Inside facts of stage and screen (April 5, 1930)

PAGE FOUR INSIDE FACTS OF STAGE AND SCREEN SATURDAY, APRIL 5, 1930 Picture Revieu/s Previews Shorts By A. H. FREDERICK “CHASING RAINBOWS” M-G-M PICTURE (Reviewed at Loew’s State) This is frankly a foilow-up to “Broadway Melody,” but clifTeri;ig in the following points: The novelty of this type of pic- ture (backstage) has not only worn off, but is at present just about the most threadbare in the calen- dar. The comedy team of Marie Usessler and Polly Moran have been added, and that’s a lot in any man’s picture. It is similar in that, whereas the “Melody” has had a couple of best-sellers in “Painted Doll” and “Broadway Melody,” the current picture, has two big ones in “Hap- py Days Are Here Again” and “Lovable You, Lucky Me.” And they are further similar in that little Bessie Love again puts across that appeal which gets un- der the .'kin and makes what might be very trite situations real throbby moments. She’s got a certain touch that no one else has caught as yet, and it’s a deft one. The story is set amidst that backstage talk which has not be- come apathetic to the public. The story is equally as trite. It opens with Bessie and Charlie King, a former small-time vaude team who have worked themselves up to mu- sical comedy. King being the male lead and Bessie the ingenue. Bessie love Charles, and Charles really loves Bessie but doesn’t know he does. He makes a prac- tice of falling desperately in love with every new leading woman who joins the show. There enters one of the vamp- ish type, and straightway Charlie falls for her. She is the sweet- heart of another of the company, but is going to use Charlie, even marry him if necessary, because of the Broadway contracts which he has and will use in her service. Bessie spots the situation, but when she attempts to right it, she is the one who carries the ban- ner. Then Charlie discovers his mistake, and he and Bessie ai*e nearing a matrimonial point, but at the last moment he is vamped into marrying the other girl. Which carries on down to the final performance of the year, at which time an incident reveals the whole truth to the lad, and the strains of “Happy Days Are Here Again” are sung out with the ro- mance between Bessie and Charlie now in the clear. The final sequences, long shots and close-ups o^f the last act of the show, are in technicolor and on a big screen— -not grandeur but the same projection as was used in Paramount’s “Wings.” EXHIBITORS’ VIEWPOINT: Being a “Broadway Melody,” fol- low-up, and with the comedy work of Marie Dressier due for word- of-mouth boosting, this should do the boxoffice good. PRODUCERS’ VIEWPOINT: Whoever added the Dressler-Mo- ran combination to this picture takes the bow. They save it from being just another backstager, with Marie following the habit which she has developed of committing grand larceny upon all occasions. Charles Reisner directed, and did it most ably. Not only in working laugh situations to that nicely de- fined limit point, but also in the more dramatic moments he never lets interest lag. The story was by Bess Meredyth — or so the screen says—though we’ve seen it about two score times already, slightly varied. The small timer who makes good and forgets the little girl who stood by him, saith the Hollywood writer, is my refuge and my strength anjl an ever-present help in time of need. Wells Root did the adaptation, and Miss Meredyth should thank him. CASTING DIRECTORS’ VIEWPOINT: Marie Dressier again writes herself in solid as the screen’s premiere comedienne, neck-and-neck with the few good comedians. Polly Moran’s lustr/s is not so brilliant as sometimes, in the aura of Marie, but Polly BEAUMONT STUDIOS SCENERY Drop*, Curtains, Drape* RENTALS Lo* Angeles, Calif. 