Hollywood Spectator (1937-39)

Page Fourteen March 27, 1937 cere and satisfactory piece of direction. Surely the several well-directed pictures to King’s credit make him worthy of better material than this. Herbert is memorably funny in each of his scenes and has given no finer performance. A newcomer to American films, Mary Maguire, reveals a pleasant personality and a fair amount of talent, but does not seem to have the requisites for major stardom. Tom Brown easily wins secondary honors with his excellent portrayal, and Teddy Hart’s few brief appearances are mildly amusing. You will not regret seeing That Mans Here Again if you are a Hugh Herbert admirer. And who isn’t? Formula Crook-Drama WE HAVE OUR MOMENTS, Universal. Directed by Alfred L. Werlter; associate producer, Edmund Grainger; original story by Charles F. Belden and Frederick Stephani; screen play, Bruce Manning and Charles Grayson; photographer, Milton Krasner; art direction, Jack Otterson; associate, Loren Patrick; film editor, Frank Gross; sound, William R. Fox and Edward Wetiel; special effects, John P. Fulton; musical drector, Charles Previn. Cast: Sally Eilers, James Dunn, Mischa Auer, Thurston Hall, David Niven, Warren Hymer, Marjorie Gateson, Grady Sutton, Joyce Compton. ERE is a story basically so antiquated one almost expects to hear it creak. Meeting its characters is similar to meeting old friends, and when not many feet of celluloid have been unreeled we know what is going to take place during the remainder of the picture. We know the elderly man and woman of culture and supposed respectability, but actually thieves, will be forced to surrender to “the law,” which, in the person of a young man in disguise, is aboard the Europe-bound ocean liner carrying the crooks and their loot. We know that the pretty small-town American school teacher, on her initial European holiday, will become innocently involved with the criminals and that she and the detective will fall in love and quarrel. We know, at being introduced to him, that the debonair young Englishman will turn out to be another crook and eventually will be arrested with his confreres. We know, too, when first seeing the “mug” confederate, that his presence is merely for the purpose of supplying comedy relief. And we are far from surprised when the youthful detective, his job finally done, follows his extended misunderstanding with the girl by taking her in his arms. It is all old stuff, but quite entertainingly presented. We Have Our Moments has much to its credit. A smart, beautifully mounted production, it contains some good direction, highly commendable acting and adroitly written dialogue, much more dialogue, in fact, than is necessary — a condition that producers with disheartening consistency permit in their output and consequently notable screen material often is weakened. Parts of the picture would have carried more effectiveness, greater strength, had speeches been stripped to the essentials — and, too, had some of them been spoken in quieter tones. We are given a large quantity of comedy, some of it very amusing, some of it too strained and clankingly interpolated to win my approval. On the whole We Have Our Moments is enjoyable enough to warrant commendation as an offering well worth seeing. Alfred Werker’s direction is generally praiseworthy. Sally Eilers and James Dunn once more are teamed, the two sharing major billing with Mischa Auer. Miss Eilers, charming throughout, gives what seems to me her best portrayal, and Dunn’s work achieves complete success. David Niven does superbly, offering his most notable screen work. The comedy is carried mainly by Auer, Warren Hymer and Grady Sutton, and of the three, Hymer’s is the superior performance. Most of the time Auer works too hard to be genuinely amusing. Thurston Hall and Marjorie Gateson are splendid. And an orchid to Milton Krasner, photographer. CINEMATIC FABLE By Mabel Keefer ONCE upon a time there was a great industry called the Film Industry. One day two travelers — Sam and John B. — who were journeying in the same direction, entered into a discussion of this industry in which both were vitally interested. Said John B.: “Your producers are to be congratulated on the marked progress they are -making in the quality of their screen entertainment. They’ve jolly well outdone themselves!” “Same to you, old man!” answered Sam. “In my estimation both your producers and mine are on the up-andup. But there still is a good bit of climbing to be done.” “Righto!” said John B. “For one thing we’ve got to acknowledge the tremendous importance of the psychological effect of the entertainment provided by the cinema.” “You bet we have!” Sam spoke with great earnestness. “Just the other day, my daughter, Columbia, said: ‘Dad, I do wish we could have more pictures that would give us zest for living. I like stories that make me feel that it’s fun to play the game.’ ” “My Britannia feels the same way,” replied John B. “She calls it ‘showing good sportsmanship in one’s manner of living.’ And she particularly likes pictures with the grandeur of your American scenery for a background. That, with real romance, humor — ” I^AM interrupted. “Ah, there you have it! Humor! Do you realize that much of the greatness of our two nations is due to the fact that we cultivate the sanity-promoting art of laughing at ourselves?” “Ver-r-y true! So-o-o we do!” responded John B. Sam stared for a second, then he grinned. “Oh, yes, to be sure! Gilbert & Sullivan.” “So you know your Gilbert & Sullivan?” queried John B. “And how!” replied Sam. His eyes twinkled. “That means that, indubitably, I know my Gilbert & Sullivan.” “Oh — er — that is — ” stumbled John B. Then, triumphantly— “Oh, yeah?” Sam shook his head. “Not too good — don’t let it get you!” “Britannia is always hoping for originality in cinema entertainment,” said John B. Sam chuckled. “Not long ago Columbia and some young man were discussing a picture they had just seen. They were particularly pleased with it because the story