Inside facts of stage and screen (October 18, 1930)

PAGE FOUR INSIDE FACTS OF STAGE AND SCREEN OCT. 18, 1930 “THE BIG TRAIL A FOX PICTURE Reviewed at Chinese Two good features in “The Big Trail”;—scenic background and the perfection of wide film photogra- phy. All the scenes contain an at- mosphere of physical beauty hard to equal. And the use of wide film portrays this atmosphere superbly. Now for the difficulties. This picture does not capture the spirit of emigration in its larger sense—there is too much concentra- tion of story on the romantic leads. Effect is to make it seem that hun- dreds of people migrated to the northwest, just so two young peo- ple could fall in love. Romantic in- terest is necessary, but it should not be given the whole emphasis. First half of the picture is very well done, latter half is exception- ally poor. Subtitles are necessary to tie the story together, and they are used very well in the early por- tion of the film. But in the latter part, where they are needed even more, one finds very few. Result is, there is no connection between episodes. In one sequence, the set- tlers are dying of heat and thirst in the desert, and in the very next scene it is pouring rain. Then an- other jump into snowstorms. Ac- tion throughout is entirely too dis- connected. At the beginning of the story there is just the proper amount of melodrama, but this element grows and grows until it becomes ludi- crous. First evidence of this influ- ence comes in scene after scene of the hero and the villains GLAR- ING at each other. As the climax nears, the dialogue becomes heav- llv melodramatic of the vintage of 1890. EXHIBITOR’S VIEWPOINT: Picture may be money maker on account of Raoul Walsh’s reputa- tion and the publicity campaign built for it. It is not another “Cov- ered Wagon” in story or treatment. To discerning auditors, Walsh’s reputation as a director will suffer from this production. PRODUCER’S VIEWPOINT: It was a shame to waste so-much money and beautiful photography on poor dialogue and poor direc- tion. Use of grandeur film was su- perbly handled. CASTING DIRECTOR’S VIEWPOINT: John Wayne, the widely hailed “discovery,” has a natural charm, but is not a good actor in this picture. May have been the fault of the director, as his poor scenes were those in which he over-acted, and the director should not have allowed him to do it. Tully Marshall gave the great- est performance of the picture. This old veteran should be given the honor due him; he never misses. El Brendel gave his usual very effective comedy, but he did not have much opportunity. Louise Carver was excellent, as his bully- ing mother-in-aw. Marguerite Churchill was adequate, but not ex- traordinary. Ian Keithe shows ex- cellent technique. He should con- tinue to get good parts. Tyrone Power, Charles Stevens, David Rol- lins, Frederick Burton and William V. Mong were all good in their parts. Russ Powell contributed some great comedy moments in his character of “Windy Bill.” Kerr. “THE PAY-OFF” RADIO PICTURE (Reviewed at RKO) Picturization of Samuel Shipman and John Hymer’s stage success, “The Pay-off” stands out as one of the most entertaining crook pictures of the year. Story deals with a suave gangster, whose “no-killing” code threatens his throne, but, who resorts to it in a pay-off on a fellow gangster, who double crosses him. Story is held up nicely with Lowell Sherman as the gangster taking a liking to a boy and girl, who amateurishly stick up the gang in effort to retrieve some dough taken from the boy. Kick of the story comes when Sherman takes a rap for the kids, to enable them to go free. Story has nice treatment. EXHIBITOR’S VIEWPOINT: Grab this one of Lowell Sherman. It will please family trade. Good entertainment value here. PRODUCER’S VIEWPOINT: Lowell Sherman is rapidly develop- ing into a director of worth. His handling of this story was expertly done. Photography on the up and up, especially the night club shots. CASTING DIRECTOR’S VIEWPOINT: Story made to or- der for Sherman, who scintillates throughout. Marion Nixon, as the fem. interest, had plenty of physical appeal and charm. Hugh Trevor as the gangster who was “paid-off,” got every bit out of his lines and then some. Casting director made no mistake on this gangster type. William Janney, as the boy, fitted superbly. George Marion, rated second honors as the gangster chief’s servant, while the balance of the cast, which included Robert