Hollywood Filmograph (Jan-Jul 1930)

June 28, 1930 LITTLE STORIES By ARTHUR FORDE Review "ALIAS FRENCH GERTIE" At the R-K-O Theatre. The vaudeville certainly "took a a knottcu living souls, have been informed, by magic numbers and persuasive sounds Advertised Groom" in the billing outside the the Having often been captivated by the music in the Fox productions, we atre> Ben Lyons and Bebe Daniels e curious to know who was responsible, so we wandered^into the^ great d;d grea(. team work and were easily the outstanding feature of the bill. Fo^S^umorat'Westwooran'd^approached one of the magnificent buildings, which, in carved letters over the portals, read "Temple of Music." On entering its stately patio we found the name of our old friend, Ben Jackson, on the manager's door. Could this be the Ben Jackson who had so successfully managed the business end of productions at the Western Avenue studios? It was, and we found out that Ben Jackson has charge of anything pertaining to music on all _ Fox productions, whether it be the incidental theme songs or operas. All auditions come under the supervision of Ben Jackson, and as he told us in a very few words, the reason of his success is that "he talks their language." Ben Jackson has had a vast experience in the world of theatre management before entering the production end, therefore he is eminently fitted to fill this very important niche. He was formerly the manager of that famous Audubon Theatre at 165th Street and Broadway, in New York City, in the days when the stars of today had their tryouts in secret. Such names as Eddie Cantor, Bert Williams, George Le Maire, Ben Bernie, Phil Baker, Bard and Pearl, Eddie Buzzell and other as famous names, as well as the feature acts for George The story is of two smart crooks and was written from a stage play, "The 'Chatterbox," by Bayard Viellier, that master writer of crook dramas. Adaptation and dialogue by Wallace Smith, which was pithy and interesting throughout. George Archainbaud directed the opus, from whose facile mind so many clever pictures have evolved. The cast is of the "first water" and includes Robert Emmet O'Connor as "Kelsey." This very fine actor always shines in detective roles and in this one he almost becomes a "father confessor" to two misguided kids. Review "BACK PAY" At Warner Brothers' Downtown Theatre. ave it" this week. The Bride and Quite a humorous one in which Eddie Lambert and Bill Irving give us their best. A beautiful, all-color subject called "South Sea Pearl," featuring Gaston Glass and the inimitable Lew Fields in a "knock 'em down and drag 'em out" in a German beer garden in the nineties. "Back Pay" is based on a story by Fannie Hurst, but we are afraid that Fannie made this one "to order." No fault could be found with the direction by William Seiter. He had a hard task indeed with story and principals. Corinne Griffith's voice grated on one's nerve to such an extent that she loses all sympathy. When she was in "the silents" her wistful appearance carried her along, but alas, BEN JACKSON Daisy Belmore as "Mrs. Matson" is we now have to hear her tafo really one of the most beautiful matrons of the screen, and her melodious voice coupled with her natural acting ability is always a treat. John Ince and Betty Pierce enacted two roles which ably balanced an otherwise really fine cast. It was, however, two leading characters, Bebe Daniels and Ben Lyons, White's "Scandals" and other well known wno held the honors, and you _ will enjoy every minute of their meritori productions were first shown the "powers that be" at this famous theatre. Ben Jackson has had fourteen years' experience at managing theatres in New York, New England etc., and who more than the man at the front of the house can gauge the desires of the fickle public? The motion picture studio of today is one vast network of departments, each one in charge of an expert in his individual line, and no department is better governed than the musical department at the great Fox Studios under the genial supervision of Ben Jackson. As for Grant Withers, the casting director made a poor guess this time, and they are playing him in too many theatres at once. In fact, in this one they have tried to dialogue him by making him a "dizzy blonde." We always thought the ladies were the only ones that went in for that kind of thing, but even with his disguise he "recites his lines" in such monotonous tones that °UkC"' Frank Gaby, Lytell he will never be "the great lover" and Fant were the contributions from which his company are evidently tryvaudeville and the only interesting ing to make him. act were the Toregas, the girl in the Montagu Love as Wheeler is one graceful and extremely dar redeeming spot in an otherwise unin Review "IN GAY MADRID" Loew's State Theatre Beautiful photography, gorgeous a> Review "OLD AND NEW" At the Filmarte Theatre. Sweeping ideas through masses of act was ing. the picture. ut" you'll really enjoy seeing teresting picture. Here is an actor who can always be depended upon. He has poise, a splendid, resonant voice and fine stage presence. Hallam Cooley, in the little bit he had to do, was natural and convincing. Especial mention should be made URGE FRANCE TO PROTECT FILMS IN SWISS MARKET PARIS.