Inside facts of stage and screen (May 3, 1930)

SATURDAY, MAY 3, 1930 INSIDE FACTS OF STAGE AND SCREEN PAGE THIRTEEN DE SYLVA, BROWN & HENDERSON, Inc. Announce with pleasure the opening of their new suite of offices at 306 Warner Brothers Theatre Building, Hollywood, Calif. OUR SENSATIONAL SONG HITS 4< A Cottage For Sale 9 * “When the Little Red Roses Get the Blues for You 99 “Sing a Little Theme Song” Earl Burtnett’s Song Hit “Courtin Time” PHONE —WRITE —OR WIRE FOR MATERIAL Address 306 Warner Brothers Hollywood Bldg., Hollywood, Calif. Telephone HE. 9740 BEN BERMAN Pacifi ^ 0 Lco^I r YoS ta,ive FILM REVIEWS (Continued from Page 4) the ways of the show business, this revue is for the public, a well- turned-out piece of work, very elaborately produced with plenty of exploitation value on its heavy cast, opulent production and, of course, capitalization on the White- man draw, with John Boles, Laura La Plante, Jeanette Loff, Glen Try- on, Merna Kennedy, for support at the boxoffice. PRODUCERS’ VIEWPOINT: John Murray Anderson is evident- ly responsible for the elaborateness of the effects in this revue, his hand being readily discernible in the moving novelties, massive finale effects and other familiar Ander- son tricks. Other than this mas- siveness of impression, the produc- tion leaves no notable ideas in the memory, nor are its songs, with the exception of “Monterey,” of the type to catch on as heavy fa- vorites. Designing , of sets and costumes for the all-color photog- raphy resulted in a very satisfac- tory handling of this item. CASTING DIRECTORS’ VIEWPOINT: With the excep- tion of John Boles, the rest of the cast was not permitted, because of the fast continuity of the produc- tion and the predominance of en- sembles, to make definite outstand- ing impressions, though perform- ances throughout were up to snuff. Boles had two fine numbers, and handled them neatly. And effective work was done where the material permitted by the balance of the large cast, which included: Jeanette Loff, Laura La- Plante, Glenn Tryon, Merna Ken- nedy, Kathryn Crawford, Otis Harlan, Slim Summerville, Stanley Smith, Billy Kent, Grace Hayes, The Sisters G, Rhythm Boys, Brox Sisters, George Chiles, Jacques Cartier, A1 Norman, Frank Leslie, Jeanie Lang, Paul Howard, Ma- rian Statler, Don Rose, Tom At- kins Sextette, Nell O’Day, Wilbur Hall, John Fulton, Russell Market Dancers, and the Hollywood Beauties. And in the end, it is the latter woman’s hatred that turns the ta- bles on the villainous Beery and results in the lover’s final happy clinch. _ The story is told against a beau- tiful background designed most ef- fectively for the technicolor pho- tography, opening on a beautiful scene of the great square in Pet- rograd, where the girl first sings the “Song of the Flame.” Hard-riding cossacks scatter the mob and Beery and the girl escape, the scene shifting to a cafe of the aristocracy, where the prince sings of loyalty to his throne. _Sparing the auditor another rep- etition of the revolutionists sacking the palaces of the rich, etc., etc., flame is shown sweeping across the map of Russia and the scene shifts to a border village, where the girl, terror stricken and re- morseful over the fury of hate her song has unloosed, has re- turned to escape the bloody scenes of Czarist downfall. It is festival time and the prince with his cossacks comes to the village, where his family had ruled for generations, as yet untouched by the revolution. He and the girl fall in love, then the Reds come, led by Beery. Beery demands that the girl sing her song to inspire the peasants to turn against the prince and she consents to save her lover. Roused by liquor and Red exhortations, the mob advances on the castle singing the “flame song.” The prince gets his free passage outside Russia, but the girl is or- dered to prison, when she turns on Beery. Later in Petrograd, Beery has had the girl brought to his head- quarters, where he asks her to flee with him to Paris with a for- tune in jewels and gold. The other woman discovers and meets the prince, who has returned to search for the girl. Beery is trapped, sentenced to be shot, and the lovers are reunited. It’s a typical operetta plot and “SONG OF THE FLAME” WARNER BROS. ALL-COLOR (Reviewed at Warner Bros. Holly wood Theatre) “The Song of the Flame” is a meritorious operetta. It has an elaborate and beautiful all-color production, fine music by George Gershwin and Herbert Stothart, a uniformly good cast, with bright flashes, of fine acting and singing, and intelligent and skillful direc- tion by Alan Crosland. But it has one outstanding fault, noticeable about the beginning of the last reel. It’s too long. On this point, the picture bears the brunt of a public surfeit with the singing type of show. With- out detracting at all from the merit of this production, it would probably draw a better audience reaction if it were about a reel shorter and ended exactly at the plot climax. It is the operetta story of Red revolution in Russia and a girl’s flaming song that swept aside an age-old aristocracy and nearly broke her own heart. Bernice Claire is the girl and Alexander Gray is the Russian prince, who wins her love. Noah Beery as a revolutionist who wins his way to a high place in the new republic but is finally a vic- tim of the gold lust, and Alice Gentile, as his mistress and aide, provide the menace. Crosland has handled it in oper etta