Hollywood Filmograph (Jan-Dec 1932)

HOLLYWOOD FILMOGRAPH 11 Pictures Reviewed and Previewed "Free, White and 21" Is a Sports Feature Worthy of Attention of Exhibitors Weill Sports subjects seem to be all the rage this season, and from what we gathered, by our own observation and the enthusiastic comments of the preview audience in the lobby after the showing, this latest from the Radio Studios should be a winner. David O. Selznick has given this one a lavish production, and the screen play by Corey Ford and Francis Coclcerell take in all the sports worth mentioning and they did their task successfully. The story concerns two famous athletes from one of the major colleges of the country. One of them is always on the level, while the other one is carried away by one of those sports managers who promise everything as long as his protege isn't too particular as to the means of attaining the end. Of course, there is a girl, and in this instance she works in a newspaper office in which the good little boy is sports editor. Like most women she prefers the bad little boy and eventually he sees the error of his way and goes straight. Now this is the meat of the story but in the telling they have crowded in everything in the way of sports that you or I may be interested in. The final wrestling match in which the bad little boy decides that he is going to win, regardless of what the manager thinks he has arranged, brought the audience literally to their feet. The clever direction of Dudley Murphy is all that one could wish. He led his players skilfully through their stunts. A little pruning here and there is advisable. As for the cast, they picked two good boys in Joel McCrea as "The bad little boy," and William Gargan as "The good little boy." Walter Catlett as "Shifty," the sports manager, carried off the comedy honors and caused plenty of laughter. Skeets Gallagher, as the usual drunken photographer and Robert Benchley, as the "Inebriated radio announcer," got a few snickers. Eric Wilton, while having a little to do as a college professor, did that little well. The camera work of J. Roy Hunt deserves special mention for its worthiness, and the sound recording of P. T. Faulkner was clear and distinct. All in all, this RKO-Radio production will rank high among the sports pictures of the year, and should be popular with any kind of an audience. "Congo," M-G-M Picture, Is too Dull to Interest Theatregoers Today This story, by Chester De Vonde and Kilbourne Gordon, was interesting as a stage play, but we are afraid that the average screen audience will find the drab atmosphere, which is a keynote throughout, poor entertainment although it was excellently adapted by Leon Gordon. A body of renegade men is presided over by a brute who has lost the use of his legs through another man's deviltry. His revenge upon the supposed daughter of the man who caused his trouble is horrible, and there is not one spark of brightness anywhere. Muck, rain, crocodiles and other nauseous creatures, and the dragging of a lovely girl through all this mess adds to the horrors. William Cowen directed skillfully, and we feel sorry for both him and his fine cast that they had such an unpleasant subject. Walter Huston played "Dead Legs Flint" quite cleverly and Virginia Bruce surprised us with her fine work in the character of "Ann." She was shown throughout the picture, with the exception of a flash at the beginning and the end, as a miserable, bedraggled creature. Lupe Velez was well cast as a companion of all the men. She seemed to understand their peculiarities and Conrad Nagel was fine as "Kingsland," the man who eventually rescued the girl. Four great character studies were given by C. Henry Gordon, Mitchell Lewis, Forrester Harvey and Curtis Nero. The camera work of Harold Rosson was quite noteworthy and the settings and atmosphere were well taken care of by Cedric Gibbons. We must confess that we prefer our entertainment with a little more cheerfulness and believe that the average picture audience will agree with us. "Wildgirl" (Fox) Sure Winner; Raoul Walsh Direction Superb Not as wild as the title infers, but this is a tale of the days that Bret Harte wrote about. It was made into a play by Paul Armstrong and Doris Anderson adapted it into a first class screen vehicle. One particular interesting thing about it is that we are taken into the beautiful Sequoia National Park and Norbert Brodine showed us some of the loveliest spots with his camera. The heroine is a lovely girl, "Salomy Jane," who is desired by two men, but a stranger wanders in and secures the much fought over prize. Just the average life in a small settlement, where the big timber abounds and some interesting characters that we read about in the Bret Harte book came to life. Joan Bennett was lovely and appealing as the heroine, and Charlie Farrell made a romantic figure as "The stranger" who upsets the usual placid life of the camp. Ralph Bellamy was the exact counterpart of the "gambler '; John Marbury and Irving Pichel put sufficient villainy into "Rufe Waters." Eugene Palette created many laughs as "Yuba Bill," but Gene can always be depended upon to keep everyone in good humor. Sarah Padden and Willard Robertson created clever characterizations as the parents of Salome Jane. The rest of the large cast were thoroughly adequate and consisted of Minna Gombell, Ferdinand Munier, Louise Beavers, Morgan Wallace, Murdock McQuarrie, Alphonse Ethier, Marilyn Harris, Carmencita Johnson and Delmar Watson. As for the direction, Fox Films gave it to the master hand in out door pictures — Raoul Walsh, who turned out a picture worthy of top spot in any theatre. This one should greatly please those who love romance and lovely outdoors for their screen fare — and that includes most everyone. — Arthur Forde ARMAND SCHAEFER is slated to direct Tom Mix ere long at the Big U. This reminds us that Armand at one time assisted Richard Thorpe and worked his way up to handle the megaphone. Today Melville Buddy Shyer, ace assistant director for InvincibleChesterfield Productions, which Richard Thorpe directs, is serving the same man who helped give Director Schaefer a start up the grade, and we are wondering how long it will take before we read "MELVILLE BUDDY SHYER, Director" on one of the studio offices. ROLAND HAYES PROVES GREAT ARTIST AT CONCERT The Roland Hayes concert was transferred from the Hollywood Bowl to the Hollywood High School Auditorium because of threatening rain, last Friday. It tested the capacity