Inside facts of stage and screen (February 21, 1931)

INSIDE FACTS OF STAGE AND SCREEN Page Four Saturday,. February 21, 1931 SIf TIN’ WITH THE PUBLIC By TED PRICE KISMET WARNER BROS. PICTURE (Reviewed Feb. 17) This lavish piece of oriental magnificence is going to inspire a lot of exclamation points. It is easily one of the most splendifer- ous bursts of technique from the architectural viewpoint that has reached the screen in many years. It cost plenty but the gasps of awe when those Bagdadian inter- iors, minarets and mosques open to view may be converted into healthy word-of-mouth. The story of Hadj, the beggar, is familiar to all, and Otis Skin- ner’s years of road-showing it in the flesh will be so much velvet for the screen version. There is evidence of this when Hadj dis- possesses the beggar. The gem he utters has found its way into the classics: “To the Caliph I may be dirt, but to the dirt I am Caliph,’’ and many in the audience could be heard repeating it with him. Kis- met has flavor of history and tra- dition: a standard volume. Skinner’s acting is flowery and bombastic but well. suited to the glamorous character he portrays. As a rascally romantic, murderous, fawning beggar who thanks Allah for everything his acting is suited to the role. A rib-tickling surprise is the discovery that one of the obese and bearded bazaar keepers is Ford Sterling. He romps through his brief bit in the old Keystone manner for plenty of laughs. Lor- etta Young and David Manners are sadly out of place in this story. They are not oriental. Mary Dun- can graces the harem with a per- sonality that is. Performance, though, is splendid on the part of all. Sydney Blackmer has been seen to better advantage. Edmund Breese as the highwayman is con- vincingly real. John Francis Dil- lon directed. THE DEVIL TO PAY UNITED ARTISTS THEATRE (Reviewed Feb. 13) This is a one personality picture. Ronald Colman and nobody else figures. When he isn’t on the screen you’re hoping he will show up soon. Everything in the pro- duction was class. The story mounting, and cast were iselect, de luxe, ultra-ultra and then some; but they, it, and what have you, melted into the background like a snowball in hades when Ronald Colman swung into the picture. This guy obliterates personalities like an eraser. How this suave and*»polished knight of the quiet and forceful manner dominates the running is something for the chat- ter sisters to write home about. Every- element of interest sub- merges to him. I believe that he is the only- star on the screen who combines flippancy and sophistica- tion to the taste of both the mob and the intellectuals. It would not surprise this re- viewer if Colman hangs up a box office score with this “Devil to Pay.” Something for the he-men stars to shoot at. Its sophistica- tion and hefty vocabulary may be slightly against it, but the Colman personality makes up for said de- ficiency. At times the dialogue will be puzzling to the dumbdoras, but there are many bright mo- ments understandable to all. There is one sequence where he is at- tracted to a terrier in a pet shop window. The pup begs to be taken. Colman has but twenty pounds to his name and the price of the dog is fifteen. He finally succumbs to the little fellow’s beseechings and tosses the bankroll. The pathos sinks deep. The Colman magnetism, charm, far-reaching and effective is this feature’s sole appeal. Everything is subjective to it. It will make dough anywhere, providing ' the asking price isn't too hefty. INSPIRATION LOEWS STATE (Reviewed Feb. 12) “Inspiration” is every- bit of just that. A more suitable vehicle could not be desired for the Gar- bo personality. It has both mass and class appeal and outside of two slightly far-fetched bits of di- alogue and action it gets across with a punchful realness. Just two flaws which can be easily over- looked because of otherwise mas- terful treatment and handling. One error was Montgomery cracking that “he was different than those other men—he had never been in love before. ’ The dialogue tailor mislaid his measure on that one. The other was Garbo writing a farewell note and slipping out of Montgomery's life with him asleep in a chair. It was broad daylight. However, she could hardly have left him in bed—there was already too much of this story traveling the forbidden road—so broad day- light .was excusable. Barring ex- ceptions noted, this story okay for everybody concerned. This is, of course, a typical Gar- bo vehicle; a woman loved