Inside facts of stage and screen (November 22, 1930)

PAGE FOUR INSIDE FACTS OF STAGE AND SCREEN NOV. 22, 1930 Pictures BLUE ENVELOPES Blue envelopes indicate that a review has been mailed direct to the maker of the picture, with comment on selection and con- struction of story, direction, casting and co-ordination. FAST AND LOOSE PARAMOUNT FEATURE (Reviewed Nov. 17) Was the cast in this opus stage or screen? Who cares? Here is one of the outstanding comedies of the season. Casting, direction ana performance were so sublimely artistic and effective at no time was the audience conscious ol screen or stage entertainment be- fore them. The illusion of reality was flesh and blood and good warm human beings in the aud.ence midst. Inter- est was at peak from the first en- trance. Laughs came spontaneous- ly, heartily and deep. Murmurs and nods of approval marned tin. exit of the customers into the night air. The director of “Fast ano Loose” deserves a Croix der Merite. The entire technical divi- sion should be decorated on the corner of Hollywood Boulevard and Vine Street and from there on every corner clear to Beverly Hills The cast was flawless; should be held intact for a heavier medium; one offering more vital conflict, more universal theme. It is pos- sible for this cast, making no ex- ceptions, to make of a story of depth, an epic. In assembling these performers the casting director was either a genius or favored by the gods. The writing staff or who- ever headed coordination between staff and direction knows values and how to blend craftsmen par ex- cellence, and the Paramount Cor- poration should study closely the element that obtained for so much efficiency from the construction gang. The exhibitor should spend twice the usual appropriation for exploiting “Fast and Loose.” It will return to him double-double in good will. He should mark this picture for a return. It rates high in entertainment. It goes into the honor ranks and this reviewer awaits with skepticism a light com- edy that will top it. THE GORILLA WARNER BROS. FEATURE WARNER’S DOWNTOWN (Reviewed Nov. 16) PRODUCER’S VIEWPOINT It’s in the BLUE ENVELOPE mailed direct EXHIBITOR’S VIEWPOINT There is so much that's all wet with this production that it is fu- tile to try to adequately cover it. It is a market discredit to the gen- eral excellence of the Warner Bros, output. If you can duck thi‘ one do so. It will hurt good will if you play it. The exploitation value of the title and what is left of the attraction power of the stage rep- utation of this play is minimized five minutes after the picture ap- pears on the screen. It hasn’t even the saving grace of brevity. Not worth spending window cards on because it will do the theatre more harm than good. CAST; Joe Frisco is a revue co- median and belongs there exclu -ively. His past and his future lie n that direction. Audience con sciousness or camera consciousness call it what you will, Joe has it when he faces the lens. He is very 'unny oa the stage. One of my fa vorites, but distinctly out of place on the screen. He cannot seem to ieil into a definite character and character is of major importanc'- m screen work. The capacity of thr rest of the cast is sadly dissipated in somebody’s failure to blend their •oices. The gentleman handling the colored servant role walke'’ away with the laughs. He should be seen oftener. —Price. Presentations “MOONLIGHT REVELS” Loew’s State (Reviewed Nov. 20.) Gene Morgan’s s.a. box office ap- peal was evident at the opening show today when a packed house greeted the suave comedian with a salvo of applause that had to be checked before the show could start. There’s no doubt as to Moron’s ability to pull ’em in here, and not a shadow as to his ability as an in.c. of the smoothest order. He clowns, hoofs, and builds up as he works with an ease that some day REVIEWS soon will find this boy in the top notch class on Broadway, N. Y. He got all that it takes with plenty to spare, standing out as one of Marco’s ace showmen. There’s a nifty-looking fem plant working with him who can move in .he same class. Patsy Boland is planted as a dumb admirer of the green-hatted comedian who steps up over the foots and unleashes a Drand of gag material with him that is a riot for belly laughs. She put across a couple of ditties that clicked. As to “Moonlight Revels,” Larry Ceballos has another clever offering for the west coast producers. Com- pany includes the Three Melton Bros., an outstanding acrobatic trio; Arnold Grazer, with his statue toe number; Geo. Broadhurst, of- fering a drunk bit with Madelaine, and last, but by no means least, Freda Sullivan, a cute kid who leads the eight boys and girls through their routines. Two of the boys from the line step out with nifty specialties. Opens with Freda Sullivan in a song and dance introductory bit, "Funny Little Face,” that brings on the line of gals, whose costum- ing deserves a word of praise. They hoof through okay with Freda topping it off with a clever tap routine that gets the show away to a good Start. The two boys clipped in here with a neat eccentric tap that was well put over for laughs and