style, managing to make the action • seem somewhat realistic, yet recognizing that it’s still op- eretta and not straight drama. But because of the shifting, kaleidescopic nature of the story, it would have been well to cut down a bit on the action, partic- ularly towards the climax, which should have built to a smash drama finish, with the singing concen- trated in the final scene. EXHIBITORS’ VIEWPOINT: This picture must sell on its beau- tiful color, its music and romantic appeal, with Noah Beery the best known in the cast. Only comedy is sketched in by Bert Roach as a semi-nitwit aristocrat officer. It’s limited to that sort of appeal, though quite on a par with other film operettas and better than some. It needs one big punch, such as Tib'bett’s voice, to put it in the “best” classification. PRODUCERS’ VIEWPOINT: There’s a lesson in handling tech- nicolor in this production, but oth- erwise, it’s just a nicely done op- eretta, with no striking new note in treatment. Crosland has han- dled his large groups so as to dis- tinctly avoid any resemblance to similar sequences in other recent operettas and super productions. Story is, of course, like other operetta yarns, pretty trite stuff, but has been handled here for generally good results. CASTING DIRECTORS’ VIEWPOINT: Bernice Claire has a fine vocal ability combined with youthful beauty and acting charm, which in this production, puts her to the front as a valuable player for the musical productions as one who, exploited in a prop- erly contrived series of vehicles, could be built to a high place amongst feminine players. Alexander Gray is adequate both from the thespic and vocal stand- points, but does not stand out over the rest of the field of singing leads in remarkably impressive fashion. Noah Beery comes into his own with his bass voice of power and depth, and pulled spontaneous ap- plause, for his solo number on a showmanly handled low note at the finish. Otherwise, he contrib- utes a typically Beery performance, somewhat toned down and re- strained from any over-mugging. Alice Gentle sang very nicely and held up a role that was not of the best in excellent fashion, maintaining a naturalness that glossed over numerous artificiali- ties in the character handed her. Bert Roach handled his comedy bit well, though there wasn’t a great deal to be handled and the balance of the cast was adequate in minor bits. the subject. EXHIBITORS’ VIEWPOINT: This should draw the regular Mur- ray-Sidney clientele. Those that like the team should be pleased with it. PRODUCERS’ VIEWPOINT: Proper cutting should improve this one. It’s a “cute” subject, at that. CASTING DIRECTORS’ VIEWPOINT: Murray and Sid- ney do theif usual stuff, and fall into their parts with ease. Mona Rica is well cast as the Mexican sweetheart. Stuart. ‘IN OLD MAZUMA’ UNIVERSAL SHORT SUB- JECT (Previewed April 29) Cutting should speed this one up. Aside from the Charley Mur- ray and George Sidney name draw there is little to recommend it. The comedy burlesques “In Old Arizona,” and follows the original story closely. Sidney, as the “Crisco Kid,” plays the Mexi- can bandit. This, contrasted with his Yiddish hokum, is good for some laughs. Murray plays the army sergeant who is seeking to arrest Sidney, and he does it in his usual style. Mona Rica makes an attractive fem lead. On the night reviewed, which was directly after the first cutting, the picture dragged considerably. Murray and Sidney are together in but two scenes in the picture, which affords them scant oppor- tunity to exchange patter. How- ever, when Murray talks to Sidney and fails to recognize him as the bandit, it’s good jor a chuckle. Scenes of Mona Rica with Mur- ray and Sidney fail to take advan- tage of all laugh possibilities. But, considering that the scenes are not overly crowded with clever gags, absence of guffffaws is not the fault of the principals. Nat Ross directed and produced U BUYS NOVEL RIGHT BEFORE PUBLICATION John Wray, who played the part of Himmelstoss in “All Quiet on the Western Front,” and took the title role in “Czar of Broadway,” has signed a long-term contract with Universal Pictures Corpora- tion. His first picture under his new contract will be “Saint John- son,” written by W. R. Burnett, the screen rights of which have been purchased by Universal for all-talking and foreign versions. The story, a theme of the West, will be published as a novel in October. This is the first time screen rights were ever purchased so far in advance of publication. GEARY’S FIRST TALKER SAN FRANCISCO, May 1.— Late in May Tiffany-Stahl will roadshow its premier production, “Journey’s End,” into the Geary, which legit theatre housed the stage production when it was here not so long ago. “Journey’s End” will be the Geary’s first talkie. NEW NAME CHANGE The dance pavilion at Balboa Beach, which will be in charge of Bill Meiklejohn when it opens May 30, will be known as the Casino Gardens. In addition to the reg- ular dance orchestra there will be a girlie revue. I & DPE5 5 YOUR THEATRE OR YOUR ACT WITH THE FINEST AND MOST ARTISTIC E NE RY» DRAPERIES DESIGNED MADE UP AND PAINTED BY THE LARGEST AND MOST EFFICIENT STAFF OF SCENIC ARTISTS, DESIGNERS AND DRAPEDY EXPERTS IN AMERICAS LARGEST AND MOST BEAVTIFV/L STUDIOS Los Angeles Scenic Stvdios Inc. III AFFILIATED WITtl OlA 5 .f THOMPSON SCENIC CQ 1215 BATES AVE. -: AT FOUNTAIN A/E. 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