Mc- Wade, all added to what will be one of the few' good melodramas. Jean. through their numbers with speed, grace, and beauty of execution, puts him to the front. Betty Grable, a new-comer to pictures, leads the cowgirl number with a technical execution and projection of person- ality that deserves mention. Com- menting on Berkeley, his work is so good that it will be copied—plenty! EXHIBITOR’S VIEWPOINT: You will want this one. With a perfect musical comedy background, Eddie Cantor gives you the Zieg- feld-Goldwyn standard of showman- ship, on which you can’t miss. PRODUCER’S VIEWPOINT: Show is -'-'’-fectly produced. Thorn- ton Freeland’s direction is highly commendable. Although he doubt- less had many people handling the revue element, the way he has knit the production together shows him to be very competent. In photography, “Whoopee” ex- cells. Two shots, from directly overhead, are superior to any trick shots used recently. Technicolor work is generally good, except in some of the long shots, where it looks a bit blotchy. CASTING DIRECTOR’S VIEWPOINT: Eddie Cantor work needs no comment. Ethel Shutta contributes delightful com edy and is not over-shadowed in the least by Cantor’s skill. Eleanor Hunt and Paul Gregory supply an adequate love interest. Chief Cau- polican, John Rutherford, Albert Hackett, Will Philbrick, and Wal ter Law round out a very satisfac- tory cast. Anyone of the “Whoopee” cast is a good bet for screen or stage. Kerr. LOOKING for talent Would like to get in touch with suitable acts, novelties and blue singers for nite club work. Those interested send pictures, price and previous publicity to O. K. HOFFMAN 502 Pine Ave., Long Beach Meglin Dance Studios Fanchon & Marco System School New Hollywood Branch Classes for Adults and Children Start Oct. 20th — All types of Dancing — Acrobatics — Drama and Voice 6011 Hollywood Blvd. RE 6910 “WHOOPEE” GOLDWYN-U. A. United Artists Eddie Cantor makes a good musi cal comedy out of “The Nervous Wreck,” a popular stage play. Can- tor is really the whole picture, and his comedy is perfect. Employing his tried and true stage tricks, he wins his audience as easily from the screen as from the stage. Cantor plays the part of a sick youth who aids a girl to escape from the sheriff, whom her parents want her to marry. They stop at a ranch to get food and are caught by the sheriff and his men. After much comedy, they again escape, this time to an Indian reservation, where the story ends happily, for everybody but the sheriff. High spots come when Cantor discusses his operations with an- other invalid, and when the villains conduct a psychological test to de- termine who is the thief on the ranch. Technically, “Whoopee” is the best straight musical comedy that has been adapted to the screen. In- termingling of ensemble numbers, songs, and dances, with Cantor’s comedy achieves perfect proportion. Physically, the scenes are the most beautiful the screen has had, except- ing “The Rogue Song.” It lives up to the Ziegfeld standard of show- manship, and the greatest praise to be given, is on the facility with which this perfection of staging was transferred to the screen. Now let’s rave about the dancing. Busby Berkeley has done an in- comparable job 1 in his numbers. The. Cowgirl number is the most original number that any musical comedy has shown on the screen. Usually a dance looks artificial from the screen, but this number is so well spotted and fits in so admirably with the spirit of the show, that it cannot be too highly commended. Berkeley has shown an originality of conception and a skill in staging, that will show them all the way to better musical pictures. He picked people with the ability to sing, dance, ride, and do parade en- sembles. This production has the cream of show girl talent. And the way Berkeley has put his people “HER WEDDING NIGHT” PARAMOUNT PICTURE Paramount Theatre Old Avery Hopwood bed room farce brought to life to give em- ployment to some of Paramount’s contract players. Since it is all a farcical comedy, with Skeets Galla- gher and Charles Ruggles doing most of the farcing, this picture can hardly be considered a Clara Bow feature. Miss Bow contributes plot motivation and some pretty pouts— not because she can’t do more, but because she hasn’t been given any- thing else, in this opus. Skfeets Gallagher steals the first half of the picture and Charles Rugges cap- tures the last half. Story marries Clara to Skeets through