ap- plause. Then Morgan again ... gagging for a load of laughs with his gal plant. This is the smart type of stuff that clicks here and the pair deserved their well-earned bows; they work well together and the gang here will be looking for more of this clever material. Freda and the boys, dressed as cats, offered another snappy rou- tine in fast tempo that included several of the older tricks, but nev- ertheless clicked. A floor roll fin- ish and high kicks by the fem were the highlights. Morgan's orchestra monologue was good for a load of laughs that followed and was topped off with Gene going into his familiar shuffle, another sure fire bit. The evening dress line-up of the a " . B. B. B. Says: • • • • R\Y MAYER writes and sends regards . frrn* .the .fallowing tw*«der« ? FR * WKIE RTCnARPS n N STD TARRY, BIT LY SNYDER. TUCK & CORDON. NAT SPBCTOR be- ing honored F"TO*Y NTTB— HARRY VFRNON Toe-day N T TE—lo^k* like old time*. CENE MORGAN b«rk at the 8ta*e. JACKTE 08TERMAN at the Arr-kay-oh. P. S. — Thd Cellar is at Cosmo Street and Hollywood Boulevard . . . between Vine and Cahuenga . . . the phone numbers are GRanite 3582 and HOllywood 9159 . . Parking i is free at the lot across from the CELLAR ... The CHRYS- LER and SAMSON are there. , Thank You. •h THE INTERNATIONAL TRIO Iris Luncheon Trio—1 to 1:30—K. F. I. MARION FRISCH, Plano; VIRGINIA ROSE, Violin; HERBERT KLEIN, Cello RADIO —STUDIO — SOCIAL FUNCTIONS For information call—HOllywood 0237 Walter Trask WANTS STANDARD ACTS and ENTERTAINERS for THEATRES, CLUBS, LODGES and SMAROFF-TRASK PRESENTATIONS WALTER TRASK THEATRICAL AGENCY 1102 Commercial Exchange Bldg. 416 West Eighth Street Los Angeles Telephone TUcker 1680 girls and boys was a pip for smoothness with the couple of boys again stepping out for another clicking specialty. Then Arnold Grazer. Through- out the entire show he’s been posed as a Roman gladiator done in gold on the lamppost set at the side of the backyard scene and when he steps to the stage for his number there’s a rousing hand for his effort that grows to a heftier one as he goes into his toe dance. Grazer has been through here several times heading various “ideas” and his vyork is always -ne of the out- standing bits of the production. Three Meltons next, a standard vaude acrobatic trio that wowed the house with a sensational dis- play of hand-to-hand work. Tricks are new, with the somersault leaps from high stands bringing salvos of applause. Geo. Broadhurst, assisted by Madelaine, a good-looking fem, went into his drunk bit that was chock full of laughs, Madelaine clicking with her song bit. George has a neat offering that includes a one-man trap bit. Neat stuff and surefire. The witch number with the en- semble closed the “Revels,” which will class with the “Espanola” Idea as being another smash hit for Marco. Line work is great, with a little blonde on the end that shines with class. Babi. PARAMOUNT STAGE SHOW Los Angeles (Reviewed Nov. 20th) The opening performance was greeted by a packed house, leading us to the supposition that “in the flesh” entertainment is more ap- preciated now than before the ad- vent of talkies. Earl Abel, at the organ, got the performance off to a great start with another one of his now popu- lar community sings. We didn’t think it possible to make those Sixth Street audiences loosen their vocals, but now doff the bonnet to Abel. Stage show was “Ole Virginny,” a Louis McDermott production that featured Slim Timblin and com- pany, Pauline Gaskins, The Cali- fornia Crooners, and the Mary Read Tiller Girls. Show opened with a plantation setting and a Miss in a portrait frame singing “Carry Me Back To Old Virginny.” Then a silk over- ailed boy displayed some difficult acrobatics and off-rhythm tap. Slim Timblin on for a laugh- getting dialogue with one of his company. Then the line girls did a cute routine to “Ragamuffin Romeo," featuring some neat leg work that brought a well deserved hand. Next the “California Crooners” crooned their way to a hand with good arrangements of “Sailing On a Sunbeam” and “Bye-Bye Blues." A little more attention to the lyrics would help. Again the Tiller girls, this time for a rope-skipping routine that got a far better-than-ordinary hand for a line number. Pauline Gaskins had complete charge of the “public” with a splendid vocal and high kick num- bere that brought excellent results. Slim Timblin’s sermon out of a telephone directory was in every sense of the word a “masterpece.” It has been many a moon since we’ve heard the Paramount audi- ence break down so completely with belly-busters. He was forced to encore with a “wow” of a mar- riage ceremony with the aid of his two assistants. The only thing hat stopped him from tieing up the show a second time was the begin- ning of the show’s finale. Finale started off like all good finales but dropped interest with a reasonless “Wedding March.” Though inclined to drag in spots, “Ole Virginny” is good. A good in.c. would without a doubt cover ■tp the dragging tendencies. Slim Timblin is an ace laugh-getter. PATRICK MARSH (AGENCY) VAUDEVILLE—ORCHESTRAS WANTED! 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