Hollywood Filmograph (Jan-Dec 1932)

HOLLYWOOD FILMOCRAPH Pictures — Reviewed and Previewed George Raft Howard Hughes to Release "Scarface" in New Orleans March 31 The nationwide release of "Scarface," Howard Hughes' great gangster film, with Paul Muni, George Raft, Ann Dvorak, Karen Marley and others, will be inaugurated with a brilliant world premiere at New Orleans, on March 31. General release will follow, starting in midApril. In con nee tion with the release of "Scarface," Joseph M. Schenck, president of United Artists, issued a signed statement Wednesday, predicting that the picture would prove, not only an outstanding dramatic triumph, but a powerful and constructive influence against organized crime as well. Mr. Schenck's statement: " 'Scarface,' which is to have its public premiere this week, will introduce to the American public an entirely new treatment, it is believed, of the current social theme of organized crime. It is bound to make a tremendous dramatic appeal to the millons of people who want their facts straight and their entertainment vividly portrayed. "United Artists are preparing to present the first public premiere at Loew's State Theatre in New Orleans on March 31st, with changes and additions made possible by the suggestions and cooperation of leading law enforcement and other authorities. " 'Scarface,' therefore, produced in its final version in conformity with the provisions of the motion picture production code, not only promises to prove a great dramatic triumph, but a social document which will do much to uphold the forces of law and order throughout the nation." ■f i 1 FOX STUDIOS All set for a pleasant chat with Frank Perrett regarding the doings at this busy lot when the fire bells started ringing and we thought that a big •fire was imminent but it was only Chief Conlon at his semi-annual fire drill. As no one knows when this will happen everyone is "on their toes." Janet Gaynor has inherited the bungalow formerly occupied by John McCormick on the lot and strange to say she has also leased his beautiful home in the Hollywood Hills. The greatest interest here is of Noel Coward's "Cavalcade" which is important enough to send Frank Borzage to London to witness one night's performance before he starts directing. One of the most remarkable plays ever written as it depicts the life of a family which participates in the greatest events of the World history. "THE MIDNIGHT PATROL" When RKO-Pathe produced "Holiday" everyone said it was what they figured a perfect talking picture. Well, we just ran across the first of this species of the present day independent pictures in "The Midnight Patrol." It is a natural. It is a director made perfect picture, for the director caught the spirit of the author, George Jeske, with dialogue by Charles Edward Roberts, and he watched every movement and detail of the actors until he brought to the surface the emotions and feelings of the very life of the story, and thereby hangs the tale of this perfect entertaining picture, and a boost for the independent producers of today. C. C. Burr produced this one, and Monogram Pictures are to release it. The musical score by Lee Zahler, Brown and Spencer, helped the picture in a great measure. Photographically the picture equals any of the major picture. It is the work of Louis Physioc. To start with, it was a case of real actors and actresses in every part, no matter how small. That puts this over so convincingly. For instance, Regis Toomey and Robert Elliott just naturally walk away with the picture. Their parts could not have been better written. Did the authors start out with them in mind? Bringing in public characters known to the sport world and to the cinema sphere and introducing them by their real names and talking about their accomplishments is one of the unique angles of the story. Mack Swain, known the world over for his funmaking antics, came through in fine shape. You have to hand the palm and the glad hand to James J. Jeffries, and to the greatest jockey of all time, Tod Sloan, for their appearance in the activities. Getting back to the regular cast, you will like Betty Bronson, Earl Foxe, Mary Nolan, Edwina Booth, Eddie Kane seen too little, scored; you will fear Mischa Auer, as he gets out of prison and does a sort of Frankenstein about town. Ray Cooke, with his funny pan, was there now and then. Snub Pollard gained a hearty laugh or two. Wm. Norton Bailey. Wilfred Lucas, Jack Mower, Barry Oliver, J. C. Fowler and many others helped command attention. Ballet dances by Arnold Hocht were beautifully staged. Christy Cabanne directed this picture like he would have one of the major studios' productions. In fact, you can put M-G-M, Paramount, Fox or a Warner Bros, label on this one and you wouldn't know the difference. Jack Sullivan is deserving of a word of praise as Director Cabanne's assistant. 