400 W. 96th St. YO. 8346 ‘SHE STEPS OUT’ FOX PICTURE (Reviewed at Loew’s State) Fox unleashed its so-called “youth brigade” for this one, but two of an older generation took honors away from the youngsters without seeming to find it much of an effort. William Collier sr. and Eliabeth Patterson were the duo who pilfered the picture. The picture is a screen adapta- tion of the old standby stage play, “The Family Upstairs,” with some so-called “screen angles” written in, such as a dancing contest, and these angles are well up to the standard of the stage part of the entertainment. William Collier supplies laughs at a rapid rate, and it is mainly to his ability that the picture owes an easy, entertaining flow. In this credit, a fair share must be at- tributed to the nice direction of Hamilton McFadden, turning out his initial Fox offering with great credit to himself. The story of the bickering fam- ily too well known to need repeti- tion here, but for those who might not remember it, suffice it to say that it is the story of an inter- fering, too-chatty mother who constantly ruins her daughter’s chances for marriage by her of- ficiousness, well meant but de- structive. The comedy is supplied by the bickerings of the family, which numbers father, mother, two daughters and a lazy son. EXHIBITORS’ VIEWPOINT: An average program booking from the standpoint of entertainment, without any draw names to build up trade. PRODUCERS’ VIEWPOINT: Hamilton McFadden brings him- self credit by the easy swing he has given to this picture. It moves along interestingly and well sea- soned with laughs, having no dull moments to mar it. Harry Delf did the adaptation well, the dialogue borrowed from the play being well chosen, and well rounded out by original lines. CASTING DIRECTORS’ VIEWPOINT: William Collier sr. proves that his place in the talkies should be as high as on the stage. He lends himself to the camera excellently, and closeups are his meat. Easily one of the foremost of the support comedy suppliers, with a deft touch for sentimental work as well. Elizabeth Patterson is an ideal team-mate for him. She puts across her assignment most sincerely and most convincingly, and her bit of pathetic work is excellently handled. Marguerite Churchill is as lovely as ever, and as readily wins and holds the full sympathy of the audience. Her restrained manner of handling her situations is most refreshing. Rex Bell, playing opposite her, is quite adequate to all the de- mands of his standard-type role, and has a good personality. Dixie Lee and Charles Eaton bring youth to the parts of the younger members of the family, and Dot Farley rounds out the credited cast satisfactorily with one sequence. nevertheless comes through with colors flying. Bessie Love maintains the high rating she took with “Broadway Melody,” knowing as well as any of them how to win the audience’s sympathy a hundred per cent with- out making a palpable bid for it. Charles King is okeh as the two- timing revue singer, though his singing moments are his best. Jack Benny comes through with an excellent performance as a roadshow manager, having both ability and screen appeal. If the naughty revue star hadn’t decid- ed to reform and marry Bessie, surely the audience would have been just as well satisfied to see her get Jack. That’s the kind of screen appeal he has. He’s ripe for a leading man role pronto. Nita Martan plays the haughty vamp broadly but adequately, and sings one number to advantage. George K. Arthur and Gwen Lee contribute bits, with Eddie Philips rounding out the cast. CASTING “HOLIDAY” Cast is being assembled for Ann Harding’s “Holiday” at Pathe. Mary Astor, Monroe Owsley and William Holden have been signed. Edward H. Griffith will direct. MURDER WILL OUT’ FIRST NATIONAL PICTURE (Reviewed at W. B. Downtown Theatre) This is a mystery story with an extremely neat twist, directed by Clarence Badger for full effective- ness. Add .to this an able cast, with one exception, and it is a good programmer for pleasing the audiences who want ’em thrilly and tangled. At times the melodrama is over- done from a strictly technical view- point, but from the standpoint of keeping interest up, it maintains a good consistent pace. The one “kick” , which registers as too much is the sudden arrival of a submarine at the critical moment. Strongly reminiscent of the big thrill of the old-time mellers, with the soldiers arriving with waving banner at the critical moment. But it gets by. The story opens with Claud Al- lister very much afraid of being murdered by a Chinese blackmail gang. In fact he’s positive it will happen. And it does. Then Tully Marshall, playing a doctor, gets similar threats, and not paying the money, also disap- pears. A British detective who “knows all about the Orientals,” comes into the case, and he, too, disap- pears. Next on the Chinese gang’s list is the hero, Jack Mulhall. The blackmail demand threatens as the alternative, death