Hollywood Filmograph (Jun-Aug 1929)

HOLLYWOOD FILMO GRAPH 13 Pictures Re viewed Previewed Preview "College Life" Previewed at the Belmont Theatre on Vermont Street. Metro Goldwyn Mayer all talkie production. Directed by Sam Wood. Dialogue by Al Boasberg and James Fisher. Photography by Leonard Smith. Cast: Elliott Nugent, Robert Montgomery, Sally Starr, Polly Moran, Max Davidson, Phyllis Crane, Dorothv Den and Cliff Edwards. We are fain to declare that according to our appraisal, "College Life" is pre-eminently the best celluloid effusion of its type we have ever previewed. It makes "Wild Party" look like a stray piece of tissue paper in a cyclone and is commendably free from any vicious phase of scholastic life that exists only in the mind's eye of potboiling scenarists. The sequences are wholesome, snappy, clean cut and just chock full of rapidhre episodes and laughter-stirring persiflage. The wise cracks come so fast at times that the auditors are almost stifled with convulsive merriment. The songs and glee-club numbers are melodiously rendered, and are among the salient features of this excellent film. The plot lies on the surface, clustering around the college life of two pals that have almost come to the parting of the ways over a dashing, live wire brunette who plays hot and cold with almost every student she vamps. Eddie and Biff (two pals), get hep to her in the end when she swings her Candy Kid on them — Master Bruce — and they ditch their snarl — don their grid togs, and win a hot battle for U. S. C. against Stanford. The football game is a darb, most of the big plays being shown in detail. Elliott Nugent (Eddie), and Robert Montgomery (Biff), two newcomers to the screen, were "wows" as the two pals, both clearly evincing a decided flair for comedy. They are sure to go far in the talkies, and both have wonderful personalities. Sally Starr, as Babs. snapped into her first picture with a click that easily presages an early leap into stellar heights. She is a dead ringer for Clara Bow, and has all Clara possesses, plus a more winsome personality and a better modulated voice. Look to your laurels, Clara — look to your laurels!! Polly Moran was great as the college cook, nuts on the football stuff and Max Davidson was killing as a yiddihher clothier that carried a bunch of college I. O. U.'s. Sam Wood's directing was masterly; in fact it was almost a classic and Smith's photography was of the highest class. Don't miss this wonderful picture. It's a scream and should go over big in cities and sticks alike. ED O'MALLEY. Preview "Song of Spain" "In a Persian Market" "The Days of Ali Baba" "In a Chinese Temple" Previewed at the Marquis Theatre, Melrose Avenue. Produced by the Color Art Synchrotone Corp. Curtis F. Nagsl and Howard C. Brown, Producers. Made at Tiffany Stahl Studios. Los Angeles witnessed the first public demonstration of synchrotone color art pictures last Thursday evening at the Masquis Theatre, under the auspices of the producers, Messrs. Nagel and Brown. Among the auditors was Charley Chaplin, who was a keen and interested spectator and who, after the projection, enthusiastically declared the triple combination of motion, color and sound was a unique and wonderful achievement in motion pictures. The four films screened were all two reelers, but the Color Art Synchrotone Corporation has made arrangements with F. W. Murnau to make a big feature picture co-directing with Robert Flaherty. The "Song of Spain," a sort of gypsy-camp effusion, displayed the new art at its best. The coloring was g exquisite and the muisc of a strolling band of players sitting cross-legged on a lawn synchronized perfectly with every detail of motion. Even the words of a gypsy soprano rang out distinctly and the voice of those that had talking parts articulated clearly. The directing and photography were of a piece with the excellent ensemble of this delightful little gem. "In a Persian Market" fairly sparkled with all the iridescent tints of the famous Iran rugs and was truly a banquet for the eye. "In a Chinese Temple," which boasted an intriguing, ironical plot, the auditor was regaled with the wondrous floral beauties of the celestial kingdom. "The Days of Ali Baba" was the most pretentious of the four films, embodying a romance rippling with thrilling adventures. The modulating of colors of the desert twilight, and the ineffable grandeur of a Sahara sunset were sesnsuouh charms long to be remembered. Yet withal, the tones of voice and music synchronized perfectly. Truly indeed — The Color Art Synchrotone is the last word in moving pictures and is sure to create a sensation in cinema realms.