Inside facts of stage and screen (November 29, 1930)

PAGE FOUR NOV. 29, 1930 i INSIDE FACTS OF STAGE AND SCREEN 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. TOM SAWYER PARAMOUNT (Reviewed Nov. 27) No human, whether he be Chi- nese, Hoboken or Canadian, will fail to enjoy this picture. Perhaps everyone has read Tom Sawyer, but certain isolated out- bursts in recognition of high spots in Tom Sawyer faithfully repro- duced, voiced the fact that many hadn’t. It doesn’t matter. The laughs, the interest, are there. It teems with that which we need so badly in pictures—-human interest faithfully recorded. EXHIBITOR: Don’t book this for children. This is an adult pic- ture. The kids will like it, but they won’t get the wealth of entertain- ment from it that dad and mother will. DIRECTION: John Cromwell shall be sculped and bas-reliefed in the Hall of Fame for this. Success of this picture was in the director’s lap. Coogan, Durkin and Green are clever kids, but it took direc- tion to make them so'. SUNNY WARNER DOWNTOWN (Reviewed Nov. 26) “Sunny” has too much reputation for the amount of inspiration put into its production. It cannot pos- sibly reach the heights it’s exploita- tion is compelled to give it. Look at those names: Warner, Ziegfeld, Seiter, Marilyn Miller, Laurence Gray, Joe Donahue. It should be a smash. That’s what the public will be told to expect and will expect. They’ll be disappointed. It is just an average musical. EXHIBITOR: “Sunny” could have remained in the shade until af- ter Christmas and fared better. There is no doubt that the book and lyrics for this cost dough. The Exhibitor is going to pay for it. How he is going to get it back is a problem. CASTING: Marilyn Miller is not the “Sunny” type. Joe Donahue acts. And a drunk is never funny when his staggering is timed. Lau- rence Gray was only member of cast who fell into the natural, easy grace of delivery that sells story. NOTE: Comedy horsebacking by Joe Brown, then Winnie Light- ner, now Joe Donahue in “Sunny.” We have automobiles, you know, and rocking chairs. SEE AMERICA THiRST RKO THEATRE (Reviewed Nov. 27) In this teaming vehicle, Langdon and Summerville click. It is bur- lesque in true burlesque style, but the big laughs are on the wrong end. The picture closes weak, but the windup doesn’t detract. The comedy is hilariously funny and it can’t disappoint. EXHIBITOR: Spot this at a time yhen you don’t ordinarily ex- pect business, and you ought to get as a side-splitter. , DIRECTION: Very good. Mr. Craft has deminstrated a true sense of burlesque. This man’s ability should be encouraged. There are too few pictures of this type and a howling need for them. CAST: Splendid. But why the close-ups for Bessie Love. Medium shots, please. PRODUCTION: Very nearly touches the excellence of “Just Im- agine,” artistically and mechan- ically. RENEGADES FOX THEATRE Loew’s State Theatre (Reviewed Nov. 17) The Fox Corporation should be cited for achievement of first qual- ity for assembling the units that are responsible for “Renegades.” Are all of the laws of good enter- tainment observed? I’m not asking you, I’m telling you. Consistency marks this as an essence. It has been many blue moons since a pro- duction of such all ’round excel- lence has found its way to the screen. Glancing back I recall two specials that went into the millions on the cost sheet and the premiere sent the audience out and home- ward sideglancing dubiously and askance. “Renegades” cost many hundreds of thousands less, brought cheers, applause and tears coursing down the cheeks of the payees—at the supper show, if you please. Pausing in the foyer my ears caught the unrestrained approval; very audible and at times voluble was the commendation. Even the most reserved and reticent were outspoken in their pleasure over the picture. Needless to say the writ- ing and direction were together on this script and the sense of enter- tainment value proficient, efficient and well grounded. Here is ex- pressed collaborative effort of a high order. The cast needs no eulogy. Selection of each perform- er must have been carefully and thorough and with a trained eye. Their work in this picture best de- scribes their artistry. George Coop- er saying “I love the Legion.” No- ah Beery’s German dialect; his ve- hemence and plasticity. Myrna Loy, exotically shaky. Warner Baxter, dominant, forceful. The fadeeut where Loy plugs Baxter when he is already dying. High spots. It abounds in them. Mr. Exhibitor give this everything you’ve got. “Renegades” is a ten star product. It classes. Ted. “MOROCCO” CHINESE, HOLLYWOOD (Review Nov. 25) Story of this picture, even if the continuity was understandable, is very ordinary and stereotyped, and we cannot understand how a man of Josef Von Sternberg’s reputation as a director would pass on a story like this, to put over a star. The way they'plastered this star’s name, Marlene Dietrich, over this locality, would handicap any great actress. Marlene Deitrich is oust another very good actress and was given her first bad break with this story, “Morocco,” and if it wasn’t for the masterful direction of Von Stern- berg, she would be just another for- eign actress gone wrong. The story left too many things for the imag- ination. Gary Cooper plays this terrible part admirably. Adolph Menjou is most delightful and ever suave. Francis McDonald stands out im- mensely in the sargeant role; as REVIEWS does Ulrich Haupt in the Adjutant part. It’s a good picture for about 50 cents net. Bud Murray. “TIGER—BERLIN” FILMARTE, HOLLYWOOD (Reviewed Nov. 21) Outstanding feature of this Ger- man film is the uniform excellence of the cast. There’s not a false note in the production, for which 'credit should go to Johannes Meyer, director. As a shudder film it has not the punch of an American mys- tery. Might also criticize some of the harsh Berlin dialect. Discovery of the “Tiger’s” iden- itty goes over for all it’s worth. This