to his fiancee, played by Lila Lee. So Jack goes out to meet the blackmailers, with all the money he can raise, and then comes the denounement, which is plenty punchy. EXHIBITORS’ VIEWPOINT: This is A-1 entertainment of its type. Nothing smash, but should go well enough, particularly hit- ting above average where kids are among the patrons. PRODUCERS’ VIEWPOINT; Clarence Badger knows how to work up the thrills, and to keep mystery on the crescendo. The story is very good screen material, and well adapted. CASTING DIRECTORS’ VIEWPOINT: Claud Allister, playing the first of the murdered men, does the best work he has yet contributed to the talkies, and he has had a couple of very good performances previously. Lila Lee is up to her usual high standard. Jack Mulhall works too hard for fullest effectiveness. Tully Marshall is good, this type of part being more congenial to his abilities than the comedy roles which are frequently assigned him, and which he overdoes. Alec B. Francis and Hedda Hop- per both get the maximum out of unimportant parts, and Malcolm MacGregor completes the cast. ‘PHANTOM OF THE OPERA’ UNIVERSAL PART-TALKIE (Reviewed at Criterion) This is a throw-back to those hybrid affairs common in the early days of the talkies under the desig- nation of part-talkies. Its most interesting point at this late date is the clear-cut manner in which it indicates the advances that have been made in cinematic form.since the mike stepped into the picture. The old over-mugging and over- gesturing is still in this picture, making it at time appear not un- like the burlesques given on the Orpheum every now and then of the town-hall melodramas of the ’80s and ’90s. The talking portions mainly are some interpolated dialogue to get the offering under the designation of talkie. It is not necessary, but is delivered adequately upon those called upon to speak. But the reaction of the public will be keen disappointment, cou- pled with a gypped feeling. Those expecting to have the horror ele- ment of the original increased by the talkie version will be disap- pointed. The big dramatic mo- ments are all nothing but a re- issue, .with some very poorly done sound effects. The billing given it locally, to the effect that “every- one but the phantom talks” is a come-on that the picture does not substantiate in the spirit, though it does so in the letter. The local issue is much worn. Of course it is the same cast. “HELL HARBOR” U. A. PICTURE (Reviewed at U. A. Theatre) This is thoroughly good screen entertainment. It has the elements of action, exotic allure, suspense and excellent continuity and dia- logue. all directed for maximum effectiveness by Henry King. Lacking a certain emotional ela- tion, it is by no means the picture to be rated among the best of the year, but from a purely entertain- ment standpoint it provides a com- pletely satisfying evening. The good qualities of story, set- ting and adaptation were enhanced by the excellent casting, best exem- plified in the work of Jean Hers- holt, Gibson Gowland and Paul E. Burns. The Henry King touches are ap- parent at many points in the story, for instance in the continual squeak- ing of Hersholt's shoes. This sound seems to play a neat accompani- ment to the character he repre- sents. The scene is some mythical spot in the South Seas. Lupe Velez is the daughter of a degenerated white inhabitant, played by Gibson Gow- land. The plutocrat of the island is Jean Hersholt. He is counting on the sale of certain of his pearls to enable him to win Lupe as his wife, through bargain with her father. The man he hopes to sell them to is an American trader, played by John Holland. But, of course, Lupe falls in love with Holland, and he becomes in- terested in her, and after Gowland has murdered Hersholt and has in turn been killed by a friend of Lupe’s, they sail away together. EXHIBITORS’ VIEWPOINT: This is very good program fare for theatres where the patrons choose their evening’s entertainment tor its own sake. PRODUCERS’ VIEWPOINT: Henry King’s direction is splendid, and he loses no opportunity for scenic effectiveness lo enhance the interest he maintains in the story and the locale. Clark Silvernail has an adapta- tion and dialogue which are A-1. CASTING DIRECTORS’ VIEWPOINT: Jean Hersholt and Gibson Gowland divide the acting honors in this picture with Paul