— ED O'MALLEY. Ill PLAN TALKER COMBINE Plans are being made in New York for a world-wide talker equipment combine to ovoid patent litigations. Conferences are being held in which it is reported there are representatives of Western Electric, RCA Photophone of the American companies, and the leading German and English companies. An exchange of patent rights is understood to be the basis on which the combine will be formed. Preview "Why Bring That Up?" Previewed at the West Coast's West Lake Theat.e Featuring Moran and Mack, the Two Black Crows. Paramount All-Talkie Production. Directed by George Abbott. Photography by J. Roy Hunt. Dialogue by George Abbott. Music directed by Bakaleinikoff. Cast — Moran and Mack, Evelyn Brent and Harry Green. Moran and Mack, the famous Two Black Crows, scored a signal triumph in "Why Bring That Up?" when they fluttered on the silver sheet for the first time at the West Coast's West Lake Theatre last Monday night before a packed and highly enthusiastic house. This duo of ethiopian monarchs dovetail nicely into a wellbuilt vehicle that not only furnishes them with ample scope for their famous, drawl banter, but also gives them opportunity to pull off some straight stuff. The finale, where Moran at the hospital— brings back the injured Mack to consciousness by tearfully sobbing a line or two of their popular "the early bird," is one of the most heartgripping scenes ever depicted in motion pictures. The plot brings the two comedians into an early stage partnership. Their manager, Irving (Harry Green), soon has them in easy land, with five-figure-bank deposits. Just as they are about to build their own theatre, Moran falls for a scheming chorine, Bett Ray (Evelyn Brent). The gudgeon hangs plenty ot "ice" on his lady love, to his ruination. Then when Mack intervenes and spikes Betty's scheme, in steps her man, who crowns him with a heavy vase. This brings Moran to his better self and the two partners are soon reconciled at the hospital. The picture is replete with the funsters' patter which keeps the audience in explosive bursts of laughter. Harry Green proves an inexhaustible fountain of yiddish humor, his unctuous work, however, never lapsing into .caricature. He is movieland's best Jewish comedian. Evelyn Brent's Betty Ray is a consummate bit of "gold-digging" guile — a gem in its way and about stamps her the "big shot" in the "talkies." Just a bunch of footage clipped out of the ensemble rehearsals and Director Abbott has about swung one of the best films of the present season. Photography excellent in every detail. And oh — what a knockout "Why Bring That Up?" should prove at the box office. — Ed O'Malley. 111 After a brief rest from heavy roles, Noah Beery has returned to villainy in "Golden Dawn," the Hammerstein operetta which Warners are making as an all-color feature with Walter Woolf in the leading role. Beery is a dyed in the wool heavy and comes to a satisfactory and well deserved end. In "Under a Texas Moon," likewise for Warners, he played a sympathetic comedy part. Review "The Jade God" At the Vine Street Theatre. Presented by Franklin Pangborn. "The Jade God," the Franklin Pangborn stage offering which opened at the Vine Street Theatre Sunday night, belongs to that group of theatrical productions which are branded — for better or for w o r s e — as mystery dramas. In this instance, it happens to be slightly for the better. Franklin Pangborn has been securing some excellent players to take part in his productions. In "The Jade God," we find such capable artists as Theodor von Eltz and Margaret Wycherly, to say nothing of the delightful-to-look-upon Helen Ferguson. But it is Theodor von Eltz who acquits himself most admirably. As John Derrick, his interpretation is indeed more than commendable. Both Miss Wycherly and Miss Ferguson do excellent work. Theodore Lorch, as Martin, the servant, proves himself to be surprisingly good when it comes to dialect. George Riggs handles a difficult Arabian role with ease, while Rose Tapley's eccentric comedy interpretation is vivid. Walter Downing's Inspector Burke is a typical official, while Cyr Forrest as Peters and Mildred Golden as Jean Millicent complete the cast. "The Jade God" is the sort of play which is suitable for these summer evenings. It has thrills enough to keep its audience alert, but it requires no enervating mental exertion. Pangborn's selection is a suitable one. HARRY BURNS. 1 1 1 Production of a two-reel comedy in sound, entitled "Lucky Boys," has been started at Universal under the direction of Dick Smith. Earle Wallace, American Ballet Master, iv/io has evolved several neiv unusual dance creations soon to be filmed.