Hollywood Spectator (1937-39)

Page Twelve December 10, 1938 know that before finis is written to the story, these two will come together, but at the outset it seems impossible. His appearance in itself is enough to repel even a tolerant woman, and hers is enough to dampen the ardor of even a handsome optimist; but so skilfully is the script written, so understanding the direction and so brilliant the performances, the impossible opening becomes the logical ending. It by no means is a drab picture; rather the contrary, as Laughton’s performance is rich in the quiet, sardonic comedy of which he long since has shown his mastery. Pommer Is Himself Again . . . RICH POMMER, producer director of The Beachcomber, first made an impression on American audiences a dozen years ago when he sent us from Germany a series of the greatest pictures of the silent era. Variety, The Last Laugh, The Cabinet of Dr. Caligari, Metropolis, Waltz Dream. The Blue Angel, Congress Dances and other cinematic masterpieces established his right to recognition as the foremost producer of that time. It was inevitable that he would be lured to Hollywood. He was, and it likewise was inevitable that he would become the victim of Hollywood’s belief that its way of doing things was the way all things should be done. He did nothing notable when he first was here for Paramount nor when he came back for Fox, but that was Hollywood’s fault, not his. Now he once more is free to do things his way, being associated with Charles Laughton in Mayflower Pictures, whose product Paramount will release in this country. The Beachcomber is the first offering, and as my records show, it is the first picture which Erich himself has directed. In the old days he made directors, did not become one. His direction of Beachcomber is a demonstration of the soundness of the Spectator’s conviction that the easiest way to make a picture convincing is to have the players converse with one another instead of indulging in the almost universal Hollywood custom of shouting to reach the audience. Most of Laughton’s lines are read in tones a little above a whisper, yet each of them is heard distinctly in all parts of the house. But in every department of direction Pommer proves himself the complete master. Technically Without a Flaw . . . ISUAL glamour is another asset of this fine production. The French Riviera doubles for the Dutch East Indies to provide the location, and full advantage is taken of the pictorial possibilities of the stretch of Mediterranean coastline. The whole production is on a comprehensive scale, but always the mood of what we hear matches the mood of what we see. In the main story only four white people figure, and if any picture ever presented four more evenly balanced, more diversified yet interdependent characterizations more convincingly enacted, that picture is among the few important ones I have not seen in the past fifteen years. An extraordinary performance is that of Tyrone Guthrie as a Church of England curate of nervous disposition. In contrast with the Guthrie characterization is that of Robert Newton as the long-suffering Dutchman who represents his government in ruling the population of the islands the story includes. Repression is the dominating feature of Newton’s performance; its very quietness and lack of effort giving it powerful appeal. Miss Lanchester long ago proved herself a really great actress and in this picture ably sustains her reputation. Technically, Beachcomber is flawless, the photography being notable for a remarkable demonstration of the part lighting can play in heightening dramatic effect. JOE IN A SPANISH SETTING . . . • FLIRTING WITH FATE; David L. Loew; associate producer, Edward Gross; director, Frank McDonald; screen play, Joseph Moncure March, Ethel La Blanche, Charlie Melson and Harry Clark; based on a story by Dan Jarrett and A. Dorian Otvos; photographer, George Schneidermaru assistant director, Russell Matthews; film editor, Robert O. Crandall; musical director, Victor Young. Cast: Joe E. Brown, Leo Carrillo, Beverly Roberts, Wynne Gibson, Steffi Duna, Charles Judels, Stanley Fields, Leonid Kinskey, Chris Martin, Inez Palange, Irene Franklin, Jay Novello, George Humbert, Lew Kelly, Philip Trent, Ann Hovey, Dick Botiller, Carlos Villerias. Running time, 70 minutes. ONE Joe E. Brown picture is pretty much like another, but this one is somewhat different and considerably better than the others I have seen since Joe went under the management of an independent producer. Flirting With Fate has definite atmosphere — Mexican, or, at all events, Spanish — and is enlivened by appropriate singing and instrumental music. Physically it has wide sweep and crowds of people in picturesque Spanish costumes, the pictorial possibilities of which are realized strikingly by the superb photography of George Schneiderman. And Joe has been given a better than usual cast headed by the inimitable Leo Carrillo and containing such well known names as Beverly Roberts, Wynne Gibson, Steffi Duna, Charles Judels, Stanley Fields, Leonid Kinskey and Irene Franklin. Some of them have little to do, but all of them give thoroughly satisfactory performances. Joe, of course, is in fine form, particularly in a drunk sequence in which he is hilariously funny. Another high spot is his visit to a lion in its cage. His reception by the lion is both thrilling and hilarious. Leo Carrillo, as leader of a bandit gang, proves one of the picture’s biggest assets. Could Attract Greater Audience . . . DEFINITE audience always is waiting for a Joe E. Brown production. His fans are loyal and his pictures are aimed right at them. It is something more than clowning that sustains his popularity, a combination of personality and acting ability giving it the endurance responsible for his continued boxoffice success. Every time I see one of Joe’s pictures I wonder why his producers do not make an effort to extend his audience. It could be done by strengthening his stories, by making them appeal to a more matured audience while maintaining the brand of