by -many men but loving only- one, yet it repeats with a clarity and forcefulness that gives it new sparkle and vitality-. Marjorie Rambeau pulls some nifties highly- appreciated by the clientele. Mont- gomery- has ■ magnetism that would hold a Sapho. Garbo literally grovels at his feet but y-ou hear women in the audience saying: “Who wouldn’t?” Karen Morley, a newcomer, does some tasteful and intelligent acting as the sweet- heart of an old roue. The roue was Lewis Stone. Get that. And he did it to the femmes’ approval. There are many high and bright spots in the acting and the story holds the payees hushed for the entire running., Direction by Clar- ence Brown, was intelligent. There was one sequence ingeniously laid. Stone is climbing the stairs to the flat to ease himself gracefully out of his sweetie’s life. The many flights up are subtly impressed. When he comes down again the sweetheart is lying crumpled on the sidewalk at the bottom of the steps. Judith Voselli and John Miljan have major supporting roles and plenty- up to them. The casting throughout is capable and presents plenty of box office. “Inspiration” should pile up important coin and probably will. STOLEN HEAVEN PARAMOUNT THEATRE (Reviewed Feb. 12) Being the essence of fantasy, this picture will appeal. Carroll and Holmes put across a convincing performance. With the exception of a far-fetched bit of altruism in the gambler giving the kid $20,- 000 to save him from a stretch one can find little to complain about in this opus, that is, for the nature of it. A boy- holds up the watchman in the factory where he works and gets away with $20,000. Stunned by a bullet, he wanders into Car- roll's hands, who, down and out is on the pickup. She saves him from the coppers and then comes the pact lo live and love and laugh until the money's gone when the boy will check out the self elimina- tion way. He knows he will never be able to come back to the sordid existence he endured before he lift- ed the dough. When the money has been spent he and the sweetie find themselves in love and other ways are sought to save the boy. It plays far more interestingly than it reads. Dialogue at times is racy, and one bedroom scene is just about as intimate as the scis- sor wielders will allow, One ad- mirable quality is the artistic way- George Abbott keeps the conse- quences of theft in the foreground of the story- without seemingly do- ing so. His gambling scenes were Sadie Halperin Theatrical Agency GIRL REVUES—SINGERS—DANCERS— VAUDE ACTS FOR ALL OCCASIONS 808 Warner Bros, Downtown Bldg. Telephone VAndike 3234 built up with a proper sense of their place in the story. Louis Calliern was a fortunate selection as the proprietor. He plays the third important role. There is very- little for qny of the supporting cast. Outside of the featured people one sees little of Edward Keane, Joan Carr and G. Albert Smith, who handle their meagre assigments capably. Jo- seph Crehan has long been shaping for better parts but gets little more than usual. On the w-hole, the picture can- not be figured as a prominent coin getter. Although sympathy- and suspense is well sustained there doesn’t seem to be the vitality and wallop of previous Nancy Carroll pictures. It will add very- little to her personal following, but she needs little. On the whole, it is capital entertainment but headed for the split weeks. OTHER MEN’S WIVES WARNER BROS. PICTURE (Reviewed Feb. 14) A railroad yarn with a class cast and exceptionally- fine photog- raphy-, but a story that limps on the last lap. Marquee label that will draw coin, a continuity that builds interest like a bedroom scene but a last sequence that hits plausibility a foul sock below the belt. If this is aimed at the conduc- tors and flagmen it will get plenty of praise for three-fourths of its going. The theme is well handled that far. It hits close to home, this other men’s wives thing. But when the hogheads see that blind engineer feeling his way through a maze of tracks, box cars, switch frogs and turntables at night in the rain and finds the right engine among a hundred, the producer will go on the carpet. So much for the story- . William Wellman did an admir- able job of directing all the way. He keeps a suspicion and fight se- quence between Grant Withers and Regis Toomey- at a tension that uitdies interest high. Skillful han- dling. Wellman deserves better stories. He is a meg artist who deserves his rep. Janies Cagney has little , to do. but he does that