Inside facts of stage and screen (August 23, 1930)

PAGE FOUR INSIDE FACTS OF STAGE AND SCREEN SATURDAY, AUGUST 23, 1930 Picture Revieu/s^and Views of Legit “COMMON CLAY” FOX PICTURE (Reviewed at Loew’s State) For those who delight in sob stuff, “Common Clay” is a ban- quet. Of its type, it is one of the best pictures Fox has turned out in moons and is bound to be a strong magnet with the matinee element. It is not until the picture is over that one gets the tear jerk- ing tricks of the excellent direct- ing, one is too busy sniffling as the tale unfolds. It is the story of a young girl, who, seeking pleasure, takes a job as a hostess in a speakeasy. She lands in the cooler as the result of a vice raid. The judge gives her a talk- ing to and she decides to get a decent job and elevate herself. The job _ she finds is that of maid in a rich man’s home. There she has to fight for her honor with the butler and guests, but eventually falls for the son. In due time a child is born and the father of the boy tries to buy her off through his lawyer. She -rejects and has the son and his pal arrested on a charge of “contributing to the delinquency of a minor.” On the witness stand it is brought out that she is in reality the daughter of the lawyer who is defending the boys. In the end, she marries the boy after a hectic scene with his father. EXHIBITOR’S VIEWPOINT: This picture can’t miss. It has all the elements needed for a prosperous engagement. Excellent story, well told and acted and will live up to any exploitation you -can give it. It has plenty sex without being sexy; has heart in- terest without mush; is within the reasonable realms of probability and will create discussion among the ladies of the ethical culture clubs. PRODUCER’S VIEWPOINT: You must give Victor Fleming a whole lot of consideration for the direction of “Common Clay,” principally for what he elected to refrain from doing. The senti- mental stickiness which is hard to avoid in a story -of this kind is pleasingly lacking through the artistry of the director. He caused all scenes to be played naturally and without theatrical exaggera- tion. You were living with the characters in their dilemma and not just witnessing a picture. CASTING DIRECTOR’S VIEWPOINT: Constance Ben- nett proved herself worthy of her top billing. She plays naturally and convincingly and can well be rated among the up and coming stars. Lew Ayres also showed himself a worth while youngster. He played with a finesse which, while in spots lacked polish, on the whole was way above average. Acting honors in the character roles are divided between Tully Marshall who played a shyster lawyer in grand style and Beryl Mercer who as the mother of the girl is deserving of a great big prolonged hand. Hale Hamilton as • the family lawyer gave a very splendid per- formance as did Purnell Pratt as the father. Others deserving of credit were Genevieve Blinn, Ada Williams, Matty Kemp and Chas. McNaughton. JACOBS. “GRUMPY” PARAMOUNT PICTURE (Reviewed at United Artists Theatre) Of all the tiresome, inane, cloy- ingly saccarine nonsense “Grumpy” wins the April fool’s candy. De- signed as a patta-cake nursery rhyme for grown-up morons, it fails to attract even these. “Grumpy,” according to good HERS Special routines, stage and screen. Tap, toe, ballet, musical comedy, acrobatic, new ‘Heel-It' England’s English, means “grouchy grandpa.” “Grumpy” in this in- stance is a retired criminal law- yer, who has apparently reached his three figured birthday and once again attempts to foil the “desprit willan” who would rob the young hero of his big, rough diamond. “Grumpy” does this and of a consequence the y. h. marries his ward and they lived happy ever afterwards. Everything in the -book that is as old as age was used by the team of directors, George Cukor and Cyril Gardner. The dialogue might have been designed to bur- lesque an -old meller. The -speeches were tiresomely long and ultra theatric. .As Cyril Maude played, or we might say overplayed, the star role might have been good tech- nique for the -stage but it was gosh-awful on the screen. This whole opus can be relegated to the end book. EXHIBITOR’S VIEWPOINT: Lay off of this one, it hasn’t a last month’s newspaper’s chance. PRODUCER’S. VIEWPOINT: Be glad that it isn’t your money invested. CASTING DIRECTOR’S VIEWPOINT: Paul Cavanaugh as the heavy takes the honors for consistent, natural acting. Frances Dade is entirely satisfying both in appearance and sweet appeal. This young lady will be heard from when she gets a real chance. Phillip Holmes played the boy part with the usual juvenile talent ordinarily okeh. Halliwell Hobbes gave a consistent perform- ance of an aged butler. JACOBS. “NIGHT WORK” PATHE PICTURE (Reviewed at RKO Theatre) Walter De Leon’s story is a bit