Inside facts of stage and screen (February 15, 1930)

PAGE FOUR INSIDE FACTS OF STAGE AND SCREEN SATURDAY, FEB. 15, 1930 Picture Peviews ~ Previews ~ Shorts By A. H. FREDERICK ‘NO, NO, NANETTE’ First National Picture (Reviewed at Orpheum) This picture rates a place as an average programmer but it is not in the long run or top price class for any other reason whatsoever than the familiarity of the title. The music, while good, is out-of- date, as witness “Tea for Two”; the plot complication is a very old and hackneyed one; the dance and song ensembles are good but by no means the most spectacu- lar seen on the talking screen, and the laughs are moderate. For a week in a run house it should come up to about house average despite the absence of good draw- ing names in the cast, but to reach this figure will require exploita- tion on the “No, No, Nanette” name. The ensembles are in techni- color and were done under the tutelage of that ace producer of them, Larry Ceballos. But they cannot begin to compete with some he offered in “Show of Shows,” or with some offered in other pic- tures. The story is the old time farcial complication of a supposedly se- date middle-aged business man who has become involved in a tangle with a gold-digging young woman. In this instance there are two of them. There is the standard man friend to help him take the comedy jolts when their wives are on the verge of discovering the supposed in- fidelity. There is the standard gag of the girls showing up at the wrong moment, and all of the rest of the standard this-and-that which has been used in countless houses, both musical comedy and bur- lesque, from time out of mind. EXHIBITORS’ VIEWPOINT: Don’t be over-sold on this one. It is just another programmer, and none too forte because of the lack of name draw. Word-of-mouth won’t be other than average. PRODUCERS’ VIEWPOINT: Clarence Badger did the direction. It is adequate but no more than straightaway stuff. Adaptation was likewise straight- away, playing the hackneyed situa- tion for the usual number of laughs in it, and after the usual pattern. There are none of those so-called “good moments” in the picture other than a few facial expres- sions contributed by the cast, and most notably by Lilyan' Tashman. The Larry Ceballos dance num- bers are very pretty in effect, but without the flash he obtained with the much larger force at his com- mand in the “Show of Shows.” CASTING DIRECTORS’ VIEWPOINT: Bernice Claire, playing Nanette, establishes her- self as another singing heroine of the films. Her voice is most pleasing on the mike, and her act- ing is quite adequate to win an audience’s sympathy. The mike, as translated on the Orpheum’s reproduction apparatus, was not so kind to Alexander Gray’s voice. It never reaches any great heights of effectiveness, and at time was far from pleasing to the ear. Nor did his acting have the flexibility necessary to sell authenticity, and frequently his lines were spoken with an all too apparent recitativeness. Lucien Littlefield and Bert Roach were the comedy team of husbands, and they got a full quota out of their much-done situ- All Makes Sold, Repaired, Rented GLadstone 9748 CINEMA TYPEWRITER COMPANY New Portables, All Makes Adding Machines 6278 Hollywood Blvd., Hollywood, Oal. ations. v Louise Fazenda did the trusting wife, and Lilyan Tashman the suspicious one. Miss Tashman took all the laughs in her lines and by some clever expressions, a good many that weren’t there. Both Miss Fazenda and Little- field toned down their usual com- edy antics to a pleasing restraint that went well in this type bf pic- ture, ZaSu Pitts played a maid, sell- ing some of her lines for good effect and muffing some others. The two girls who played the gold diggers didn’t develop their parts as well as they would have been developed in more experi- enced hands. ‘THE SACRED FLAME’ Warner Brothers Picture (Reviewed at W. B. Hollywood Theatre) This picture departs a good deal from the treatment usually ac- corded similar stories in pictures, and there are points at which strictly picture fans will cavil. But those who, through modern style literature and other dips into Freudian regard for situations like the style of picture, will find it an offering well worth seeing. It is a study of people under in- tense emotional strain, and what with the absence of hokum, an un- usual ending, good dialogue and direction and a splendid cast, it’ is a film of unusual attributes. In many respects it is strongly rem- iniscent of Ibsen. The departure from ordinary picture standards is marked most strongly in several happenings, in which the stage mode of treatment is strictly adhered to. These in- clude an airplane accident, a capitulation of a girl-wife to the allurements of her husband’s brother, and the murder of the husband. These are related but not shown—which, it must be ad- mitted, is a most radical departure from the old style of “a thriller to a reel.” Another decided de- parture is the absence of comedy relief, and still another is the de- liberateness with which the various emotional reactions to situation are developed. From a strictly “movie” standpoint this gives an impression of slow development; but from the standpoint of artistry it is excellently done. The story concerns a young aviator (played by Conrad Nagel) who is permanently disabled on his wedding day. His wife (played by Lila Lee) is loyal to him until the arrival from South Africa three years later of his younger brother (played by Walter Byron). Her love for the young brother is discovered by the mother of the two boys (played by Pauline Fred- erick) and the situation from then on, as interpreted by the star and her very capable support is splen- did histrionism and direction, worthy as before remarked, to be rated along with the better things of Ibsen. Warner Brothers advertise this picture as not suitable for chil- dren, and it isn’t. Not so much because there is anything in it to corrupt a childish mind as from the fact that there is little in it they would comprehend. EXHIBITORS’ VIEWPOINT: For mental audiences who go in for the better and deeper things in literature and entertainment, this picture should prove a good fea- ture. For other stands exhibs should look it over before booking. Pauline Frederick’s popularity in her recent “Evidence” should aid the boxoffice materially. Publicity about the picture not being for children also should prove a draw for the adults. PRODUCERS’ VIEWPOINT: The story is by W. Somerset Maugham, and is a daring and non-typical vehicle for screen translation. Archie Mayo did a good job of the direction, keeping his story close-knit, and with interest well maintained through the somewhat slow development demanded by the accentuation of the various emotions depicted. Harvey Thew’s dialogue is scin- tillating, and cultivated to fit the characters and the situations, af- fording a pleasing departure from the stereotyped manner of speak- ing into which the screen actors are being trained. CASTING DIRECTORS’ VIEWPOINT: Pauline Frederick dominates the scenes in which she appears, and makes a most charm- ing, forceful and unusual mother. Conrad Nagel contributes a fine characterization of the crippled husband, and well preserves it from the mawkishness into which it might have fallen in less capable hands. Lila Lee’s role is the longest in the picture, and she plays it with a splendid ability that adds another item of credit in her excellent talkie career. Dale Fuller’s work is marred by frequent lapses into over-acting. Walter Byron, William Courtney and Alec B. Francis, in compara- tively short parts, round out the splendid cast. ‘SON OF THE GODS’ First National Picture (Reviewed at W. B. Downtown) _ This is a picture which will either be well liked or not liked at all. The former will be the preponderent sentiment concerning it, as it again portrays that big favorite, Richard Barthelmess in a most sympathetic and fitting role, and has a quasi-serious thought behind it. The story stretches over quite a period, and the real complica- tions are foreshadowed by inci- dents which are episodic but well done for arousing interest in them. The real complication is extremely well handled, and the role of the Chinese boy who is shunned by whites because of his heritage of a yellow 'Skin is appealing. Rex Beach is among those pretenders to art, who, completely lacking all real artistry nevertheless impress many with the idea that they are seeing works of merit. Among this many is a large slice of pic- ture fandom. The story in its earlier sequences reiterates the theme that the Chi- nese boy’s only recognition upon a plane of equality by the white LAMBERT TO DO 12 Eddie Lambert, who has just completed a tour for Fanchon and Marco, will start this week on twelve more comedies for Educational. TO FILM “NEW MOON” EARLE WALLACE Always Busy Developing Dancing Stars but Never Too Busy to Create and Produce Original DANCE ROUTINES and REVUES That Sell Belmont Theatre Bldg., First and Vermont Phone Exposition 119S Los Angeles, Calif. SUE) MURRAY SCHOOLy^STA&E r — associates - Loa Hu(tr A r L CL APT'S MURRAY' 3636 BEVERLY BLVD. — Los Angeles — Tel. DU. 6721 PRACTICAL STAGE TRAINING STAGE TAP DANCING (In All Its Branches) BALLET— iSSSiSS?) bj SIGNOR G. V. ROS1 Screen rights to “New Moon,” musical show now playing a legit run at the Majestic here, have been purchased by M-G-M. IN FOX S. F. OFFICE SAN FRANCISCO, Feb. 13, Walter Cree, former Fox exchange manager in Salt Lake, has joined the local office as salesman, han dling the San Joaquin Valley ter- ritory. INCREASE SHOWS race is because his father has mil- lions. This is repeated a couple of times up to a point where the boy (who is Barthelmess of course) at last meets a girl whom he loves desperately, and who loves him the same way. The girl is played by Constance Bennett. They become engaged, and then she discovers his yellow blood. She lashes him in public as a cheat and a China- man, and he returns to his native land. Of course they are brought together again, and that is the story, with the hooey twist that Barthelmess in the end is proved of white blood. But this is offset by another and neat surprise twist which is very unusual. EXHIBITORS’. VIEWPOINT: The picture is boxoffice because of the Barthelmess draw and be- cause many will see in it an of- fering of unusual theme. Those who go to the theatres as an out- let for sympathetic emotionalism will find it highly pleasing. With proper exploitation it should draw very big in any locality where Barthelmess is popular, and that’s a lot of localities. PRODUCERS’ VIEWPOINT: Frank Lloyd has brought a sympa- thetic treatment to this theme which is extremely commendable. At time he permits the action to become very slow, but this is due more to the adaptation (done by Bradley King) than to the direc- tion. The scenarization would have profited by being more closely knit, and by coming sooner to the real story of the picture, CASTING DIRECTORS’ VIEWPOINT: This is another in the talking pictures which re- dound highly to the credit of Barthelmess. He has found a niche in a certain type of story, which is just what the public wants, and he knows better than anyone else in Hollywood how to make the most of these roles. Constance Bennett never loses her effectiveness nor her appeal for a moment in the role of the girl who loves the Chinaman. She is sure in delivery, and every pic- ture marks her more as an excel- lent talkie actress. 