Hollywood Filmograph (Jan-Oct 1934)

HOLLYWOOD FILMOCRAPH HOT SHOTS By HAROLD 0. WEIGHT ~~4 Viva Conway! I have just seen "Viva Villa" for the fourth or fifth time. After each showing I leave the theater enthusiastically convinced that this Jack Conway film is the greatest American picture yet made. Even after sober reflection, I guarantee that "Viva Villa" is the finest American film since the talkies. But it is more than a great motion picture. It is Hollywood's long overdue Declaration of Independence from stage technique. It is a promise that we need not much longer suffer those loud mouthed illegitimate movies which result from the unhappy mating of stage directors with motion picture cameras. In it we find a direct, triumphant return to the technique of the silent film. Sound and dialogue and music are aids and not shackles to the movement and pictorial beauty of real motion picture sequences. It demonstrates that sub-titles are at times more effective than spoken titles. Viva Conway ! tistically, for that amazing sequence in which the co-operative workers cut a channel for irrigation waters. This sequence is very close to being a new experiment in motion picture rhythm. King Vidor has attempted to bring rhythm within the frame of the picture— in the action of the characters — as contrasted to the Russian system of rhythm through cutting and contrasting frames. I would not say that Mr. Vidor had been entirely successful in his experiment, but he has been so successful that "Our Daily Bread" is one of the best and most unusual films of the year. Russian Montage in Hollywood The third picture, Walter Lang's "Whom the Gods Destroy", is not as consistently fine as the other two, but at least three sequences in the film represent the finest adaption of Russian montage to American films that I have yet seen. The ship-wreck sequence alone would make this Columbia picture an outstanding one. The effect of panic on ship board has never before been so faithfully caught. And again and again throughout the film, flashes of cinematic genius and intelligence delight and surprise the watcher. A New Rhythm Two other recent Hollywood films have given me hope that the spirit of experiment and originality are again awake in the movie city. First is King Vidor's "Our Daily Bread," which is an important film any way you look at it. It is important because it dares tackle present day social conditions and suggests a way out for suffering millions of unemployed. It is more important, ar Thunder from Hollywood So once again there comes thunder from Hollywood. The thunder of creative geniuses who see more than mere machine production in the making of motion pictures, and who will not be held down to formula. These three great films cut through the turmoil and confusion murk of Hollywood, bringing hope again to those who believe in the future greatness of the sound film. "THE ENCHANTED COTTAGE" Amazing lighting effects which set the moods of the play, combined with unusual settings help to make "The Enchanted Cottage" another hit in the Pasadena Community Playhouse's summer series of revivals. Sir Arthur Pinero's romantic yet somber story of the power of love over outward circumstances is a drama which carries its years lightly. Of course, the Playhouse has produced it in spectacular style. Benjamin Zemach, remembered for his "Salome", was responsible for the direction of "The Enchanted Cottage," and has given us a fascinating Dance of the Shades and Witches in the second act. Robert Lee designed the sets, and Gilmor Brown supervised. Perhaps the outstanding performance was that of Eloise Sterling Hirt as the housekeeper, a strange silent witchwoman. The role of the crippled English soldier is done extremely well by Richard Richie. Judith Evelyn is good as his wife, and Eric Snowden is very real as the soldier's blind friend. Ethel Phillips, Cyril Thornton, and Patricia Coates add a lighter touch with three comedy performances. Neal Fitzgerald took a tough assignment in replacing Ralph Froud as Rupert Smallwood. THE NUDIST Here is a funny idea for a short talkie, it might even be worked into a real play with an all-star cast. Peter Du Rey proved a very capable actor when the Randall Hughes farce comedy played at the Domino's Theater Monday night and should be given some good screen parts. Others who clicked were George Overman Jr., who played a difficult part of a "Sissy." Martha Brock and Celia Ryland are worth watching for future references. Rose Marie Garrett was very funny, Libby Taylor (colored), almost stole the show. Beth Hartman looks very good, give a hand too, to Bud Flanagan and Bud Geary, and don't forget Frances Stone and James Dundee who helped matters along. It is a great take-off on the "Nudist" idea and craze which was staged and directed by Dolph M. Zimmer. JACKIE MORROW Here is a youngster who has thrown his hat in the ring for the part of the boy, in "David Copperfield" at the MG-M studios, and if he is fortunate enough to land the part, he will be sitting on top of the world. Jackie lest you already know, is the radio and stage star who after appearing in some pictures in the East decided to come to the home of filmdom and make his mark as he has back in Pittsburg via the ether and speaking stage. ANN HOWARD GOES TO FOX Ann Howard, a charming English child who has become a screen actress, has just completed a role in "Great Expectations" at Universal and now moves over to Fox to portray Gloria Swanson as a child in "Music in the Air." APPLIES EASILY-PHOTOGRAPHS BEAUTIFULLY THE STOOGES Folks here we are again. William Wyler threw a party the other night and his ex-girl friend, Sheila Manners came in with her new romance Ernst Lubitsch. Both apparently very interested in one another. Barry Trivers and Florine McKinney denying all rumors of romancing, but they are still seen constantly in one another's company. We hear that those clever Herberts opened at the Hayworth Club the other night. Billy Wellman is opening a very swank night club on the Sixteenth. Orville Knapp, Evelyn's brother, is leaving town soon to open at one of the leading hotels in Seattle. What Universal producer almost took a punch at a non-professional over his gal at the charity barbecue last Sunday? June Knight gives awfully nasty glances when sweet young things look Paul Ames way. Otto Kruger is vacationing at Del Monte all by his lonesome. Heard that the Carl Brissons gave a dinner the other night and fed their guests so much good food, with so many courses that after dinner everyone meandered into the living room and sprawled on the floor too full to talk or move. The banquet given by Leo Morrison, welcoming Max Baer, the other evening at the Roosevelt was rightfully called a Knockout dinner. To the contrary of most functions of that sort they dispensed with the usual speeches and in it's place was a programme of witty entertainment. Eddie Cantor started the evening's festivities. Benny Rubin, Bert Wheeler and Maxie Rosenbloom made a very funny trio. The Stooges, Howard, Fine and Howard put on a most laughable mock fight. Many Hollywood celebs, had the pleasure of listening, for the first time, to one of America's foremost humorists, Joe Cunningham. Baby Le Roy won the hearts of the audience when he was introduced to the guest of honor. Tom Patricola entertained with a dance that ended with a bang. Arthur Jarrett sang the song he made famous "Stormy Weather". Grace and Chas. Herbert were at their best. The windup of the evening came when Leo Carrillo presented Max with a bust as a remembrance of the dinner to pass down to his children in years to come. As Max unveiled it, it revealed the face of Camera. Leo finished the programme with a smash line "My God I'm at the wrong party". Goodbve now. MAX FACTOR'S MAKE-UP STUDIO-HOLLYWOOD GRANT WITHERS PLAYS FINE ROLE IN BIG U SERIAL Grant Withers returns to the screen in a big U serial "Tailspin Tommy" directed by Louis Friedlander. with an all star cast. Freddy Fralick closed the deal for Grant Withers and is looking after his screen activities.