fantastic if looked upon seri- ously but taken as a medium for smile production it gets -by. Pri- marily, it affords Eddie Quillan a chance to do hi-s stuff. As the window trimmer’s assistant, he trims the window trimmer out of his job, and acquires a wife and baby out of a foundling home in the doing. . Saddling a couple of newly mar- ried kids of the lowest legal age with a 3-year-old baby boy is food for contemplation. The play is replete with amusing situations and is noteworthy because of the opportunity. it gives two kid-s to become distinctive. . There is a little music in the picture, a duet between Eddie and Sally Starr. Miss Starr’s voice is not of the best and it is trying to make those who can’t do so sing, that is 'killing the musical interpolations in pictures gener- ally. It is unfair to Miss Starr whose work otherwise is outstand- ing. Babe Kane in her boop-boop- a-doop song contributed another unnecessary moment. EXHIBITOR’S VIEWPOINT: This number will make them laugh and give entire satisfaction. The live baby given away gag can be used in explo-itating to good advantage. The kids can be played up strong and cooperation WANTED* CONCESSION MEN For Space • for • L. A. FIESTA SEPT. 4th-5th Call 29 Olvera Street Mornings Only VILLAGE INN HOTEL „ MODERN THROUGHOUT Special rates to the profession—Acts playing Pantages, Hollywood and the Egyptian—will appreciate the comfortable atmosphere. 5724 SUNSET BOULEVARD WRITE, WIRE, PHONE for Reservations — HO. 4735 with a department store in a window trimming contest would stir up interest. PRODUCER’S VIEWPOINT: There is much to 'commend in this picture as it offers so many angles for box-office stunting. The pic- ture is well done and the direc- tion of Russell Mack is excellent. CASTING DIRECTOR’S VIEWPOINT: Eddie Quillan stands alone in giggle getting of this type. Sally Starr is splendid and these two should be developed as a team. The honors of the picture, however, go to Douglas Scott, a kid who has all the ele- ments of being a trouper. This child of about -six or seven is ready and in a class by himself for either laugh getting or serious parts. His dialogue reading is in- telligent and finished and his voice niikes a million. George Billings is another youngster who can well be considered a prize trouper. John T. Murray as a nance window trimmer was delicious as was Frances Upton in the role of a saleslady in a department store. Robert McWade in one of his delectable old grouches gave an unusually virile performance in a role that was all too short. Others in the cast were George Duryea, Charles Clary, Tom Dug- gan,^ Georgie. Caine, Ben Bard, Addie McPhail and Arthur Hoyt. JAKE. “MOBY DICK” WARNER BROS. PICTURE (Reviewed at Warner Brothers’ Downtown) Moby Dick, the talkie version of Herman Melville’s -book of the same name, which was made into a silent picture under the title of “The Sea Beast,” is a tremen- dous picture. Its bigness is not only in its theme, but. in the manner the story is -told. The sailor who falls in love with his brother’s girl, leaves port because he believes her engaged to his relative. He goes to sea on a whaler, after he learns that the girl loves him. In a bat- tle with Moby Dick, a monster whale, he loses a leg. On his re- turn home, he believes that be- cause of his peg leg, Faith no longer loves him and breeds a ter- rible hatred for the whale. He de- votes his life to killing the monster. The whale is sighted after a ter- rific storm, and single handed, Ahab kills it and comes home to claim h-is bride. The sea episodes have never been handled better on the screen and the sound effects were per- fect. The most powerful storm scene ever pictured holds the audi- ence spellbound. John Barrymore as Ahab, the sailor, _ is at his very best. His dynamic personality is given full scope in a virile role which at times became grewsomely realis- tic, especially during the scenes of cauterizing the -stump of the leg and trying on the new peg leg. Jean Bennett as Faith, the role that made Dolores Costello, leaves nothing to suppose that it will not do the same service for her. She is very winsome and appealingly beautiful and handles the limited opportunities with excellent skill. EXHIBITOR’S VIEWPOINT: This picture is a natural. It re- quires no exploiting but will pack the house by word of mouth. PRODUCER’S VIEWPOINT: Lloyd Bacon has done a masterly job of direction. The storm scenes, the sea and ship sequences, and the whaling episodes will make history for remarkable handling of powerful situations that called for much ingenuity -as well as artistic Says: Bob Murphy and Solly Vio- linsky doing a two - act. A1 Boasberg taking a bow. Didja getta load of Joe Daly and bis protoges? >,Vic Allen opens at the Manchester; Sid Gary hav- ing a nite in his honor. Phil Arnold at the Pantages Thurs- day. Harold Howard and his boys going strong.