to the mounting satisfaction of all. One of these day-s he and Regis Toomey- are going to fall into a story that will give them coin value in the Ed. G. Robinson class. They deliver a manly and personable perform- ance and are representative of types that offer wide appeal. Fred Kohler and J. Farrel McDonald have lean parts but hold them up like stanch- ions in a storm. Mary Astor is well cast, revealing a mood and feeling for her role that registers effectively. Strength of this picture lies in good casting and a compact, con- cise delivery-. A far-fetched piece of imagination at times but dra- matic and chock full of interest. Word-of-mouth may be medium, but will not harm good will. MANY A SLIP RKO HILLSTREET (Reviewed Feb. 12) A good box office y-arn unnec- essarily- and overly slap-sticked. An indelicate situation with direct- or and cast so scared of the cen- sorial shears that at times it ap- peared like a rehearsal with every- body listening for the house de- tective to break down the doors. It gave the appearance of a tick- lish assignment for every-one con- cerned. There was a frenzy to get laughs that would cover up the thought. Everybody sheepish and apologetic. This cluttered what otherwise might have been a smooth running performance. Most of the picture’s value lies in the situation and title. It will be great word-of-mouth for those huddles in the lady’s room. Joan Bennett, suffering inferior- ity, meets Lew Ayres, who stag- gers under a non-marriage com- plex. A sophisticated room-mate has pumped him full of it. He pro- tests wooderily that he is not the marrying kind during a bashful seance with Bennett. They do a fascination clinch on the bank of a stream and take a wetting. Dry- ing their clothes in a deserted cabin they succumb to the natural impulse following which Ayres’ conscience bothers him. He in- sists on doing the right thing, not knowing that all is oke. The girl marries him, and, looking forward to a blessed event that isn’t in the cards, Ayres fills a closet with kid toys. Through nosy relatives, he learns he has been misled. He walks. The same meddling, in- laws give those who slipped a common enemy. The news that the “blessed event” will materialize brings them together again. Honorable intentions were the motif. Fear of the censorial scis- sors was needless. Nothing delib- erately illicit. This factor should have been vigorously rubbed into everyone assigned to the making of this story. The desire to cover the indelicacy was a phase of the handling that spelled kack con- sciousness. “Many a Slip” had all the texture of a fine little drama until this apprehension sent Hop- kins the plumber, and Smithy- the girl friend cook, into the continuity with sluggish and jerky hoke. Al- though there were restrictive rea- sons for gagging the story- this way - it seems that busted plumb- ing slap-stick was out - of joint with the theme, and the per- sonality atmosphere created by- Joan Bennett, Lew Ay-res, Roscoe Karns, Vivien Oakland and J. C. Nugent. Just a fairly- enjoy-able comedy, with most of its appeal to the giggle trade. “BALI” COLUMBIA THEATRE San Francisco Backed by an extensive advertis- ing and billboarding campaign this inde picture opened to an okay house at the Columbia, prices rang- ing from 75 cents for downstairs to 50 cents balcony. Augmenting the picture was a group of 10 Hawaiians on stage, they going through the usual rou- tine of Hawaiian music and danc- ing. The 17 minutes of stage show could have been built into an out- standing feature through the use of better lighting and scenic effects. Eddie Harkuess’ orchestra was in the pit. i “Bali,” produced by- J. C. Cook and distributed by J. W. Jackson, is a travelogue of the island of Bali, one of the Dutch East In- dies group. Travel episodes were especially interesting and the film contained much of exploitation value, Local campaign drove home the line “where nudity is a riiark of purity” and probably that was responsible for a lot of the draw. There were dialogue sy-nchronization and color sequences which were outstanding in Harriscolor. Properly exploited, this film ought to draw if backed bv the proper campaign. Lobby was decorated with much jungle material and a native tom torn beater who did his stuff in the cold San Francisco air while clad in a tiger skin. A weak Educational comedy “Their Wives V a cat ion” and a Terry Toon cartoon completed the show. Hal. Presentations TALENT IDEA LOEW’S STATE Reviewed Feb. 19 The Fanchon & Marco