Inside facts of stage and screen (Aug 09, 1930)

PAGE FOUR INSIDE FACTS OF STAGE AND SCREEN SATURDAY, AUGUST 9, 1930 Picture Reviews ~ Previews ~ Shorts “INSIDE THE LINES” RADIO PICTURE (Reviewed at RKO Theatre) This is a plot that used to regale the schoolboys of the ’90’s, and no doubt, of many generations before that. Dressed in clothes of the world war, photographed and di- rected nicely, and acted by a pretty good cast, it is a fair piece of en- tertainment, especially for the younger folks. It is the regular spy story, wherein the gal is working for the enemy, apparently, but only ap- parently, and this thought sustains us through the hazards and appre- hensions of the plot until it finally is revealed to us, with well staged surprise, that after all she was on the side of the young man who loved her and was ready to die to save her. .. , , . . That was a beautiful long shot of the British fleet lying at an- chor off Gibraltar, but it did seem queer that even the British would park their big boats right over a mine field where “Wilhelmstrasse No. 54” could almost, but not quite, pull the switch that would have blown them to pieces. However, without that situation there could have been no story, so lets be generous. EXHIBITOR’S VIEWPOINT: Great thrills for the youngsters, with the glamour of war and dan- ger, without any of its horrors, and not a sign of immorality. The spy- gal at no time is threatened with rape as the price of her safety. A safe booking. ,^ TrT , PRODUCER’S VIEWPOINT: Mr Hays will enjoy this, even though the stars and stripes are denied a chance to wave by reason of the conflict being between the English and the Germans. This expedient, however, gave Holly- wood a chance to employ some of its on-hand British talent, and also gave Montague Love a chance to (intermittently) exercise an Eng- lish accent. The result is an An- glo-American holiday. Photography good, Roy J. Pomeroy’s direction Special routines, stage and screen. Tap, toe, ballet, musical comedy, acrobatic, new ‘Heel-It* very fair. We note he gets credit for the screen play also. Good job of casting. , . A naive touch was that of giving all German spies of the male sex a close haircut, even in enemy ter- ritory. CASTING DIRECTOR’S VIEWPOINT: Betty Compson, a violinist again. She does better in this than in the last couple of pro- grammers. The opening scenes prove, though, that studio lights are much kinder than daylight to Miss Compson. Ralph Forbes delivered one of his best performances opposite | Betty. He mikes and acts well, and merits more work. Montague Love made a pretty good English general; a little too democratic and paternal to be ab- solutely authentic, but acceptable enough. His voice is a pleasure. Eyan Thomas, seen a few weeks ago at the President in a “silly aws” role, shone in a serious part as a British officer. Authentic and impressive. Other capable performances were contributed by: Mischa Auer,. a Hindu servant; Ivan Simpson, in- former; Betty Carter, the general’s wife, and Reginald Sharland, dude officer. YEATES. “MANSLAUGHTER” PARAMOUNT PICTURE (Reviewed at Paramount) “Manslaughter” is corking pic- ture entertainment and far above the fevel of recent pictures shown at the Paramount here. Rather than shove in a weak sister like “Anybody’s War” at the United Artists, Paramount run house, > it would have been advisable to stick this one in there for a run with plenty of exploitation, as it is it winds up after one week. It is, from first to last a work- manlike job of picture production packed with the action that has been missing from talkers of late with a fine cast, smart direction by George Abbott and a close adherence to the story of the sil- ent production which was such a hit when released. This is a picture that should hit hard and hold up if properly sold. Here Claudette Colbert gets her first opportunity in a “star part, and she bowls it over, her charming personality and un- doubted technical ability permeat- ing the production with an appeal that is to the intelligence as well as to the emotions. Miss Colbert is one if the best bets on the Paramount roster and if not rushed should prove a strong addition to this studio’s per- sonalities. Frederick March, an- other potent personality on the Paramount list, plays the familiar rile of the district attorney and aside from some .bad cinematog- raphy also click strongly. EXHIBITORS’ VIEWPOINT: Don’t miss this and sell it on the basis of a motion picture that talks but doesn’t lag from too much talking. Director Abbott has told his story pictorially as well as with words and at times cornbines the two for some impressive ef- fects. Another great exploitation slant is the woman’s side of the prison situation. PRODUCERS’ VIEWPOINT: Production execs should look this one over as an example of com- bining the usage of talk with the action and cinematographic story telling of the camera, the film hav- ing