E. Burns, the runner-up. Hersholt has caught most convinc- ingly his character of a money-lov- ing man who somewhat disdains his environment; while Gibson Gowland is no less good as a white man who has completely degener- ated,_ without further pretense of keeping a civilized code to his life. Burns is a one-eyed sailor man of pirate type. Lupe Valez is more actress and less Lupe than usual, but still too much Lupe and too little actress. Her obvious admiration of herself, expressed in her would-be cutisms, is extremely annoying, and why she should attempt to sing passeth all understanding. John Holland is quite satisfac- tory as the American trader, and A1 St. John gets in some excellent comedy moments, few but well- turned. George Bookasta, a youngster of about 13, does splendid work in a quite sizeable part. Lon Chaney, Norman Kerry, Mary Philbin, Snitz Edwards, Gibson Gowland, and the rest. PIVAR BACK AT U Maurice Pivar has returned to Universal as film editor-in-chief to replace Del Andrews, who recent- ly resigned. “HONEY” PARAMOUNT PICTURE (Reviewed at Paramount) All departments combine to make this a good picture. The cast is excellent throughout, the story is amusing, the dialogue is excep- tionally clever, the direction makes for swift-moving entertainment, and the song numbers are good of composition and well delivered. With Nancy Carroll and Stan- ley Smith heading the cast, the pic- ture recalls strongly Miss Carroll’s “Sweetie,” though the theme is en- tirely different. Nor do Harry Green and ZaSu Pitts manage to put the fun into “Honey” that Jack Oakie and Stuart Erwin in- stilled into “Sweetie,” though Green does well with his assign- ment and receives most able abet- ment in laugh-getting from Rich- ard “Skeets” Gallagher and from Little Mitzi. Miss Carroll’s personal charm is as appealing as ever, and the cast supports her excellently. The story has been practically adhered to strictly in the transi- tion from stage to screen, with the exception that some parts have been written in to build up the laughs. There is still the plot by the aristocratic Southern girl and her brother to pose as cook and butler to keep a rental contract on their house from voiding, the austere mother who brings to the house her daughter and the boy she wants her daughter to marry, and the cross-currents of love which develop for a general happy end- ing. EXHIBITORS’ VIEWPOINT: This is neat entertainment and a good booking. It’s your own fault if you don’t do business with it, though probably it will not hit as heavily as did “Sweetie.” PRODUCERS’ VIEWPOINT: Direction by Wesley Ruggles is excellent, with a perfect interweav- ing of comedy and more serious moments. A negro jubilee scene, in which is introduced “Sing, You Sinners,” is worthy of special men- tion for its excellent directorial handling. Herman J. Mankiewicz did the adaptation and dialogue cum laude. “Sing, You Sinners” has the po- tentialities for being another “Hal- lelujah,” while other good tunes abound, including “Let’s Be Do- mestic,” “Honey” and “In My Lit- tle Hope Chest.” CASTING DIRECTORS’ VIEWPOINT: Nancy Carroll is as engaging as ever, and handles her role for the appeal she always draws. Stanley Smith is quite satisfac- tory as her sweetheart, though not called upon for any very difficult moments. Richard “Skeets” Gallagher was admirably cast as the brother-but- ler, with Harry Green having a funny but not his funniest part as a Jewish detective. I.illian Roth exhibits both ability and good screen presence as the daughter of the society mother, the latter part being admirably done by Jobyna Howland. Little Mitzi does the kid part to perfection, having both troupership and a good talent for putting across songs. ZaSu Pitts and Charles Sellon complete the cast. R-K-O BUYS LAND R-K-O Studios have purchased 150 by 2300 feet on Marathon Street and North Windsor Boule- vard. adjacent to present studio property at Melrose and Cower. EARLE WALLACE Alway* Bu*y Developing Dancing Star* but Never Too Bu*y to Create and Produce Original DANCE ROUTINES and REVUES That Sell Belmont Theatre Bldg., Fir*t and Vermont Phone Exposition 1196 Lo* Angele*, Calif. SU5 MURRAY (Associate*) Gladys Murray Lafe Page S636 BEVERLY BLVD. — Los Angeles — Tel. DTT. 6721 PRACTICAL STAGE TRAINING STAGE TAP DANCING (In All Its Branches) BzfLLEr—iSqle) B, SIGNOR G. V. ROSI