Hollywood Filmograph (Jan-Jul 1930)

28 March 29, 1930 Pictures '"Reviewed and Previewed Preview "KING OF JAZZ" Universal has the last thing in Jazz, extravaganza, beauty and charm that has ever been concocted in a Revue since the talkies have taken the world to task to witness the wonders of the screen. Paul Whiteman is the biggest show in pictures today, if we are to accept the "King of Jazz" as a criterion of what is possible in the land of music and syncronization as revealed by the best piece of showmanship we have set our optics on. It is a personal triumph for Paul Whiteman and for John Murray Anderson, the director. Only one with the mind of a genius could have so much artistry working in perfect unionism amid the most gorgeous settings and costuming that was ever given such a stupendous and magnificent morsel of entertainment. John Boles never sang as he did in the "King of Jazz" when he rendered "The Song of the West." His individual performance is as stirring and striking as is Paul Whiteman and his marvelous orchestra throughout the production. The biggest musical number ever offered the public Was Paul Whiteman's "Rhapsody in Blue." Laura La Plante proved quite a clever comedienne in a blackout in which some of the Universal satillites engaged in. Jeannette Loff was too beautiful for words. Everybody that is anybody on the Universal lot took part in the Revue. Just to give you a fair example here is a list you can cast your optics over: Paul Whiteman and his Orchestra, John Boles, Laura La Plante, Glenn Tryon, Jeannette Loff, Merna Kennedy, Kathryn Crawford, Otis Harlan, George (Slim) Summerville, Stanley Smith, Billy Kent, Grace Hayes, Sisters G, Rhythm Boys, Brox Sisters, George Chiles, Jacques Cartier, Al Norman, Frank Leslie, Jeanie Lang, Charles Irwin, Paul Howard, Marian Statler and Don Rose, Tommy Atkins Sextette and Nell O'Day, Wilbur Hall, John Fulton and the Russell Markert Dancers the Hollywood Beauties. Great credit is due Carl Laemmle, Jr., for finally putting over the "King of Jazz" to its completed form. The whole motion picture industry have been betting against him and for this young man to come forth with this great show — the greatest of its kind ever staged — was a great accomplishment. It did our heart just as much good as it did old Uncle Carl Laemmle, who beamed all over with smiles as the tremendous crown shook his hand and congratulated him on the greatest picture that Universal ever turned out. He turned to some of his closest friends and saidr-"You think this picture is great; wait until you see "All's Quiet on the Western Front' — it's the greatest picture ever made in the whole world," and one look at Mr. Laemmle would make you believe that he meant every word of it. The picture is such an artistic success that it is only fair to give credit where credit belongs and we herewith submit a list of some whom we have . failed to credit so far and whom we feel are entitled to every consideration, for making this super-Universal production the Show of Shows as far as Revues are concerned in the form of talkies. Cinematographic production manager, Robert Ross ; Song composers and lyricists, George Gershwin, Mabel Wayne, Milton Ager, Jack Yellen ; Musical score, Ferde Grofe; Arranger, James Dietrich ; Setting and costume designer. Herman Rosse ; Dance Director, Russell Markert ; Artist, Lynn Holcomb ; Cinematographers, Hal Mohr and Jerome Ashe ; Color Photography, Technicolor Process, Ray Renehan. HARRY BURNS. 1 1 1 review "HIGH TREASON" Presented by Tiffany-Gaumont. An English all-talkie production. Directed by Maurice Elvey. Photography by Percy Strong. Scenario by L'Estrange Fawcett. Recorded by British Acoustic Process. Previewed at Chotiner's Parisian Theatre. In "High Treason," the TiffanyGaumont studio possess a real cinema treasure trove. It is probably the most novel and bizarre celluloid effusion of its kind that has ever been twirled. The scenarist, L'Estrange Fawcett, certainly has the felicitous flair of a Jules Verne for future imaginative projections. The motif of the Story is essentially a gospel for world's peace worked up to a glorious climax through an inspired apostle of indissoluble fraternity in the form of a Doctor Stephen Seymour. The earth's revolutions are projected to the year 1940, and throughout the entire sequences a futuristic background is stressed. The two great powers of the globe are the Atlantic states and the Federated States of Europe. A simmering undercurrent of unrest is shadowed forth in the plenary counsel meetings of the powers that be, of each federation. War is covertly preparing. Follow then several sequences of the horrors of a 1940 war in posse. New York is destroyed; London menaced; the world wars of the future delineated in their towering and awe-inspiring immensity, and millions of people destroyed. Then the story proper resolves itself into the miraculous work of the Man of Peace, Dr. Seymour, almost prenaturally assisted by his inspired daughter, Evelyn, a sort of futuristic Joan of Arc. The president of the Federated States of Europe is about to declare war, when Dr. Seymour calls on him for an audience. Televisions all over the. continent announce the fact and show the two leaders in friendly converse. The president says, "Doctor Seymour has a very important announcement to make, with my sanction." While millions