— French films, which for natural settings and romance to the workers rather than professional play merly dominated the Swiss screen, ers seems to be the forte of that re show a decided falling off in that 0f the work of Vivian Oakland, Ge markable director of Amkine's latest country. The fact is revealed in a neva Mitchell, William Bailey, Vir production. report sent to the French Govern ginia Sales, Dee Loretta, James Mar The industrialism of the villages, ment by the Swiss Chamber of Com Cus, Louise Carver and Louise Beav Russias's most vital problem to to merce. The situation has gone worse ers. It's the little parts that count in last degree coupled with life in a Spanish Seminary gave Ramon Navarro an opportunity to use his beautiful voice in a very artistic as well as a pleasing performance, in "Gay Madrid." Robert Leonard directed and the experienced director certainly showed his ability here. The story consistently since 1920, and French a picture, pictures originally in a pre-eminent position are now at the bottom of the list of imports. The Chamber of Commerce asks the French Government to take immediate action to protect the French day, is the production of food. The picture shows the transition from the ancient hand process of garstarts merrily with a fight at a night nering the crops to the machine age. club by Navarro as the son of a That trio, Eisenstein as director, Spanish nobleman and a bragadoccio Alexandrox as scenarist and assistbull fighter over the love of a dancer. ant, and Tillie at the camera achieve The story could easily have been the most remarkable results. These ^jm ancj t0 create a special office on made commonplace in other hands three men are now in Hollywood and behalf of their product. This office, but its fine handling and splendid should they be able to produce such .^ jg SUggested, should rent the films music, the choruses of the students bizarre results with American materials as they already have with the peasants of Russia, we may certainly look forward to something startling. Masses of grain fields waving like the sea, camera angles taking in every part of the human body, and character studies that will amaze you. Such ARTHUR FORDE. at the academy led by Navarro were extremely interesting and tuneful. Dorothy Jordon was delightful in the dignified way she handled the debutante's role, while Lottie Howell as "Loyila," the dancer, was fiery. Claude King and William Mong as the "two fathers of the young couple," remarkable effects are interesting were dignity personified. Beryl Mercer as "Dona Concha," David Scott and George Chandler completed a fine cast. Ramon Navarro sang some romantic songs in his really beautiful instead of, as previously, selling them outright, and wage an intensive propaganda campaign on their behalf. & & & JAMES FINLAYSON PLAYS MASTER OF CEREMONIES James Finlayson arrives from Scotland and plays the role of Master Of course, we can see the shears of Ceremonies in Screen Snapshots in the hands of the censors, but the Number Twenty-two^ directed by material left and shown at the Fil Ralph Staub for Columbia release marte Theatre are well worth a visit, dialogue by Hal Yates. Another short from the pen of H. Jimmy introduces in real bcotcn G. Wells is shown on the current fashion Mary Pickford Doug Fairvoice and one of them was sung in bill, and with the News Weekly com banks, Maurice Chevalier, Dorothy proxy for a lover who had no voice plete rare entertainment. Jordan, Ben Lyon and a number ot with which to charm his inamorata. "The Chess Players" will be the screen kiddies, including Leon Jannext attraction. Another of Raymond ney and Frankie Darro. Bernard's productions. 1 1 1 n His "Miracle of the Wolves" was Robert McWadeJs to play Pop interesting enough for us to be anxious in "Bunker Bean," starring Arthur to see "The Chess Players." Lake at the R-K-0 studios. This one got a lot of laughs. Fanchon and Marco's "Cadets Idea" gave some fine drill manoeuvres and the Fox Movietone was extremely interesting. 111 "VERSATILITY" HIMSELF IF YOU PLEASE Vaudeville artist, writer, scenarist, stage and motion picture director are some of the accomplishments of Hugh Herbert. This long list was augmented recently when he occupied two positions during the production of Radio Pictures' spectacular railroad drama, "The Record Run." As dialogue director, Herbert accompanied the troupe of 100 which journeyed 31,000 miles through 12 states. While en route to location, Herbert suggested that additional comedy be written into the story. His suggestion was accepted and he was assigned to the task. When the job was completed, Myles Connolly, associate producer, decided that Herbert should play the comedy role he had originated. The writer-director-scenarist got out his makeup kit, unused since vaudeville days, and now appears as a comic hobo in many scenes.