'Claude King does a nice part as an English playwright, doing -his usual suave and polished work. Anders Randolph is well cast as the father of Constance Bennett. A youngster, Dicky Moore, an appealing child of about 3 or 4 years of age, does splendid troup- ing in a sequence in which he plays Barthelmess as a boy. A real little talkie find, Dicky. E. Alyn Warren does fine work as the Chinese father of Barthel- mess, being very skillful in the portrayal and never stepping out of character for a moment. Mildred Van Dorn brings a nice personality to the part of an Irish girl, and Frankie Albertson and Jimmy Eagle have a good se- quence as a couple of the Chinese boy’s white friends. With them are three girls, Dorothy Matthews, Barbara Leonard and Geneva Mitchell. Dorothy is the best, with an unusual personality in ad- dition, well cast here. Others in the long and good cast are King Hoo Chang, Ivan Christie, George Irving and Rob- ert Homans. OAKLAND, Feb. 13.—RKO has changed its vaude policy at the local Orpheum from three shows a day to four. The change is ef- fective this week. SIGN VAUDE ARTIST Della Walker, vande artist, has been signed to support Bebe Dan- iels in her next Radio Picture. FINAL TITLE “Roughneck Lovers” is the final title for Richard Dix’s RKO pic- ture shot from William LeBaron’s stage paly, “I Love You.” RE-SIGN CHEVALIER Maurice Chevalier has been signed to a new long-term con- tract by Paramount under the terms of which he will star in at least four new vehicles in the next two years. ‘WEDDING RINGS’ First National Picture (Reviewed at Hollywood Theatre) Given a weak story, poor pho- tography, and a supporting cast of unusual mediocrity and still H. B. Warner manages to make “Wedding Rings” good entertain- ment. The picture is well di- rected, but strip it of the glamour of wealthy society, involving lavish sets and gowns and you would have a minus figure which even the artistry of Warner could not bring up to par. The story works out two theories ■—“Can a- woman if she is clever enough and beautiful enough have any man she wants?’’ and “Is it harder to hold a man than to win him?” The unoriginal plot concerns two sisters in a well-to-do family. Lois Wilson is a nice girl with a hobby for early American an- tiques. Olive Borden is her sis- ter and her exact opposite. When sex appeal was passed around the family, Olive got it. Every man who is attracted to Lois is sooner or later grabbed off by the other. Lois doesn’t particularly care. But with the inevitability of motion picture stories, along comes the “one man,” H. B. Warner, culti- vated, rather staid, and also a collector of antiques. Their at- tachment for each other is im- mediate, and Miss Wilson re-deco- rated his house, and he is just about to say that she would be an excellent addition to his an- tiques when in comes Miss Borden whom Warner has not yet seen. She turns on the charm, it works, and it isn’t long before she escorts him to the church. Miss Wilson, on the wedding day, as a sporting proposition, tells Miss Borden that she still loves him and is going to win him back, which she does. After a year Miss Borden’s love for the Warner name, jewels and fortune remains, but her husband seems too quiet and dull. So when she meets Hallam Cooley, he’s just her type, and the husband finds peace and solace in the early American apartment of Lois Wil- son. And there you are until Cooley, a most amiable villain, tries blackmail. EXHIBITORS’ VIEWPOINT: Good average program picture, with three feature names to its credit. PRODUCERS’_ VIEWPOINT: William Beaudine’s directorial treatment somehow keeps up a certain amount of suspense through the story, despite its obvious con- clusion. In spots he resorts to trickery to do it, but it is not of- fensive. Ernest Haller is given credit for the photography, which in spots was good, but together with occasional bad lighting it was at times vaguely reminiscent of the news-reel preceding the pic- ture. CASTING DIRECTORS’ VIEWPOINT: H. B. Warner makes a good job of this charac- ter, contributing such a suppressed and smooth-flowing portrayal that he is away above the calibre of any other member of the cast. Lois Wilson brings her usual sympathetic personality to this role, and although there is noth- ing outstanding in her work, she maintains a good average. Olive Borden is much more ac- ceptable than usual as a catty gold digger of the leisure class. Both Miss Wilson and Miss Borden would be beter off if they didn’t try to sing. Hallam Cooley fell short on his comedy, and has too likeable a personality to inject much of a threat as the heavy. James Ford, Kathleen Williams and Aileen Manning complete the cast. BEAUMONT STUDIOS SCENERY Drops, Curtains, Drapes RENTALS Los Angeles, Calif. 400 W. 96th St. YO. 8346 AtSA\ 6ABR1EL R.D. Mac Lean as frayjuniperoserra EVERYAFTERNOON-EXCEPT MONDAY-U^ — WED. AND SAT. EVE 8' S PUY IN/PERO SERRA “ §| ^ 'ED. AND SAT. EVE. PRICES 50* 751 >'/ 00 $gSo $2.°°