Hollywood Spectator (1937-39)

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Page Twelve March 27, 1937 were not in it. Let me hasten to say that this class B histronically is impregnable; and the mounting quite in keeping with the reputation M.G.M. has built around its technical departments. Expert editing by John B. Rogers and a smoothly progressive and forcefully thematic story by Michael Fessier complete an entirely efficient job. Song of the City is not a great picture or even an outstanding one. But see it if you get the chance. It is thoroughly enjoyable. Mushy But Masterful GIRL LOVES BOY, Grand National release of B. F. Zeidman production. Harold Lewis production manager; directed by Duncan Mansfield; original story by Karl Brown and Hinton Smith; screen play by Duncan Mansfield and Carroll Graham; photographed by Edward Snyder; art direction by Edward Jewell; sound recorded by Ferol Redd; Abe Meyer, musical supervisor; special effects by Jack Corgrove; assistant director, Gaston Glass. Cast: Eric Linden, Cecilia Parker, Roger Imhof, Dorothy Peterson, Pedro de Cordoba, Bernadene Hayes, Otto Hoffman, Patsy O'Connor, Rollo Lloyd, Buster Phelps, Spencer Charters, Sherwood Bailey, Edwin Mordant, Jameson Thomas and John T. Murray. Running time, 75 minutes. HEN Duncan Mansfield and Carroll Graham translated the original story by Karl Brown and Hinton Smith, they bore down too heavily on the heartstrings, giving us snatches of hokum in place of a uniform emotional appeal. Other than this misfortune, Girl Loves Boy is almost without blemish. As a director, Duncan Mansfield is more than capable, displaying a comprehension far above his ability to discriminate in story values. I hope he leaves the writing to the scripters and concentrates on the field he knows best. Before we discuss the other elements of Girl Loves Boy, I feel we should understand the principle that so completely governs the audience reaction to emotion. In brief, an audience can absorb only a specific amount of emotional strain. Beyond that limit, emotional emphasis goes stale, unless it is tempered by an alternate tempo. But best of all approaches is the continued emotional intensity built so smoothly that the final emotional peak is merely a consummation. It is the over-emphasis of pathos or any other impression that destroys the effect it aims at. Too much sugar or too much salt can spoil any food. And the emotions become hungry and must be fed just as much as any appetite. Coming back to Girl Loves Boy, you will notice when you see it that the acting is distinctly uniform in its excellence. No more important factor exists in the force of audience appeal. From Eric Linden to John T. Murray, the illusion is expertly maintained. So although Girl Loves Boy cannot be called first rate, it will give you seventy-five minutes of interest. Kibbee Gets His Man JIM HANVEY — DETECTIVE, Republic. Associate producer, Joseph Krumgold; director, Phil Rosen; story, Octavus Roy Cohen; screen play, Joseph Krumgold and Olive Cooper; adaptation, Eric Taylor and Cortland Fitzsimmons; photographer, Jack Marta; musical supervision, Harry Grey; film editor, William Morgan. Cast: Guy Kibbee, Tom Brown, Lucie Kaye, Catharine Doucet, Edward S. Brophy, Edward Gargan, Helen Jerome Eddy, Theodor Von Eltz, Kenneth Thomson, Howard Hickman, Oscar Apfel, Wade Boteler, Robert Emmett Keane, Robert E. Homans, Harry Tyler, Frank Darien, Charles Williams. CONSIDERING the unfortunate fact that it took five people to write this story, Jim Hanvey — Detective is better than I expected it to be, for despite its thin logic and haphazard progression this Republic offering has many minutes of pungent entertainment. And although director Phil Rosen passed up some of his best bets, he has managed to inject an intermittent flavor which carries the weight of tjie weaknesses. Another strengthening factor is the adaptation of Eric Taylor and Courtland Fitzsimmons. Guy Kibbee is particularly well cast as the keen hayseed whose kindly philosophy is no hinderance to his ruthless ability to ferret crime. As usual, Tom Brown gives us a sincere portrait of a nice boy, and Lucie Kaye is sweet enough for any nice boy, but it is Catharine Doucet who captivated the preview audience. Her deft exaggeration of type won for her continuous response. Edward S. Brophy and Edward Gargan bring up an interesting question. Their work is always so uniformly good and always so uniformly the same that I cannot help but wonder why some producer does not take a chance and allow them to do something else, just to find out how good they really are. The same question goes for Helen Jerome Eddy. She is always convincing as the unhappy drudge. She surely would be just as good as a happy lady. I seem full of questions. Theodor Von Eltz brings up another one. Why isn’t he given his former prominence? Not as young as his first success, Von Eltz is finely proportioned, handsome, well possessed and a captivating actor. I always look forward to his bits and I never have been disappointed. And in keeping with the old-guard tradition, the supporting cast of Kenneth Thompson, Howard Hickman, Oscar Apfel, Wade Boteler and the rest of these past masters give Jim Hanvey — Detective its otherwise not too strong illusion of reality. Do not look for this picture; but there is no need to avoid it. Has Its Moments CALIFORNIA STRAIGHT AHEAD, Universal. Directed by Arthur Lubin; produced by Trem Carr; associate producer, Paul Malvern; original story by Herman Boxer; screen play by Scott Darling; photographed by Harry Neumann, A.S.C.; art direction, E. R. Hickson; sound supervisor, Homer G. Tasker; musical director, Charles Previne; film editors, Charles Craft and Erma Horseley. Cast: John Wayne, Louise Latimer, Robert McWade, Theodore von Eltz, Tully Marshall, Emerson Treacy, Harry Allen, Leroy Mason, Grace Goodall, Olaf Hytton, Monty Vandergrift. OCCASIONALLY we see a picture which brings us j brief flashes of genuine entertainment. California Straight Ahead is an excellent example. It is too bad the ingredients of audience-appeal are not more carefully studied and more comprehensively applied. For California Straight Ahead, an original by Herman Boxer, has all the requirements of distinctive entertainment. And had scripter Scott Darling made his dialogue more convincing and director Arthur Lubin caught up a few more of the looser edges, this not-too-good B would take its place with the best. John Wayne gives a competent portrayal of the twofisted trucker who gets what he goes after. It is interest