'THE RICH ARE ALWAYS WITH US" She is married, rich, and charming. He is a bachelor novelist, whose masculine attractiveness tempts her susceptibility. She is Ruth Chatterton in E. Pettit's punch-minus story, 'The Rich Are Always With Us," her first under the Warner banner. He is George Brent, whom she picked as her leading man, a good actor lacking those idiosyncrasies necessary to outstanding performance. She sees her husband, John Miljan, kissing a little blonde, Adrienne Dore (whose sincerity does not excuse miscasting) and in a fine moment of Chatterton ability, offers a divorce, which is more or less obediently accepted by reason of the blonde's insistence. She flys to the arms of her writer, who is side-stepping the love, millions, and feminine traps of the attractive Bette Davis, and announces her intended visit to the convenient divorce courts of sunny France. Flowers, cable-telegrams, transatlantic telephone conversations, and a European writing assignment, culminates in an embrace and a conditionally refused proposal of marriage. Her maternal instinct toward her ex-husband very nearly results in an intensely dramatic situation. It is all comfortably amusing; a touch of high comedy here and there, but no great emotional disturbance. Chatterton, though surrounded by lavish production and excellent support, needs more than intelligently written scenes and dialogue to portray her outstanding talent as a dramatic actress. John Miljan was fine as the husband; Bette Davis' performance as Chatterton's girl chum was effective; and Adrienne Dore, while she gave a sincere performance, suffered a bad break photographically. Others are Mae Madison, John Wray, Robert Warrick, Virginia Hammond, Walter Walker, and Burton Churchill. Alfred E. Green's direction lacked that deftness of touch he displayed in Union Depot. Ernest Haller's photography was consistent. "NIGHT COURT" Another of Walter Huston's vivid characterizations — this time as the "whited sepulchre" judge in "Night Court," M-G-M's latest winner that is entertainment and' carries a message. A strong story by Bayard Veiller and Lenore Coffee, graphically interpreted by W. S. Van Dyke, and another illustration of M-G-M's fine discriminating in casting. "Night Court" has a universal appeal. Favorable reaction from this preview audience indicates success, and with the exception of minor readjustments this picture is going to be welcomed by the exhibitors. The story exposes the hypocrisy and monetary ambition of a judge in a night court, and how it influenced the lives of three innocent people : Phillip Holmes, a taxi driver; his wife, Anita Page; and their year-old baby, all of whom, through a course of dramatic events, cause Huston's defeat. The cast was excellent and includes a very effective performance^ by Lewis Stone, who ideally typifies a legal crusader against dishonest politicians and sacrifices his life to his ambition. John Miljan plays a smooth voiced henchman of "his honor," and Jean Hersholt is convincing as the landlord. The only flaw in Van Dyke's otherwise smooth and sympathetic direction was his handling of a soliloquy (an author's admission of structural weakness) used as a mechanism to tell the audience what is passing in the mind of Holmes when competing with a dramatic problem. The tax driver was very unconvincing and the scene should be remade. Photography by Norbert Brodine is excellent. — (B.G.) UNIVERSAL STUDIOS Watched John Stahl at work a few days ago and he is making great headway on "Back Street." Irene Dunn was selected finally for the leading feminine role and from all accounts from the people lucky enough to see the daily rushes she was certainly the "right one." Carl Laemmle, Jr., is always doing the unusual and his latest is the bringing R. C. Sheriff from London to join the large staff of writers. Mr. Sheriff will adapt Eric Remarque's "The Road Back," a sequel to "All Quiet." 1 i i TIFFANY STUDIOS Lucky Humberstone has a great job on his hands directing "The Illustrious Corpse," changed to "Strangers of the Evening," but he has great co-operation with his whole staff, especially Arthur Edeson at the cameras. Also his cast of veteran players such as Gene Palette, Warner Richmond and a host of others are working hard to make Lucky's first a genuine success. 1 i 1 PARAMOUNT STUDIOS Bing Crosby seems to be the "man of the hour" with all classes of people and Richard Wallace will direct this famous radio favorite. After the success of "One Hour With You," it is pleasant to know that Ernest Lubitsch is to make more releases for this studio. "Passionate Strangers" will be his first assignment and the famous Miriam Hopkins will be his featured player. 1 i 1 "WINDOW PANES" STARTS SECOND WEEK AT SPOTLIGHT THEATRE "Window Panes" by Olga Printzlau starts on it's second week at the Spotlight Theatre this evening. This play has attracted a great deal of attention because of the splendid reviews given by the press. And also because of the fact that the play was the vehicle in which Boris Korloff appeared at the Egan Theatre in 1929. At that time the play received a vast amount of publicity and many who failed to see it at that time are accounting for the extended run at this time . A special professional matinee was given Thursday afternoon among those present was Edward Everett Horton, Irene Purcell, Lillian Bond and Herbert Mundin of the "Springtime for Henry" company, Lucelle LaVerne, Henry Duffy, Virginia Howell, Hedda Hopper, Trixie Friganza and many others. The next play to appear at this theatre will be "Mostly David" by Paul Gerard Smith a powerful drama of father, mother and son. It will be directed by Don Brodie. RUSSIAN GRILL BREAKFAST LUNCH FIVE COURSE DINNER 1759 No. Cahuenga HO 6769