Idea this week is audience fare from curtain to curtain. George P. Wilson, the dialect comedian, acting as M. C. keeps the going well oiled with laughs and the talent is on the up and up all the way. Blomberg opened the show with seven of the sleekest, cleanest Alas- kan canines you would care to look at. These dogs, perhaps the wild- est of the species in the service of man, are put through some very dif- ficult balancing and leaping tricks. Blomberg’s costuming i'll the furry manner was classy and neat. The dogs diamond harness showed off to advantage. Well received. Kohn and de Pinto, a danc- ing violinist and an accordeonist. A smiling, happy- team, handling variations of the old and new in tuneful tunes romped through their act to a good hand. They are equal- ly finished in both the classical and jazz. Their comedy duet got across great. And then came a pretty little lady by the name of Jean Garr who turned loose two difficult routines of tapping that collected an out- burst. Finishing her portion she stepped to the foots and announc- ed the kinfolk responsible for her talent. Her mother stepped on and goakd them three ways. With a demureness, a charm of personality: and a tap offering that loosened, every wrist in. the audi- ence.' Dad followed for another an- kle twister and the family trioed for a show stopper. A - talented family that the audience went for like long lost brothers and sisters. Next was Bert Hollowed, on the stage with that socko band of his and need we say trotted out an ar- rangement of the "One Man Band” number that was all of the Hollo- well. This guy has a lot of that poise and profile value that fas- cinates ’em . clear of the back row. . His direction is something fb talk about to your friends. George P. Wilson after bright- ening the introductory- spots throughout the entire Idea intro- duced himself as Mr., Sweinste.i-n and with the assistance of Adele Beers who can show the boys some- thing in clowning a song proceeded to pile up laughs so fast the cus- tomers were gasping. - “Finishing an unfinished Symphony from a cata- logue.” Does it read comical? You should , see it. He is as much of a clown as a musician and he classes both ways. Six beautiful gals then proceeded to take over the running. These were the Marinellis. They flash through a series of risky back bend- ing, cart wheeling and balancing stunts that brought the Idea to a brilliant and colorful close. Just another swell Fanchon & Marco Idea. 1 Ted Price. FOX EL CAPITAN SAN FRANCISCO (Reviewed Feb. 15) Plenty of meat to. this Peggy O’Neill stage show which used, a quartet of okay acts in addition to Jay Brower’s band and the line of 16 gals. Big event of the week was she “welcome home ’ for .Don Smith, the Mission district's favor- ite tenor who has been absent for about a year, but who wasn’t for- gotten in the interim. Brower and band copped plenty- of honors, too. Show teed off with the customary- line number, following which Brow- er stepped out on the; apron, with a bull fiddle and was Joined by Harry Cohen, Henry Buettner, Bob Kimic and George Williamson. Quintette did “Peanut Vendor,” Cohen chanting the English lyrics, and it was so well taken an en- core was necessary. But the boys were smart; they didn’t stand still, but took the repeat while walking up and down the aisles. Drink- ards, mixed colored trio, on for a routine of hoofing, and then came (Mercedes, xylophonist, who con- tributed a hoofing-playing' number and closed with a six mallet offer- ing. Girls did a novelty- routine and were followed by Joe Lane and. Muriel Harper with songs and gags, a bit smart for this house but still good and well received. Brower and band followed with a musical travesty- on world history- of the past 15 years and clicked so solidly the m. c. had to beg off. Brower then, announced Don Smith and the girls were on to build up a neat entrance for the singer . who came down a long staricase to a big reception. In full dress and with about 25 pounds (Continued on Page 10) PARAMOUNT HOTEL In tlie Heart of Hollywood E. E. KENT, Managing Owner Every Room With Combinatioi Tub and Shower Bath ALL OUTSIDE ROOMS Telephone HOllywood 6181 Half Block from paramount, KNX and RKO Studios Melrose at Van Ness Ave. George and Florence Barclay PRODUCERS AND DANCE DIRECTORS now associated DOUGLAS SCHOOL OF DANCING 1416 7th Avenue-—Seattle One of the finest theatrical producing dance studios on the Pacific Coast “Regards to our many friends in Los An.geles”