a mistake, but Skeets has used the name of Earry Charters, who is Ralph Forbes. Thus Clara finds herself married to two men, one in name and another one in reality. Charles Ruggles furthers the comic action by climbing into the wrong bed at the right moment. Whole story is just a series of farce situations, but very funny. One gets rather tired of the con- tinual chase through bedrooms, but there is plenty of good stuff to make up for the occasional lapses. All in all, a very enjoyable picture. EXHIBITOR’S VIEWPOINT: A high class program picture be- cause there is terrific comedy ap- peal to the average audience. The reputations of Clara Bow, Charles Ruggles, and Skeets Gallagher will draw crowds to see it. PRODUCER’S VIEWPOINT: Photography and lighting were very bad in two sequences. Director Frank Tuttle has maintained a high comedy suspense deftly. His direc- tion faltered, however, in the first bedroom sequence of Charles Rug- gles and Clara Bow. CASTING DIRECTOR’S VIEWPOINT: Clara Bow has little to do. Charles Ruggles and Skeets Gallagher are better than ever—which is saying plenty. Ralph Forbes is improving. Formerly was too stiff-necked in his acting, but is loosening up in his carriage, which gives his technique a chance to f’-et over. Kerr. Artistic Scenic Advertising Curtains By Far the Best in America CURTAIN PRIVILEGES BOUGHT FOR CASH OR SCENERY Chas. F. Thompson Scenic Co. 1215 Bates Avenue Phone OLympia 2914 Hollywood, Calif. THOSE THREE FRENCH GIRLS” M-G-M PICTURE Loew’s State Ordinary picture with little in its favor. It has only story enough to provide gags. In this case the gags are not good enough to carry the whole picture. Plot is the old one of the difficulties which con- front love between a young Eng- lish nobleman and a poor but hon- est girl. Enough said: EXHIBITOR’S VIEWPOINT: Picture is not up to par. Its draw- ing power comes only from Regi- nald Denny’s fan following, and whatever popularity Cliff Edwards and Fifi D’Orsay have attained. PRODUCER’S VIEWPOINT: Several funny situations, but the story as a whole, too trite to waste the film. Song, “You’re Simpy De- lish,” nicely spotted, and looks like a winner. Singing was, however, very unnecessary and did not tie up well with the straight action. CASTINGDIRECTOR’S VIEWPOINT: Cliff Edwards runs away with the show. More work like this, and he’ll be one of the best. Reginald Denny is charming and takes advantage of what few opportunities there are. Fifi D’Orsay is adequate but nothing more. The rest of the cast—Yola D’Avril, Sandra Ravel, Edward Brophy, Pe- tor Gawthorne, and George Gros- smith, are all competent. Kerr. “JUST IMAGINE” FOX PICTURE (Reviewed Fox Carthay) Practical phantasy because ex- travagance of ideas are presented logically. Not a great picture but high entertainment value. Good points concern originality of ideas, El Brendel’s comedy, and good ensemble effects. Atmosphere of a 1980 city is well executed. Brendel should have as big parts as can be written. His comedy has the touch of pathos that makes it great. If Brendel had not been in the picture, there wouldn’t have been a picture. In the dance scenes, the Martian idol dance sequence is great. As usual, there are plenty of punk spots. No necessity to read sub- titles by movietone voice. Picture producers might realize audiences are as intelligent as they are. Plot is a 1980 love story with a rocketplane trip to Mars as the kick. Of the songs, two are hits, “You Are the Melody” and “Never Swat a Fly,” which are in the good old De Sylva, Brown, and Henderson tradition. Former will be the greater hit and will carry on their prestige. EXHIBITOR’S VIEWPOINT: A first class drawing card. Has originality, publicity, and El Bren- del’s comedy. Book it! PRODUCER’S VIEWPOINT: Those responsible for dialogue, scenic effects, d.ances, and tunes de- serve commendation. CASTING DIRECTOR’S VIEWPOINT: El Brendel is bet- ter than ever. Maureen O’Sullivan has wistful appeal. John Garrick sings splendidly. His characteriza- tion is colorless. Frankie Albert- son and Marjorie White are effec- tive as comics. Others in the cast are competent. It is well to say, however, that Kenneth Thomson is too likable to be cast as a villain. Kerr. ‘ROAD TO PARADISE” FIRST NATIONAL PICTURE Warner’s Downtown Case of double identity is again put over to the public. Twin sisters, separated at birth, come together af- ter one has remained in her en- vironment of wealth and the