Hollywood Filmograph (Jan-Jul 1930)

' HOLLYWOOD FILMOGRAPH Preview "CRAZY THAT WAY" Fox all-talkie production with allstar cast. Previewed at the Glendale Alexander Theatre. "Crazy That Way" is not a misnomer, no matter from what viewpoint you size it up. The craziness crops up early and extends clear down to the unexpected catastrophe, which is rather bizarre in its way. But between the opening and closing sequences the auditor is frequently swept into spasms of laughter by the antics of two love loons lavishing their unheeded fervor on an unappreciative heart, coldly lodged in the bosom of Ann Jordon (Joan Bennett). The human daffodils are Bob Metcalfe (Regis Toomey) and Frank Oakes (Jason Robards), and daffodils they remained to the end in seeking the hand of Millionaire Jordon's daughter. Bob is first to get the inside rail of Ann's tolerance, but is soon squeezed into a pocket by Frank. A bridgeconstructing genius, Jack Gardner (Kenneth MacKenna), sponsored in his work by Pa Jordon, takes up quarters at the millionaire's home. He catches Bob in the dumps; tells him to brace up, and strengthens his patronage by slipping the loon some wise info about reaching a woman's heart. In swinging the advice, Metcalfe makes life miserable for poor Ann. Then Oakes, who had covertly heard the sage racket, does ditto, until Ann is almost driven to desperation. Now, boys and girls, we're just going to let you slip down to the theatre to see and hear for yourself how Miss Jordon extricated herself from the horns of this dilemma, and believe us, it's worth adventuring to learn. Regis Toomey as Bob clearly demonstrates that he is just as much at home in comedy as he is in the more serious characters of life. He is fast coming to the front as one of the cleverest young men in the talkies. His articulation and enunciation are 100 per cent. Jason Robards gave a sparkling, fast-fire and cleverly natural touch to the part of Oakes; in fact we don't believe we have ever seen him to better advantage. He has one of the clearest and most distinct voices on the screen. Kenneth MacKenna's Gardner was suavely convincing. Others in the cast that clicked well were Sharon Lynn and Lumsden Hare. Joan Bennett's Ann Jordon was wooden and stilted. Rather selfconscious in the opening sequences, she lashed herself into artificial fury, like the lion and his proverbial tail, toward the end, and this gave a little pepe to her uniformly apathetic portrayal. Her English tang of enunciation was anything but convincing. Director McFadden's work was noteworthy throughout — it hit the nail on the head in every particular. The photography of Joseph Valentine was a clever bit of twirling, and was distinct and clean-cut in every way. "Crazy That Way" is a pippin of a comedy and is sure to go over with a warn. Get an eye full of ;t and laugh and grow fat. ED O'MALLEY. Preview "THE COLLEGE RACKETEER" Whatever credit there is to be given for this picture belongs to the star, James Murray, and Director Reginald Barker. The story also is away from the beaten path of talkies or pictures, and works up the interest of the onlookers to the extent that they really get excited and hope the hero (James Murray) goes straight and brings home the bacon. Fine performances, too, are rendered by Robert Elliott, Kathryn Crawford, Lee Moran, Edward Hearn, Carl Stockdale and others in the cast. The boat race which is the real backbone of the story, is very picturesque, thrilling, and commands attention throughout, especially the way James Murray, the ace oarsman, at first is weak on his strokes and finally makes the grandstand finish and wins the race. It was a fine piece of work by all concerned. Many of the critics present talked of the jumpy, disconnected sequences, but, we have failed to see any story that carried a news weekly angle as the feature that could be anything else but, however, it is drama and holds strictest attention. The James Murray knockers of the past will have to admit that he is an actor and that his voice records and that with the proper pictures, he will go over. Reginald Barker directed this talkie. It was a man's size job and he proved capable of it, and needn't hide behind anything that he has done to make this a Universal entertaining picture. Story and adaptation was by Arthur Ripley and Lambert Hillyer. Dialogue by Lambert Hillyer and Matt Taylor. Photographed by Gilbert Warrenton. H. B. ■f i i Lcew's State Theatre All the world loves a sportsman, and Johnny Mack Brown is every inch a sportsman, whether it be on the football field, a bridge game, or hunting rabbits. During the filming of "Montana Moon," in which he plays opposite Joan Crawford, Johnny spent his spare time on location hunting rabbits at night with a double-barreled shotgun, spurning magazine guns. Mai St. Clair directed the new M-G-M picture, now playing at Loew's State Theatre, the supporting cast including Ricardo Cortez, Cliff (Ukulele Ike) Edwards, Dorothy Sebastian, Benny Rubin, Karl Dane and Lloyd Ingraham. As their current stage offering, Fanchon and Marco are presenting one of their "ideas," featuring an all headline cast of stage entertainers, the Sunkist Beauties and Georgie Stoll and Band. i i i A branch of the Continental Theatre Accessories, Inc., will open soon at 1964 South Vermont avenue, Los Angeles, under the management of William Gluck. FILMARTE THJJATRE Hollywood