulder Dam as screen entertainment. Direction is the thing. I am informed by my memory that Frank McDonald is new to me among film directors. Possessing a sure touch, sensitiveness, appreciation of drama and comedy, a sound, sensible grasp of the fundamentals of picture entertainment, he has performed wonders with the material given him. True, he had a finely-wrought script, a group of generally dependable players, a skilled cameraman and interesting backgrounds to work with. But few in his place could have done so brilliantly. His handling of the dramatic situations, the comedy, the atmosphere and the playing has made Boulder Dam a fine audience film, one which will command undivided attention from its spectators, one which will make them feel they have received their money’s worth. Not original in its basic idea, the story has been constructed well. Of high order is the dialogue by Sy Bart lett and Ralph Block, never unnatural, fitting at all times. Boulder Dam has many scenes of spectacular thrills. It is all vividly realistic cinema, told in proper tempo both by the camera and dialogue. I have seen no finer example of how talk and action must be combined to make a splendid talking motion picture. For that alone, it is a notable production. Ross Alexander has the leading role and does a superb characterization of it, definitely earning stardom for himself. Patricia Ellis offers her initial exhibition of truly intelligent acting. Along with that, she is unusually charming to look at. Lyle Talbot is the villain of the piece, doing excellently. Eddie Acuff has a pleasing personality and is a good comedian. Outstanding work in the film is done by Henry O’Neill, William Pawley, Egon Brecher and Eleanor Wesselhoeft, playing secondary parts. Arthur Todd’s photography leaves nothing to be desired. Some good music and lyrics are presented—the work of Allie Wrubel and Mort Dixon. Above Average Western DESERT GOLD, a Paramount picture. Producer, Harold Hurley; supervisor, William T. Lackey; director, James Hogan; assistant director, Joseph Youngermarg screen play, Stuart Anthony and Robert Yost; from a novel by Zane Grey; sound, W. H. Oberst; art directors, Hans Dreier and Dave Garber; photographer, George Clemens. Cast: Larry “Buster’’ Crabbe, Robert Cummings, Marsha Hunt, Tom Keene, Glenn Erikson, Monte Blue, Raymond Hatton, Walter Miller, Frank Mayo, Phillip Morris, Willis Marks, John Merkle, Anders Von Haden, James Burtis, Si Jenks, Ed Thorpe, Billy Bletcher, Bob McKenzie, Gertrude Simpson. ANE GREY western stories, both in print and on cel luloid, have experienced little popularity with me. Recently came an assignment to see one at a theatre miles away, requiring an hour’s automobile drive in a rainstorm. En route to the preview locale, I vigorously cursed the producers for taking such an offering so far in such weather. Surely I wouldn’t enjoy the picture. Well, I did—thoroughly. Desert Gold was made for the sort of audience I saw it with—a weekend-night gathering of youngsters and grown-ups in a neighborhood house. Apparent it was that the entire film delighted them greatly. Knowing the outcome of its story before the second reel had passed did not in the least lessen my interest, which had been gained almost with the opening scene. The picture has exciting melodrama, highly amusing humor, half a dozen meritorious performances, expert direction, excellent dialogue and it is fine to look at—this combination giving me the firm belief that it is capable of pleasing any audience. I had not viewed a production directed by James Hogan before this one, in which he reveals good taste, a delicious sense of comedy, human understanding, true knowledge of motion picture tempo and an ability to make his players behave like the characters they are portraying would behave. Little attention usually goes to sound in westerns, most of them being loud enough for a deaf person to hear. In Desert Gold, voices are modulated so that they come to us as people generally converse. And bullet shots, of which there are no small amount, do not jar one, a pleasant rarity. There is a wealth of exquisite scenery, beautifully photographed by George Clemens. The Stuart Anthony-Robert Yost screen play is a skilful job. Brilliant is the characterization given by Raymond Hatton, an actor sadly neglected by producers in recent