other has become an accomplice to crooks. First National supervisors may believe that one can read another’s mind at will, but is not a worthy device for plot denouement. The scene of Loretta Young clutching her ridiculous talisman to her breast, while she reads her unconscious sis- ter’s mind to get the safe combina- tion is the greatest comedy scene in years. The average audience is not as ~’illible as the producers of this farce epoch. This type of plot must have orig- inal treatment to save it. Unfortu- nately it is lacking. Redeeming feature is very good acting through- out. EXHIBITOR’S VIEWPOINT: Just a program picture, with good performances to make it fair enter- tainment, for the average theatre- goer. Moments of good suspense toward the end, but the opening of the_ picture drags considerably, mainly because of dialogue difficul- ties. PRODUCER’S VIEWPOINT: First third of the picture, dialogue is of such poor quality that any good effect for the film is lost for- ever. Direction is as good as,could be expected, and the moments of suspense at the climax are master- ful in their intensity. Technically, picture is excellent, if it were not for the story and dialogue. CASTING DIRECTOR’S VIEWPOINT: George Barraud gets the laurel wreath of this pic- ture. As the gentleman crook Mr. Barraud gives a suave, skilled inter- pretation, that should make him an established screen player. His tech- nique is perfect. Loretta Young is physically de- lightful and handles her scenes skill- fully. Purnell Pratt gives both hu- mor and suspense in his role of the inspector. Jack Mulhall is adequate but not out-standing. Raymond Hatton, Kathlyn Williams, Winter Hall, Ben Hendricks, Jr., and Fred Kelsey all contribute effective work. Kerr. “SHE GOT WHAT SHE WANTED” JAMES CRUZE PICTURE (Previewed) One of the few nearly perfect screen farces. Not a flaw. James Cruze proves himself a great pro- ducer-director. Dialogue was remarkably well done from many viewpoints. Every speech was individualized to the speaker. No extraneous speeches. Every line advanced action of the play. Dialogue as a whole carried an atmosphere of jollity, which kept the audience in a receptive mood. Scenes in which all characters wise- cracked, have seldom been excelled. Every crack had audience appeal. Plot development is superb. Au- thor created characters, and let them motivate the action, thus achieving a natural atmosphere sel- dom found in farce. Story has tremendous comedy situations. The gullible Manya and her hunt for love with her husband and two boarders, past and present, furnishes entanglements which make one howl. Greatest comedy scene is when Manya is found with the policeman, and the audience thinks for a moment he is husband number three. EXHIBITOR’S VIEWPOINT: This is a jewel among program pic- tures. You should book it. Your audiences will shout with laughter. PRODUCER’S VIEWPOINT: Perfectly produced. James Cruze’s direction proves him a master of motion picture art. CASTING DIRECTOR’S VIEWPOINT: All the cast is on a high technical par. Betty Comp- son and Lee Tracy stand out be- cause they have many great comedy scenes, which they handle perfectly. Betty Compson gives a really great portrayal. Her understanding of Manya’s character is superb. Gas- ton Glass has a hard part. If he had over-played it, character would have been a mess. Allan Hale has never missed, and he is just as good in this. Fred Kelsey gives his stand- ard characterization. Kerr. “THE FOOL” DUFWIN, OAKLAND (Reviewed October 12) Dufwin, once a link in the Duffy chain of Coast legit houses, is now operated by Richard Marshall, Emil Bondeson and J. Nolo Miller. While Oakland legit pickings aren’t the best in the country, neither are they discouraging. Dufwin runs along at a pretty even pace, bringing in a neat investment return for its trio of- operators. Typical of the house’s stock of- ferings is this week’s piece, Chan- ning Pollock’s “The Fool,” with James Kirkwood handling the lead. Despite threatening weather, open- continued on Page 5) RAY COFFIN INTERNATIONAL PUBLICITY 6607 Sunset Blvd. Hollywood, Calif. Phone GLadstone 3201 Join the 22 Satisfied Producers Now Using Our Service and Forget I Your Music Troubles. | SYNCHRONIZING SERVICE :JltiROPOtirsH Studio, Hoilywood Behrendt-Levy-Rosen Co., Ltd. General Insurance Insurance Exchange Building VA 1261 Mfg&gNI Auditions for Stage Talent, every Wed. at 11 a.m. Children’s au- ditions, every Sat., at