are listening in, and looking at the television, the Man of Peace solemnly declares, "There will be no Quick as a flash, the president fires at the announcer and misses, but the doctor's shot penetrates the president's heart. Consternation and confusion seize the millions of spectators, but the Pax League, 29,000,000 strong, as if by one accord, burst forth in triumphant huzzas and the day is won. The Doctor is tried and convicted of murder, but his mission has been fulfilled and millions of iives have been saved. The entire film was made in England. Humbertson Wright's Dr. Seymour was a wonderful bit of thespic and spiritual delineation. Benita Hume's portrayal of his daughter, Evelyn, was compelling and sweetly alluring. Her work is one of the best we have seen in some time and she is beautiful to look upon. Basil Gill, as the president, and Jameson Thomas as Major Deane, turned in excellent performances. Directing and photography are marvels of movie technic. The thousand and one futuristic novelties of this super picture makes it, to our way of thinking, pre-eminently the outstanding effusion of its kind ever celluloided. Don't miss it, for you will get the treat of your lives, both from an educational and entertainment viewpoint. ED. O'MALLEY. 111 Review "PUTTIN' ON THE RITZ" United Artist Theatre. A lavish production has been given "Puttin' on the Ritz," which deals with the life of a Broadway man, the story being written to fit the personality of Harry Richman. The best scene is that in the Broadway cabaret where Mr. Richman makes a great success as a singer. The tunefulness of the song he sings, the fine dancing of the chorus and the beauty of the settings are all very pleasing. The color sequence at the close of the picture is a truly spectacular novelty. There is plenty of life and action in the picture but the story has been seen in pictures innumerable times and is not the kind that would make one feel in sympathy with the hero, for no one can sympathize with a man who forgets the friends who helped to make him. There is a strong supporting cast. Joan Bennett, James Gleason, Lilyan Tashman and Aileen Pringle, being the most prominent and one wishes in some cases that they were more prominent. This is especially true of James Gleason and Lilyan Tashman, who contribute much to the comedy sequences. Richard Tucker, Purnell Pratt, Sidney Franklin and others helped round out the cast. "Puttin' on the Ritz" was very capably directed by Edward H. Sloman from a story by John Considine, Jr. The sound reproduction was very good, while the photography by Ray June was excellent. A Christie comedy short, "Scrappily Married," Paramount News reel and the Earl Burtnett's Biltmore Hotel Orchestra, including the Biltmore Trio, completed the program. Review "HOLD EVERYTHING" If Punch and Judy came to life, you would swear that this duo was Joe E. Brown and Winnie Lightner, as they appear in "Hold Everything." Their antics and funny faces that they put across reminds the writer of how we used to enjoy the manikins when they used to be the added attraction in the curio halls of the museums 30 years ago. No one else matters much as far as the cost and story were concerned. Music by B. G. De Sylva. John McGowan, Al Dubin and Joe Burke; they did their parts and did them well. The music was captivating and entrancing; the laughs came like tornadoes, and the audience was tickled pink with the whole show. But Georges Carpentier shouldn't have been allowed to sing so many numbers; the fight Georges put up was as thrilling as was Joe Brown's funny, which is saying plenty for him and Larry McGrath, who played the hard boiled pug. Bert Roach helped some of the big laughs along with the rest of the principals, Edmund Breese as the fight manager, Sally O'Neil as the leading lady shared honors with Dorothy Revier as the Vamp ; Lew Harvey, as the manager of Tony Stabenau was immense; Jimmy Quinn played a hick gunman perfectly. Roy Del Ruth directed the picture, and we must say that at no time have we heard so much laughter in any theatre in Los Angeles as we heard at the premiere showing at Warner's Hollywood for "Hold Everything" just panicked them. Punch and Judy were the whole show. HARRY BURNS. 11-r Review "THE MELODY MAN" Columbia production, all-talkie and musical, shown at the R. K. O. Hill Street Theatre. "The Melody Man" is a cinema yarn that stresses the ever increasing prevalence of jazz music over that of the old masters, bolstered in a way by the "bust" of Grand Opera in New York. Among certain classes of music lovers, the works of the maestros of yesteryear will always be tucked away in the lavender of their memories. Nothing is more melodious than the March Militaire by Chopin; Mendelssohn's Spring Song and Beethoven's Menuet, which are played in "The Melody Man," but up-to-date jazz also has some harmony gems that are inspiring — gems that even thrill the hearts of those that worship the old classics. The story of "The Melody Man" clings around the fortunes of a Viennese music composer, who on the eve of his "Rhapsody" triumph (an original effusion) murders his wife's paramour. With his daughter Elsa (Alice Day) he escapes to America and forms a musical trio with two of his countrymen. The trio is lost in up-to-date music and are shouldered out of a night club job by Albert Tyler (William Collier, Jr.), t