—B.B.B, • • •• P. S. — The CELLAR is at Cosmo Street and Hollywood Boulevard . . . between Vine and Cahuenga . . . the phone numbers are GRanite 3 3 8 2 and HOllywood 9 15 9 . . . Parking is free at the lot across from the CELLAR . . . The CHRYSLER and SAM- SONS are there. Thank You. skill. The photography was far above the average. CASTING DIRECTOR’S VIEWPOINT: May Boley, in the _ small part of “Whale Oil Rosie,” -showed that she has a screen personality that is deserv- ing of a real opportunity. Lloyd Hughes -as _ the heavy was very acceptable in what little he had to do. All of the -cast presented char- acterizations -that were commend- able, particularly Walter Long, Tom O’Brien, Nigel de Brulier, Nobel Johnson, William Walling, Virginia Sale, Jack Curtis and John Ince. JACOBS. “FOR THE DEFENSE” PARAMOUNT PICTURE (Reviewed at Paramount) Clever directing by John Crom- well lifts this story out of the commonplace and makes it a very interesting yarn, particularly so be- cause the ending took courage and initiative. It is the tale of a clever crimi- nal lawyer whose manipulation of the code was such as the district attorney found impossible to cope with and “Foster,” played by Wil- liam Powell, was rapidly emptying the jails and turning loose -crimi- nals by whole-sale. He was in love with an actress who in turn was loved by a young business man. “Foster,” while not willing to marry the actress, ex- pected her absolute loyalty. One night she went for an auto ride with her boy friend, who was intoxicated, and accidentally she killed a man while driving. The boy was arrested and admitted that he caused the accident while drunk. He is certain to go up for manslaughter. The actress pre- vails upon “Foster” to handle the case and Foster bribes a juror. The girl confesses her culpabil- ity to “Foster,” and he, in a spirit of melancholy, confesses in court his. guilt to jury bribing. At the finish he is taken to Sing Sing and the girl promises to wait for him. Many of the scenes are laid in the Tombs of New York and the fidelity to jail and court proceed- ings without brutality or the- atricalism is one of the charms of the s-torv. EXHfBITOR’S VIEWPOINT: For those who like their crook and underworld stuff handled with kid gloves, this will have a strong appeal. The picture i-s satisfactory on the whole but not sensational. PRODUCER’S VIEWPOINT: An excellent job of photography and direction. Particularly was the court room scenes accomplished without the usual clap trap of un- due excitement. The one scene where “Foster” throws down a bottle presumed to be nitro glyce- rine caused a decided thrill among the audience as well as the play- ers. It was a splendid moment. CASTING DIRECTOR’S VIEWPOINT: The performance of William Powell was outstand- ing for its suaveness and finish. This role stamps him as one of the -most polished ac'tor-s on the screen. William B. Davidson gave a very likable -performance of the District Attorney without strain- ing for gallery effects; Scott Kolk, as the young man, was innocuous but so was the part. Among the crooks, lawyers, henchmen and jurists who appeared were John Elliott, James Finlayson, Bertram Marburg, Charles West, Charles Sullivan and Harry Walker. ELBEE. ‘THE DAWN PATROL” FIRST NAT’L PICTURE (Reviewed at the Orpheum) From a flier’s viewpoint, “The Dawn Patrol” is a knockout. With the utmost of fidelity it shows the life of the boys over the line ex- actly as it was without any mock heroics or stressed settings. The battle scenes and stunt fly- ing was excellent airmanship, the fliers actually taking some wild (Continued on Page 15) Behrendt- Levy-Rosen Co., Ltd- General Insurance Insurance Exchange Building VA. 1261 18 Producers have en- trusted their music with us. Such popularity must he deserved. 7T5T7T SYNCHRONIZING SERVICE METBOPOUTS* StUDD. ItXLYAOCO 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 1196 Los Angeles, Calif. HARVEY KARELS VALUE SCHOOL OF DANCING 7377 Beverly Blvd. OR. 2688 Associates—Gladys Murray, Late Page Ballet Dept.—Mary Frances Taylor PRACTICAL DRAMATICS —and— STAGE DANCING Tap, Off-Rhythm, “Modernized Ballet” and Acrobatic “THE ORIGINAL MURRAY SCHOOL” OF NEW YORK, CHICAGO AND LOS ANGELES WALTER S. WILLS STUDIO OF STAGE DANCING 7018 HOLLYWOOD BOULEVARD GLADSTONE 8502 PROFESSIONALS TAUGHT BY PROFESSIONALS New Autumn Classes for Adults Start September 3—Tap, Acrobatic, Soft Shoe, Eccentric, Waltz Clog, Musical Comedy, Ballet. Also Children’s Classes. GEORGE and FLORENCE BALLET MASTER AND MISTRESS Formerly 68 Successful Weeks Producing Weekly Changes in Australia’s Largest Theatre THE STATE, SYDNEY Producers Desiring Originality WRITE or WIRE Permanent Address: INSIDE FACTS, Los Angeles