Hollywood Filmograph (Jan-Dec 1932)

10 JULY 23, 1932 As Seen and Heard by Arthur Porde Arthur Forde ON BOARD THE S. S. PLAYA—Af tcr a hard day's grind, you may find relaxation and fun on a palatial liner, miles at sea. A TRIP TO NO IV HERE— sounds odd but that is just what this one is and you do not need to step on the "Magic Carpel," but step aboard the ship and in less than an hour, you are gently remooed from "snoopers" and other disagreeable people and "real LIBERTY" reigns. A DELIGHTFUL DINNER— and will wonders never cease — We were handed a real "Wine List" which, of course, called for a special cocktail to whet the appetite. THOUGHT THE OTHER PARTY had won the election but realized that We Were on the high seas. AFTERWARDS— a splendid orchestra gave us the latest in dance music and between times, "GAMES" were indulged in by those who enjoyed this sort of fun. WE NOTICED — quite a few celebrities who were really enjoying themselves, including James Dunn, Jimmy Greer, Bert Hanlon, Chaz. Chase, Ruth Eddings, Eddie Foy, Jr., Larry McGrath, Anita Garvin, Ann Greenway, Dorothy Gulliver, Billy Snyder, and Red Stanley of the Frolics. WE HEARD from Moe Morion, you know, he of the Frolics, on Washington Blvd., thai Dave Butler, Tom Mix, Howard Sheehen, Roland Brown, Frank Fay, and Barbara Stanwyck, each with a number of guests, had booked passage during the week. OUR GENIAL HOST— Jack Lewis stated that on the Saturday before, at least 200 people had been unable to find accommodations. IF YOU WANT— "real entertainment" and a night away from the hot city, take a "TRIP TO NOWHERE" on this wonder boat. • • • "HOLD 'EM JAIL" is the funniest comedy seen in years and certainly establishes Wheeler and Woolsey in the hearts of theatre patrons who like amusements in the lighter Vein. NORMAN TAUROC—was the director and perhaps this is the reason for the success of this one as this boy knows his comedy angles. BUT — the story by Tim Whelan and Lew Liplon and the screen play by S. J. Perleman, Walter De Leon and Eddie Welch were strong factors. The story is of two salesmen who are thrown in jail and of the amusing complications which follow; but a comedy story is almost impossible to tell, suffice it to say that the situations called the best from the cast and they kept "the pot boiling" at lop heal. EDNA MAY OLIVER was a strong support to the boys and her unctuous comedy was priceless. WARREN HYMER is always good, but in this one he excelled his usual self in the character of "A Dumb Convict." EDCAR KENNEDY as "The Warden" was perfect and Paul Hurst, Roscoe Ales and Robert Armstrong were great aids in the funmaking. BETTY CRABLE is the new feminine support for Wheeler and Woolsey and this girl is dainty, full of pep and "An Attraction." DAVID O. SELZNICK is starting right by giving us "amusement fare" of this character and RKO-Radio Pictures are heading the right way to box office success with their recent pictures. JESTERS' LAWN PARTY was an enormous success and this lively little club of the younger set interested in pictures and the theatre are certainly adept at entertaining. MANY STARS were present and among those we noticed Claire Windsor, Lillian Rich, Jameson Thomas, Malty Kemp, Arthur Johnson, Sam Coslow, Georgie Harris, Charles Ober, Sandra Arleaux, Marcella Morin, Dorothy Dix, Leonard Smith, "Connie" of the Filmograph, Buddy Daggett and Billie Moritz. HOW THOSE GIRLS— must have worked to get up such cute decorations, not to mention the refreshments as well as the miniature dance floor on the lawn, which was crowded all the evening. THE BEST — dance music we have ever heard, or was it the Moon, but we stayed overtime with the rest of the crowd. A FEW — more parties of this sort and The Jesters will surely "be on the map," as one of the liveliest clubs in the movie colony. • • • WENT OVER— to the Florence Theatre, to see the opening of "High Diddle Diddh," a miniature musical comedy revue. IT WAS GOOD— and the Lewis Lane Producing Company should reap great benefit, if they continue to Produce revues of this high calibre. TUNEFUL MUSIC— by Jack McCuire, Lovely costumes by ADREANA and a scenic production which would do credit to a "full size" musical show. THE CAST — Was excellent and Jack Egan, Ellis Childs, Don fames, Myrlis Crinley, Ria Van, Charles McAvoy, Penny Alden, Jo Ann and Jean Carroll, Dixie Wayne, Honey Dey and Frances Starr, not counting a chorus of beauties with credit to Skeets Wagner, Earl Wallace and Mildred Morgan for the snappy numbers. • • • JULES C RON J ACER— seems to be the busiest camera man in Hollywood as this Veteran photographer is now working on "The Missing Witness" at International Studios, for Ralph Like. WE HAVE VIEWED— several excellent pictures recently in which Jules contributed his art — THE RECENT DECISION— of a prominent company to retain the camera man's name on the credit sheet was brought about by men of such high cabilre. • • • CHARLES FRENCH— an "old timer" of the stage and screen, told us recently that "better treatment" is accorded the players at the studios, than formerly. WHA T HE MEANT— was that a couple of years ago it was extremely difficult to even see a casting director, but that courtesy and kindness now reigns, and especially to experienced players. • • • HARRY MYERS— you all know him, is getting ready to produce a series of two reelers, centering around the life of the average married couples. OF COURSE— Rosemary Theby is to work with Harry and he has already secured ten well known players, and an experienced camera man, who are ready to start at any time. • • • BEN LYON — made a clever remark a few days ago when a harrassed and immature director, came to a full stop in the production, over the story. Ben's remark to the other players assembled was "Let's sit down and write the story over." It can't be much worse than the thing they have given us. • • • TOM RICKETTS—has a record that no one else can attain, in that after producing musical shows in London and New York, he also directed the first picture in Hollywood, on November 11, 1911. QUITE A RECORD— but Tom is