of the school hall. The negro singer is perhaps one of the most interesting figures in the musical world. Aside from the greatness of his voice, which is acknowledged as being of amazing quality and indescribable beauty, there is a spirituality about him that hints of far deeper things than mere vocal technic and song rendition. When he sings in German, Italian or French, his diction is perfect but he is just another great singer of songs. But when he essays his negro spirituals there is no singer in any language or clime, nor of any class of music who can approximate him. His concert manners are irreproachable. He is extremely nervous, seemingly conscious of the fact that his audience is largely of another and not altogether friendly race. He waits nervously for perfect silence, closes his eyes and appears to be making an effort for intense concentration ; he then clinches his right fist, imperceptibly signals to his accompanist with his left hand which, when the music starts, he forms into a grasping claw with which he tensely clutces during his singing. He never opens his eyes during a song. But the feeling and soul which he puts into a spiritual is more than earthly, it is metaphysical ; the cry of a race to be lifted from darkness into Grace. Perhaps no member of the negro race has reached the heights in any other walk of life that this distinguished tenor has attained and we are sure that no one in that great audience thought of the difference in color as they listened enthralled to one of the world's greatest songsters. • • • • • EDGAR KENNEDY CLICKS IN RADIO LOU BROCK COMEDY It seems as if we are fated to see most of the previews of Lou Brock's funny series, but we get more laughs out of this collection of funmakers than any other short subjects. They always seem to have something happen to them that could be a part of our every day life. "Fishfeathers" is the name of their latest and it has as much sense as the other one that the famous four brothers did a short time back. It concerns a little family, who had taken up fighting as their hobby and the amusing things that they did. It is a barrel of fun. A new gag is something rare, but they had one here that we had never seen before. The audienc rocked in their seats at the antics of the principals. Edgar Kennedy, who heads this company of funmakers, in his clumsiness is snared by the outboard motor, and losing his balance, is thrown into the water. A great chase ensues that keeps you in stitches. Florence Lake, as the wife with the incessant chatter and vibrant voice, is a great aid to Edgar. Dot Farley, as the mother-in-law is always funny. With the aid of Billy Eugene the family is complete. Maude Truax and Tom Kennedy were added in this little story and helped greatly. You all know Harry Sweet as a great comedian, but he is just as valuable as a director; he directed this one. Lou Brock has a good series in these stories of family jars, and has assembled a little company that helps it along famously. Theatres can't go far wrong with having these short subjects on their programs, as so far they have been uniformly good. Just watch the way the audiences get into their laughing spells whenever shown. • * • • • "MONTE CARLO MADNESS" UFA's "Monte Carlo Madness" is not even mediocre screen entertainment due to poor recording, uninteresting dialogue, and bad continuity. And for an European production the photography was equally dissapointing. The story deals with Captain Ricci, (Charles Redge) who deliberately disobeys the Queen, whom he has never seen, by heading for Monte Carlo. While there he gambles away the money for the crew's pay and becomes so incensed that he threatens to bombard the town unless reimbursed. In the meantime he has fallen in love with the Queen (Sari Maritza) who arrived incognito. She reveals her identity by placing him under arrest. He escapes and boards a liner for Honolulu where she follows him. Tis thus that the picture ends. Sari Maritza, who plays the part of Her Majesty, proves a charming and capable actress. Charles Redge as the Captain does well with his part, but due to poor recording and indistinct diction he is very difficult to understand. Unnecessary scenery and music tend to detract rather than add to the picture. Erich Pommer directed. —EVELYN CLATT "LIEBE 1ST LIEBE" (Love h Love) This week the Filmarte Theatre has another one of those gorgeous productions by Eric Pommer, the man who gave us "The Blue Angel," "Tempest" and "Congress Dances." Some more of that catchy, lilting music, a great cast of famous European players, some of whom we have seen and enjoyed before, and settings that would baffle the imagination. Camera work and angles by Carl Rittau and Otto Baecker that have never been seen in any other picture from European studios shown thus far. Just a trife story by Robert Gilbert, of a telegraph operator who plays the lottery and wins, gets ambitious — as well as some fine clothes — and attends the races where he meets a lovely girl, the daughter of a wealthy man, and falls madly in love with her. He can think of nothing else and when her father sends w.res to a brokerage office in America to buy certain stocks the operator forgets to send the message. The stocks decline but the wealthy man does not lose his cash. He is so pleased with the mistake the operator made that he thinks he is a good man for his daughter's hand. And so we finish. But what's a little story when you have such a gorgeous production as Erick Pommer made in "Liebe ist Liebe," and the delightful Kaethe von Nagy in the leading feminine role. What clothes this girl wears! The ladies will gain a knowledge of the latest from Europe at least. As for Hans Albers, he can always be depended upon; and as the "romantic fortune hunter" he is certainly tailored for the part. Julius Falkenstein, Frieda Weber and Hans Brauswetter are a few of the famous European actors in the cast who distinguish themselves. Beautifully directed by Paul Martin, tuneful music by Werner Hyman and beautifully staged as the other great ones from UFA. Don't miss this delightful entertainment, by any means; but especially those of you who are interested in the latest technique of European studios. —ARTHUR FORDE. COLORED MUSICIANS are pulling a gag on stars in film circles. They send a spokesman to the door of a star's home and he announces that they have come to serenade on their string instruments. They go right at it, and of course, it is up to the star to give the entertainers a proper tip.