Inside facts of stage and screen (November 1, 1930)

PAGE FOUR INSIDE FACTS OF STAGE AND SCREEN NOV. 1, 1930 Pictures - REVIEWS - ‘Legit’ ‘THE VIRTUOUS SIN’ PARAMOUNT PICTURE (Reviewed Paramount) Good acting and good dialogue make this better than ordinary pro- gram release. The dialogue is mod- ern with no attempt to make it a hash of foreign dialect—very com- mendable. Story is typical of this type. Woman to save husband tries to seduce General, but falls in love ■with him. But all ends happily. Walter Huston, Kay Francis, and Kenneth MacKenna raise picture from mediocrity. EXHIBITOR’S VIEWPOINT: .Average program release from finan- cial standpoint. PRODUCER’S VIEWPOINT: This one proves that it always pays to get the best actors. Louis Gas- nier and George Cukor give good direction, and the dialogue writers, Brown and Long, deserve praise. CASTING DIRECTOR’S VIEWPOINT: Supporting cast of Paul Cavanagh, Eric Kalkhurst, Ascar Apfel, Gordon McLeod, Vic- tor Potel, and Youcca Troubetzkoy do their work well. Kerr. CHECK & DOUBLE CHECK’ RADIO PICTURE (Reviewed Orpheum) As scenes, presenting Amos ’n’ Andy to their following, this pic- ture is a success. But judged by motion picture standards, film does not hold up. In this case, howevejr, the only criterion should be popu- larity — which will give it high standing. Humor is typcially Amos ’n’ Andy, and the audience liked it plenty. EXHIBITOR’S VIEWPOINT* The dark boys are just as funny here as over the air; you know what that means in box-office re- turns. PRODUCER’S VIEWPOINT: Picture is a piece of smart show- manship and is caoably presented. CASTING DIRECTOR’S VIEWPOINT: Amos V Andy speak for themselves. Rest of cast well selected. “WOMEN WHO TAKE” MASON THEATRE (Reviewed October 27) First legit production by Metro- politan, R-K-0 subsid, which has taken over the Mason, included a combination of very good and very bad spots. First act needed cutting, as does the second scene of the second act. Certain parts are ex- tremely good. Surprise ending clever. Play is exceptionally well worked out. Staging was beautifully done by J. D. Martin Studios. Settings were so well executed that the audi- ence applauded scenery as the cur- tain rose on each act. Act one looked as though an ex- pert interior decorator had fur- nished a beautiful home, and act two had the best set of modern ap- pointments witnessed on the local stage. Stage setting is one field that needs attention in Los Angeles. Metropolitan must be complimented f§r taking this step in the right direction. Morgan Wallace’s character is presented powerfully. Next in ef- fectiveness is Frances Beranger. Irene Rich is charming. Olive Tell drew the biggest hand of the eve- ning for her drunken moment of lecturing the heroine. Winter Hall was good, as was Louise Macin- tosh, Kitty Kelly, William Wall- cott, Robert Stevens, Allen Pome- roy, Wilfred Lucas, Fred Har- greave, Howard Ralston, Kenneth MacDonald, and Lee Shumway—all contributed effective work. Leland Hodgson, as Peter Avery, showed great ability. Kerr. “THE BIG FIGHT” JAMES CRUZE PRODUCTION (Reviewed Pantages Theatre) With one exception, everything about this picture is bad. That ex- ception is some well sustained sus- pense in the last reel. Dialogue of entire picture is abominable. All the old trite phrases are dragged in for no reason. Plot is so melodramatic it’s awful. Noth- ing can be said of the direction be- cause the material is so bad. Act- ing is as bad as the dialogue. EXHIBITOR’S VIEWPOINT: Vile picture—stay away from this one. CASTING DIRECTOR’S VIEWPOINT: Lola Lane was very poor. Guinn Williams good for only this type of part. Rest of cast, consisting of James Caigneau. Robert O’Conner, Wheeler Oak- man, are competent as far as the story allows them to be. Stepin Fetchit works up some great laughs —it was good to see him again. Kerr. such bad material. Lighting and photography, good. CASTING DIRECTOR’S VIEWPOINT: Douglas Fairbanks, Jr., is improving rapidly in his last few pictures. Billie Dove is beauti- ful, but she does not act convinc- ingly. She needs voice and diction lessons. Helen Ware gives the best per- formance. Her characterization of Susie has a depth that marks her a well trained actress. Kerr. “DU BARRY” UNITED ARTISTS (Reviewed United Artists Theatre) Dialogue w’ill keen this picture from being anything but an ordin- ary feature. Direction is good, Photography