The House of Silent /Picture Art. At the most interesting motion picture house in town,/ this week they are showing "Through the Death Deserts of Asia." This theatre shows what we have been used to for years, silent pictures. No raucous noises here assail the ears. The picture, always interesting, flows across the screen and the organ, majestically plays the accompaniment. We sit here after a tiresome day's work and rest while we weave our own interpretation of the story from the picture. However, to get back to the picture, here we have stark realism. Sven Hedin shows us a photographic record of a hazardous two-year expedition to the unknown regions of Tibet and Mongolia. A mighty interesting subject to which the packed house attested. Here we see intrepid men wend their way through a hell of sand and snow storms in the interest of science. The mysteries of Tibet and Mongolia, nearly the last places on this earth which man has not modernized. The love of adventure inherent in all of us is given full scope here. The mysterious dances of their religion. The wierd costumes of their festivals, all flash across the screen to wondering eyes. No blatant music, no exhibitions of legs and no near cornedians and doubtful color effects which assail our eyes and ears in nearly every motion picture house in the land but pure adventure and what man, woman or child does not enjoy adventure. The theatres in New York showing programs depicting news events of the day exclusively, show by their patronage what some of the public want as well as the packed houses at the Filmarte attest. In addition to the picture at the Filmarte good management and courteous employees testify by packed houses, the popularity of this unique entertainment. Next week the "New Babylon," a Russian picture by Sovkin, will be shown. Richard Watts Jr. in the New York Herald Tribune says: "Here is a work that is certainly among the masterpieces of the great Russian cinema tradition." ARTHUR FORDE. ■f 1 i-r Preview "LA MARSEILLAISE" Universal All-Talkie-Singing Production. Presented by Carl Laemmle, Jr. Featuring Laura La Plante and John Boles. Previewed at Universal Studio. In "La Marseillaise," the Universal Studio has celluloided one of the bets transcripts of the French Revolutionary period we have ever ran up with. The scenario gives it a sort of quasi-romantic treatment that lends an added charm to the yarn. The atrocities of this tremendous political upheaval have been entirely eliminated 'from the sequences, a commendable gesture of Houston 29 Branch, adaptor and author of the film. The plot circles around the love of Rouget de Lisle (composer of "La Marseillaise"), a music teacher (afterward an officer in the King's Regiment) and Marie Marnay (Laura La Plante), daughter of the keeper of the Coq d'Or, a public tavern. Marie is beloved by the King's old counselor Bazin, who, finding that she is enamored of Rouget, sets a trap for his rival and has him arrested for treason. The killing of Marie's father by the King's guards, turn her against royalty and she swings with the insurgents. She is arrested and sentenced to be hanged when Rouget, at the head of a maddened rabble, rescues her after a desperate battle between the royal troops and the infuriated mob. The King's soldiers are defeated and the final fadeout finds Marie and Rouget happily reunited. John Bole's Rouget was a compelling bit of dramatic work. He sirtgs " frequently throughout the sequences, and his cultured voice, with its wonderful tenuto grace, registers superbly. His one great scene is the singing of the "Marseillaise" before the King. It is thrillingly gripping, and one of the most stirring ever flickered on the silver sheet. Laura La Plante was exceptionally clever as Marie, the inn keeper's daughter. She sings several songs, her voice being sweet and microphonically good. She was particularly strong in the deeper emotions of the character. Sam de Grasse's Bazin was hit off with subtlety and finesse. Lionel Belmore's Colonel was right up to the usual high standard of his work. Others that turned in good performances were James Marcus, Harry Cording, Murdock McQuarrie, Claude Fleming, Ervin Renard, George Hackathorne, Richard Cramer and Stuart Holmes. J. S. Robertson's directing was excellent, and he was particularly effective in handling the mob scenes. Hah Mohr twirled the camera with deftness throughout. The music synchronizing of David Brockman was especially noteworthy, particularly in the great choral numbers. "La Marseillaise" is one of Universal's best productions and unless we miss our guess, is sure to score heavily at the boxoffice. ED O'MALLEY. t i i I. C. Overdorff, publicity -manager for Hollywood School of the Dance at 5653^ Hollywood boulevard, has arranged a program and showing of juvenile talent for Wednesday evening, March 26, at 7:30, which will be open to all registered members and their parents. Mr. Overdorff has invited directors from several motion picture studios and many of the invitations have been accepted and it is possible that there will be seven or eight present at the showing. Miss Dorothy Granger, a senior pupil of the school, who was just signed by Hal Roach Studios for a long term, and her brother, Dick, will furnish their share of the entertainment. Reservations are coming in fast for seats, since the school has close to 100 registered pupils.