still "carrying on" and as we watched his clever work in an Invincible Picture, at Universal studios, "Modern Madness," a few days ago, we realized what experience means. WE ARE CLAD— to know thai Sol Wurtzel is "in the saddle" once more at the Fox Studios. WE HEARD— recently that some "Unknown" had Written a letter to Sol, calling his attention to a player in a remote theatre. MOST EXECUTIVES— would have consigned the missle to the waste paper basket but Mr. Wurtzel investigated the matter and found out that the player in question Was a "find." • • • LE ROI DES RESQUILLEURS, "KING OF THE GATE CRASHERS," AT THE FILM ARTE THEATRE A French picture with plenty of action, snappy song numbers running through the show and a view of all the sports, enjoyed by the usual crowds of Paris. George Milton, who plays the leading character, "The Gate Crasher," reminds you somewhat of the famous Chevalier by the way he "puis over" his songs. Many amusing complications are entered into by this man, who tries to do the same as our "One Eyed Connolly." The rest of the company enter into the spirit of the play. There isn't much of a plot but we find thai the "Gate Crasher," eventually wins a beautiful girl, by his nerve. Pierre Colombier directed, and kept the rapid tempo of the comedy at a high speed. The other members of the cast are Pierre Nay, Kerny, Helene Perdiere, and Helen Robert. Each of them are famous on the screens of France. Paris crowds, interesting street scenes of Paris and the usual crowds that frequent the sporting events of the French metropolis are all shown in this picture and the six day bicycle races, at the Hippodrome, are particularly stirring. Those who understand the French language would perhaps catch a little more of the humorous dialogue but the story is so well told in action that it is Very enjoyable. You know well that the French Producers have always sent us something of interest and this one is no exception to the rule. We advise you to see this picture as you will learn how the gate crasher gets along at the French Capital, and the music is typical of Paris at its liveliest moments. • • • "ONE WAY PASSAGE" A WARNERFIRST NATIONAL PICTURE At least they didn't give this one a "happy ending" in the accepted form and that Was also a welcome relief but it is interesting, splendidly directed and an excellent cast of experienced players. Warner Brothers have teamed William Powell and Kay Francis and they make a splendid team. Both being attractive photographically and are natural in their work. This story of an escaped man, comdemned to the gallows but having escaped to foreign parts and finally being captured by a San Francisco policeman. A lady, traveling for her health, in the care of her physician, and the meeting place is a drinking place in Hongkong. They meet again on the boat while the policeman is taking the escaped man back. Both fall madly in love with each other but on the last day of the Voyage a gabby steward discloses to the girl that the man she loves is a murderer. She waves good-bye to him as he leaves the boat which is much better than his getting a "a last minute reprieve" as the usual picture does. Dramatic, just enough comedy by the other players to relieve the drabness and "the finish" which is a relief. Of the cast, Arline McMahon is exceedingly clever as "a confidence woman," masquerading as a Countess and an aide to the convict while Warren Hymer, who can always be depended upon to furnish real comedy, is "the dectective." James McHugh was another member of the crooked band who are belting the convict. His drunken scenes kept the audience in roars of laughter while Frederick Burton added dignity in the role of "the doctor." Tay Garnett directed masterfully as the story, written by Wilson Mizner, could easily have been spoiled by one not having his great experience. Warner Brothers are to be congratulated upon this one which brought Powell and Kay Francis to the screen in a Vehicle entirely suited to their abilities and the theatre public will relish something new in an ending. "THE LAST MILE," A TIFFANY PRODUCTION Here is a picture that is a credit to the Producers, the director and the cast; and what's more, we think the usual theatre goer will agree with us. AND if all the Producers turn directors, as Sam Bischoff did in this one, we could use more producer-directors. Most of you remember the stage play, which ran in a local theatre and was a vivid story of a young man executed in the electric chair, and afterwards found that he was innocent. BUT the characterizations of the condemned men in the Death House is what is shown and Howard Phillips, as "The Condemned Boy," is just as fine in the screen Version as he was in the original stage play. Preston Foster, as "Mears," comes near carrying off the acting honors with George E. Stone running him a close second as "Berg." Noel Madison, as "The Italian," Alan Roscoe in "Cell No. 7," Paul Fix as "The Crazy Man,' Daniel Haynes as "Jackson, the colored convict," and formerly of "Green Pastures," does a sympathetic piece of work, Al Hill, Frank Sheridan, Alec B. Francis, Edward Von Sloan, Ralph Theodore, Jack Kennedy, Albert J. Smith, William Scott, Kenneth McDonald, and Walter Walker, added their talents to the splendid cast. Louise Crater was a particularly pitiable figure as "The Condemned Boy's Mother." The difficulty of carrying this screen play with so little action was cleverly carried over by Sam Bischoff. The camera work of Arthur Edeson is superb, and the screen play of Selon I. Miller was natural especially the dialogue. The prison Break was thrilling and the crime, carried out in retrospect, made it particularly interesting. E. W. Hammons, the producer for World Wide Pictures is to be congratulated on "The Last Mile," and We feel sure that he will reap a financial reward. Filmarte Theatre 1228 Vine Street Hollywood Now Playing French Comedy Success "King of Gate Crashers" ("Le Roides Resquilleurs") A riot of Fun with Music, Songs and Sports — Also — "NURI" The Elephant who tells you a romantic story of India See Mr. Forde's Review