several high spots in its treat- ment that are worth studying. Most of the credit apparently is due George Abbott who is listed as both adaptor and director. He looms prominently as an ace di- rector after this highly creditable production. CASTING DIRECTORS’ VIEWPOINT: From minor play- ers to the featured names this cast functioned with a certain zestful- ness and capability in their roles that indicated careful planning of the production. Excellent support was furnished Miss Colbert and March by a large list, including: Emma Dunn, as the girl’s friend; Natalie Moorhead, another friend; Richard Tucker, her lawyer-admirer; Hilda Vaughn, as the maid; G. Pat Collins, the police officer, for whose death she goes to jail; Irving Mitchell, as the district attorney's aide; Gay- lord Pendleton, Stanley Fields, Arnold Lucy and Ivan Simpson, as the girl’s'butler. ^ It reveals all men as being on the make, willing to support women but not to marry them—that is, the rich men, the poor ones cannot afford it—and it is doubly smart for its cleverness in exploiting the things banned by the Hays code o prove the code is right. “Blushing Brides” may bring a few blushes to some susceptible audiences, but is quite unblushing in its presentation of male and fe- ^ * . • « • € • • . CASTING DIRECTOR'S VIEWPOINT: Joan Crawford is developing into a new Swanson. A couple more like this well put her on the dizziest pinnacle of moviedom. Anita Page shows that when she gets a real chance and real direction she can deliver. Doro- thy Sebastian also delivers in a big way. r Whatever male honors are left in its presentation ot male ana le- , taken by Robert Montgomery male relationships and m its ex- ; Mi ' s Crawford. He han- plo.tat.on of the Joan Crawford fcU ^ mod „ tly and with figure. But what it y , . restraint, and the result is polish. gorgeous fashion show, beautiful Hackett, in a juvenile, enough to delight the men impressive, and stunning enough to send the be QUtdone b a score women into audible rhapsodies John Miljan, as a dude h “*d'rpi o „“d <l s ,o .5 slssi r, ln,w d '" i " s “■ b,i " The slim plot and the numerous |appearances. YEATES. FAR EAST SHOW iMAN IS VISITOR “BLUSHING BRIDES” M-G-M PICTURE (Reviewed at Criterion) This is ladies’ meat, a smart piece of showmanship, and spells BOXOFFICE. It plays heavily to the women. fashion parades are so expertly mixed as to maintain interest and develop situation. Without this touch of artistry it would have been just one more super-special on which a lot of money had been spent, but with it, the picture is one to applaud and admire. The plot? Three department store girls, worldly wise in many things. Two of them desperately E. K. Hernandez Honolulu the- tired of the alarm clock. Dorothy atrical man, who also has exten- Sebastian accepts the advances of sive holdings in the Orient and an appartnely rich stranger and Far East, is on a trip to the states marries him, and he turns out to lining up attractions for his vari- be a crook. Anita Page, wooed by 0 us enterprises, and currently stop- a young son of the store owner, ping at the Biltmore here, accepts an apartment on promise Hernandez, who is the operator of marriage and commits suicide of Shanghai’s Coney Island, is when he marries a society girl, well known to those who have Joan Crawford, equally desirous I traveled world tour theatrical of the good things, believes they routes. His current visit here is can be achieved honestly and de- for but a few days, as he leaves cently, and finally wins. for the East soon, but will stop in Thus virtue is shown in the Los Angeles again 'before return- ascendant, which is right and | ing to the Far East, proper and justifies the code. But the audience gets its thrill out of the revelation of immorality, the luxuries of evil, the glamor of temptation and the sensuous lure of the beautiful body. EXHIBITOR’S VIEWPOINT: Surefire. The women will come in great droves and the men will come, too. Boxoffice, and How! PRODUCER’S VIEWPOINT: A very bright feather in Harry Beaumont’s cap. One of the best examples of production seen in many a day, and a lesson in show- manship. Photography was beau- tiful without being too stunty. One made-to-order picture that rings the bell. Reasonably priced— Original scores with world rights for for- eign versions. J Behrendt-Levy-Rosen Co., Ltd. General Insurance Insurance Exchange Building VA. 1261 GILBERT HYDE CHICK KFRC, SAN FRANCISCO INTIMATE SONG RECITALS IOHN MOSS TERRY GREEN WITH FANCHON AND MARCO “BUSY BEE” IDEA THAT NOVELTY ACROBATIC GIRL ALWAYS A BIG FEATURE SANBORN FRED [PANSY] OPENING PARAMOUNT THEATRE, SAN FRANCISCO, THURSDAY, AUGUST 7 THAT INIMITABLE COMEDIAN WATCH THE XYLOPHONE THANKS TO HARRY SANTLEY THE FAMOUS BOY JUGGLER BOB RIPA SAYING “HELLO CALIFORNIA”. A CCl AIMED by CRITICS, ARTISTS and MANAGERS AS THE NOVELTY SENSATION OF THE AGE CAN BE SEEN AT THE RKO, LOS ANGELES, WEEK OF AUG. 14