is good, and the act- ing is excellent, but it does not click. Norma Talmadge has improved her voice splendidly. .Conrad Nagel doesn’t fit in this story because it is out of his line. Costume drama is not his type. EXHIBITOR’S VIEWPOINT: Book it as a good program feature. PRODUCER’S VIEWPOINT: If producers would get competent dialogue writers, it would revolu- tionize the industry. This picture needs it plenty. CASTING DIRECTOR’S VIEWPOINT: Cast exceptionally good. ‘ONE NIGHT AT SUSIES” FIRST NATIONAL PICTURE (Reviewed Warner’s Downtown) A beautiful chorine gives all for the man she loves, and then the ticklish moment comes when there is danger that he will find it out. He does not. And that is the story. If you believe in melodramatic fairy tales, here it is. There must be gullible supervisors at First Na- tional. EXHIBITOR’S VIEWPOINT: No merit in this production. Only publicity value lies in Billie Dove’s following. PRODUCER’S VIEWPOINT: Blame lies with those who origin- ally chose the story and whoever adapted the dialogue. Direction is as good as could be expected with FOX SAN.FRANCISCO (Reviewed Oct. 27) Earl Sharp went himself one bet- ter in arranging a Japanese fantasy for Walt Roesner and concert or- chestra and Roesner conducted it excellently. Medley of Japanese numbers was sold by several tab- leau effects, one with lanterns, and the other with Fujiyama erupting. Elsa Trautner sang one of the tunes in a spot on stage in costume. As a second number, Roesner intro- duced Joaquin Garay who sang “I’ll Be Blue.” Fanchon and Marco’s “On the Set” Idea was behind the footlights. Included eccentric dance numbers by Lamb and Bellet, a very good Apache by De Lara and Lolita, pic- ture cloth work by Brown and Wil- la and singing by Rose Valyda. The Carla Torney girls were one of the cleverest lines that has gone through for F. and M. Hal. PARAMOUNT LOS ANGELES (Reviewed Oct. 30) Jack Partington’s last show for Paramount has good talent, but lacks adhesive gum in spots. The opening with male chorus and Suzette is rather slow—Suzette does a wilowy acrobatic that clicks. Ray feolger gives his nice personal ty to pepping up the show and gags an opening for Everett Hoaglandis Band. Then speed gathers. Mau- reen and Sonny do an acrobatic that wows. Specialties from the orches- tra click nicely. Bolger and Su zette do a good ballroom glide, and then Bolger's legs do his clever weave act. Lester and Carson wow the audience to a fare you well, end- ing the show with a round of ap- plause. Rubinoff is twice as good this week. A nice selection of “Strauss Melodies” with less acting for the audience makes our hat come off to him this week. Earl Abel, new organist, gets rise from auditors with some clever comedy lyrics- to popular tunes. A distinct hit. He should not con- tinue the idea of making audience sing—it is out-of-date. , Kerr. FOX EL CAPITAN SAN FRANCISCO (Reviewed Oct 26) Another feather in Peggy O’Neill’s new and colorful winter hat, using an augmented line of girls in some swell routines and several good acts. Jay Brower, m. c. worked under difSculties suffer- ing with a bum tooth, so he treated the audience to prolonged views of his profile, not giving them a chance to see his bloated cheek. The tooth, however, didn’t stop him from carrying off the opera, as is his usual custom. Jelly Bean Johnson was spotted early, sang a comedy parody on “Sonny Boy” and then into his familiar hoofing routine. Barton and Young clowned around in a line of gags for okay returns. Three Phantoms, reduced to two, when one didn’t put in an appearance, all week long, scored with a whirlwind tumbling act. Joe and Frank O’Leary teamed to sing “I’ll Be Blue.” The 24 girls did some ex- ceptionally good work. Mel Hertz was at the organ aided by Bobby Garey, juve singer, and the pair mopped up. RKO GOLDEN GATE SAN FRANCISCO (Reviewed Oct. 22) This was second of RKO units put together in New York. And it looked it, being well balanced with just about everything needed for a great unit. Show was augmented by Eddie Quillan, from Hollywood, to appear in conjunction with his Pathe pic- ture, “B : g Money.” Jack McLallen, with Sarah and Tony Labriola closed, putting over one of smoothest and funniest com- edy turns yet. Joseph E. Howard, in the third groove, had a flock of his own tunes, which customers heartily ap- plauded. Howard worked at the piano, while Mary