brings picture to an abrupt end. More love interest would help gain sympathy of audience. First mention for smooth all around performance should go to Max Maximillian as the innkeeper. Charlotte Susa discloses a voice re- splendent with appeal, her diction outstandingly good. Harry Frank handles leading role in adequate manner. Trude Verliner, enter- tainer at the inn, has plenty of “t ” Vi. Legit MICHAEL AND MARY EL CAPITAN, HOLLYWOOD (Reviewed Nov. 26) “Michael and Mary” is a delicate and impossible piece. Head held high, eyes that blaze with the cour- age that burns in make believe, se- cure from the rigid dictum of ’law, safe in his study, A. A. Milne, de- fies the conventions. His principal character, Michael, sensitive author- soul, offspring of a clergyman father whose totems shiver at the mention of anything clandestine, manouvers a proud but poor and de- serted daughter of misfortune into bigamy. This duo, Winter and Duffy, are exquisite artistes. There must be a high grade of mutuality in their partnership. Much credit for the success of this piece goes to direction and casting. There were Roberts, Daw- son, Scott, Clare; how well timed their delivery. Here was blend and feeling. , Why didn’t the same iniative and mastery asserting itself in direction and casting do a little scissoring on the script. They have taken liber- ties with Shakespeare. Milne is not so sacred. Ted. INFINITE SHOEBLACK CIVIC, HOLLYWOOD (Reviewed Nov. 26) Norman MacOwan’s theme play is built on a quotation from Thom- as Carlyle’s “Sartor Resartus.” Vague and dreary, it depends upon performance to achieve significance. A student at Edinburgh ex- changes exam papers with a stu- dent who will fail, sacrificing prin- ciples for the man’s money. This he uses to send a girl to Spain to recover her health. Two years la- ter they meet and marry. The play ends with the girl’s death, beaten in the effort to rise above her own na- ture. Murray Kinnell, as the student, draws a strong character in a sin- cere and artistic manner. Olive Meehan, in the role of the girl, with beauty, intelligence and restraint, molds the part into a living woman whose problems are vital. Daisy Belmore appears briefly, offering an excellent piece of character work. Others in the cast acquit themselves well. THE JAYWALKER PLAY SHOP, HOLLYWOOD (Reviewed Nov. 27) Ralph Herman’s outfit deserves credit for putting across a “little theatre” that does justice to its am- bitions. This play is too old style to be of importance. Lydia Knott gives a sincere and beautiful per- formance. Charlotte Young is pep- py. Charles Bruins dominates scenes when he exercises his fine personality. Others are effective. Vi. HELLO EVERYBODY MAJESTIC, L. A. (Reviewed Nov. 27) Jack Russell, with his own brand of comedy, went over with a bang at this initial showing. The musi- cal comedy presented is ideal for his type of smart work, and from the start gained at this show, there is every indication that Russell will score a long run at the Broadway house.” The Russell cast is ideally suited to musical comedy of the kind re- quired on Broadway, an entirely different style than the musical comedy of Main Street, where bur- lesque must rule. Cast includes Evelyn DuFresne, Florence Spurrier, Garrett Price, George Stanley, Jackie Brunea, Ted Ulmark, Naomi Edwards and some others. Business at the Majestic had dropped to nearly nothing, until Russell came in. The show is bol- stered with ' a movie, which acts more as a filler than a draw. The stage show got the crowds. ^ v Jack. ) FOLLIES SEATTLE (Reviewed Nov. 25) Will King, long an outstanding figure in Seattle theatrical circles, made a come-back after a year’s ab- sence and from the reception tended CAST IN SPIDER Marguerite Churchill will next be seen in Fox-Movietone mystery, “The Spider,” with Warner Baxter. Henry King will direct. him and his capable company the answer can be found in four words, “Long live the King.” Material for his first proudction, “Montmarte Madness,” was up to date stuff and went over in great sytle. Jack Laughlin can be credited with some of the finest stage direction seen here in a long time. His girls are fleet, good to the eye, and intelli- gent looking. Apache dance with Don James and Camille was well done. Alisar du Marquee and Moreno went through their paces in a burlesque of the apache to good returns. Co- lova then scored with her acrobatic terpischore. Will King entered amid a tremen- dous ovation, and after a curtain speed goes into his antics with his new and well-dictioned leading man, Willard Hall. Jimmy Blair and Helen Mann add a tinge of sweet personality with a few harmony strains on “Exactly Like You” and a few catchy dance steps. Willard Hall acts as mic. Oxman. Presentations F. & M. MOORISH CHINESE THEATRE (Reviewed Nov. 25) Fanchon & Marco, with assist- ance of Larry Ceballos, have staged the best atmospheric prologue since Sid Grauman quit staging these things. “Magic tricks,” are many. A man drinks a gallon of water, slowly eats a pound of almonds, and talks a bit, then out come the almonds one by one, and at last the water is spat out in a steady stream into a tank. Only real outstanding “class” act, which smacks of “Broadway,” is Marietta,” a beautiful acrobatic dancer, who makes an entrance on a camel, and uses plenty of show- manship before going into one of the. neatest and most artistic acro- batic dances we have seen out this way. " Difference between this prologue and sonie of Fanchon and Marco’s Ideas, is, that they spent a lot more on costumes and scenery on this one. Ben Hassan Troupe gave their usual smashing whirlwind finish which never fails. Fifty people on stage for the presentation. Bud Murray. OH BABY FOLLIES PARAMOUNT (Reviewed Nov. 27) Stage Show—presentation if you TU 4749—MU 9661 D A N C I N G Swagg er Inn + + + E N T E R T A I N M E N T Art Varian Master-Ceremonies | 719% S. 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