Olcott sang some of the numbers and warbled several of them himself. Topped the act by doing “OF Man River,” in high- ly dramatic style. Johnny Hyman was another big laugh getter, his feats with words and letters on a blackboard proving a hit. Four Peaches and a Jay opened. Act embodied some great dancing by the male and a tall blonde girl, who did mighty fine acrobatic work. Claude Sweeten and RKOlians contributed a Spanish overture, in which Sweeten did a neat violin solo grabbing off a lot of applause. Bock. MILLION DOLLAR THEATRE LOS ANGELES (Reviewed Oct. 28) Third week of Jack Laughlin’s creation at the Million Dollar was Sullivan Sisters, Dot Roberts, Ray Williams, Harry Cody, Mae Mc- Crea and Paul Gordon. The Three Brown Budd : es also added much. Singing and dancing all through the show, with the chorus doing its share. Bob. HIPPODROME THEATRE LOS ANGELES (Reviewed Oct. 26) Ed and Stanley, two men, offer novelty routine of hand to hand balancing, well received. Mickie Green, next, gave clever songs and dances. Edith York & Co., man and woman, offered a nice little novelty act. Chrissie and Daly tendered a novelty trick with clever dog. Rydeen and Marr, one straight the other comic, have a lot of fast hokum comedy. Chas. and Mayme Butters have new and orig- inal tricks that stand out. Bob. HIPPODROME THEATRE LOS ANGELES (Reviewed Oct. 22) Lestourners, man and woman in full stage opened with novelty stunts on rings. U. S. Thompson, colored, did routine of dancing and songs. He stopped show. John and Mary Owens had good com- edy. Sedel Bennett got her audU- ence at once with songs and com- edy. Morro and Yaconelli, two men with violin and accordion, of- fered fast comedy. Harris Trio closed with routine of novelty ac- robatics. Bob. DPE55 YOUR THEATRE OR YOUR ACT WITH THE FINEST AND MOST ARTISTIC ENERY"® DRAPERIES DESIGNED MADE UP AND PAINTED BY THE LARGEST AND MOST EFFICIENT STAFF OF SCENIC APTIST5, DESIGNERS AND DRAPERY EXPERTS IN AMERICAS LARGEST AND MOST BEAVTIfVL STUDIOS Los Angeles Scenic Stvdios Inc ill HI FFiuATtD with Chas f Thompson Scenic Co. IS 1 ?” 1 1215 BATES Av^E. AT FOUNTAIN AVE. NEAR SUNSET BLVQ, " nOLLYWOOD 1 a DROP CURTAINS PICTURE SCREENS PROLOGUES CINEMAS STAG & CYCLORAMAS ASBESTOS CURTAINS 'Phone OLympia.2914 >ue Effects^ settings ™ the modern stage UNUSUAL TABRIC5 L DRAPERIES TAPESTRIES -WALL HANGINGS MURAL DECORATIONS! NOISELESS CURTAIN TRAVELERS OPERATED BY REMOTE CONTROL ¥ SEATTLE (Reviewed October 24) Balance much in evidence on this vaude program, booked by Joe Daniels in Portland. Buddy and Peggy Bremen open the bill in two before a special drop. Routine of ladder-balancing with team garbed a la Robin Hood, takes well. Tricks are well execut- ed, with a few laughs interspersed. Turn is titled “Laffs and Trix.” Deucer is, filled by Ernie and Dolly Burke, standard ropers who have a snappy line of chatter mixed with their lariating. Plenty of showmanship and a well-dressed turn, capable of putt-ng duo across in any company, mark this effort. Don and Linda Ridley, a person- able young fellow who sings wjll and plays several instruments with equal dexterity, and a sweet looking gal who shakes a mean hula and sings a pretty blues number, were in one to hold the third spot. Kids irot across nic-' but could routine their stuff a little snappier. Charles and Grace Keating, standard turn, are next to closing with “Their First Love.” It’s a “Huckleberry Finn” opus, with the boy slaying ’em with a group of songs. And when he sings that mother ballad to close the act, he drives the femme to tears. Grace is good to look at and speaks her lines with class, but it’s the boy’s act. They work in full, special scenery, and retain all the class that made the turn one of the stand- ard Keith acts of former years. Plenty classy for this 35c spot. Don Smith deserts his radio job in Portland for a week to head the “American Revue” closing the bill. Smith’s effervescent personal- ly and resonant tenor goals ’em. With him, Don presents Mack and Ann, adagio team, best feature of which is the girl’s acrobatic work. The De Cecilitos, society dancers, are on for two turns—an exotic black shake Argentine Tango, in which the boy displays some clever work with the whip, and a fast whirlwind routine that’s neatly ex- ecuted. Act is all Smith’s and he sure knows how to sell his stuff. “Worldly Goods” on the screen, completed the bill.