Inside facts of stage and screen (March 28, 1931)

Page Four INSIDE FACTS OF STAGE AND SCREEN Saturday, March 28, 1931 SITTING WITH THE PUBLIC Pictures ■ By Vi Hegyi “THE CONQUERING HORDE” PARAMOUNT PICTURE United Artists Theatre As. a western "The Conquering Horde” serves up fair enough enter- tainment. As a western it’s okay on story and action. For a western the Jove interest is all right, too. There is a set of villains and a head vil- lain of the mustachioed, sneering school. There’s a brave, brave gal and a strong silent hero who is mis- understood by the non-villains in the piece until the last 10 minutes of the opus. And naturally the nice old foreman of the gal’s ranch is present for his inning. Indians and a cavalry troop fighting side by side against the dirty dogs, have their parts, along with the comic town mayor and the cattle. Incidentally the cattle stampede comes a bit too late in the picture to amount to much in the way of thrill building, but it’s a very nice stampede any- way. None of the thrill shots get strong reaction despite good pho- tography by Archie Stout and di- rection by Edward Sloman. Sur- rounding construction did nothing to build them to sufficiently forceful proportions for this class of picture. Claude Gillingwater and Richard Arlen were the most satisfactorily cast., Gillingwater as the foreman furnished what laughs there were and trooped with his usual excel- lence. Richard Arlen checked up well as the pioneer hero. Fay Wray, apparently aiming at a strong, hardy characterization, missed far and wide. She was rigid and aloof with- out being convincingly command- ing, and suspiciously well groomed through strife and storm. George Mendoza put a lot of appeal into a bit in which he stood out above the rest of the lengthy cast, which in- cluded Ian MacLaren, Frank Rice, Arthur Stone, James Durkin, Ed- win Brady, Charles Stevens, Robert Kortman, Harry Cording, John El- liot, Chief Standing Bear and Kath- ryn Claire Ward. The screen play is by Grover Jones and William Slavins McNutt, from the story by Emmerson Hough. “BAD SISTER” UNIVERSAL PICTURE RKO Hillstreet Theatre Another small town gal goes wrong and another city slicker gets away with it. Another set of small town Babbitts runs its typical gamut of grief and another “grip- ping, human” 'Story is depicted. But ZaSu Pitts is in the picture. Not all the antics, love scenes or sob stuff throughout got a fraction of the response that was accorded her most trifling gesture, gulp or elo- quent look. Sidney Fox, comparative new- comer to talkers, established herself as competent ail'd pliant picture material, carrying the name part of the opus. Her beauty and abil- ity are outstanding. Conrad Nagel with no serious dramatic demands placed upon him nevertheless suc- ceeded in holding interest during his scenes. Bette Davis in the part of Laura, the shy and retiring sis- ter in love with Nagel, played with an air of sincerity that added im- portance to what might otherwise have been a colorless role. ZaSu Pitts, maid of all work, uttered trite lines in such a way that they took on the glamour of gleaming bon mots. Each time she stepped into a scene the house waited for something to happen—and it did, to the full satisfaction and delight of all concerned. Charles Winninger as the father who is brought to financial ruin by Falling for a fake business deal that is climaxed when the “Bad Sister" forges her. name, rates on his por- trayal. Slim Summerville and Humphrey Bogart (that city feller) also gave good accounts of them- selves. Emma Dunn. Bert Roach and David Durand filled out the cast. Hobart Henley injected some ex- cellent directorial touches that do much to pull up the quality of en- tertainment. Adaption from Booth Tarkington’s novel. “The Flirt” and screen play are credited to Tom Reed and R. L. Schrock. The dia- logue, by Edwin G. Kiuopf was well constructed. “THE SEAS BENEATH” Fox Picture Loew’s State Theatre "The Seas Bene'aitb,” war story from the ,under-sea viewpoint, is notable chiefly for magnificent photography (for which no credits are given), and the brilliant char- acterizations of Gaylord Pendleton, juvenile, and Mona Maris, fem heavy de luxe. Neither received major billing, but both were ac- corded major audience interest at this viewing. There-is little love, interest in the HARVEY KARELS SCHOOL OF DANCING 7377 Beverly Boulevard VALL1E ORegon 2688 KMTR EARLE WATERMAN “The Canadian Singing Fool” (Toronto) Address—INSIDE FACTS George Gramlich at the wheel on the "Highway of Song” KFWB Tuesdays—Thursdays—Sundays 7:30-7:45 P. M. Appearing Exclusively for The Allan M. Wilson Company —ADVERTISING— Garfield Bldg. y Los Angeles TUcker 8520 EDNA FISCHER “10 Nimble Fingers” kFRC San Francisco story which purports to expose, the espionage system; always good ma- terial for thrill and shudder films. Under John Ford’s drection the pic- ture takes form despite story short- coming's, and assumes the aspect of a well constructed unit in which values are given keenly balanced proportions. Much of the dialogue is spoken in German, but far from allaying interest, this touch lends authenticity to the sequences in which it is used. George O’Brien displayed person- ality and understandng of his part by the rugged characterization he developed. There wais no forcing but plenty of force fill hi.; work. M'arian Lessing was vocally and op- 1 tically pleasing as the girl. John J .oder held Up his end capably. Mona Maris and Gaylord Pendle- ton made more of their parts than wa's originally intended. Warren Hyine.r, William Collier, Sr., Wal- ter McGrB.il, Molly Rent and Fer- dinand Schuniann-Heink were well cast, each making a noteworthy in- dividual showing. “KISS ME AGAIN” FIRST NATIONAL PICTURE Warners’ Hollywood Theatre As spectacular all-color operetta, this 1931 version of “Mile. Modiste” is sufficiently gratifying; musically and pictorially it’s on the up and up. The story is too shop-worn with years of handling and mis-handling under divers guises' and circum- stances to be taken into serious con- sideration. William Seiter showed expert knowledge of musical film values in his directorial efforts. Per- formances, with two exceptions, were — well—neat but not gaudy. Frank McHugh and Claude Gilling- water scored in secondary roles that assumed prime importance, judging from the reaction of the house every time they appeared. Bernice Claire carried the part of Fifi with her pleasing appearance and voice. As the little gal who does a Cinderella from grisette to diva and love in a castle, she was Satis- fying if not sensational. Edward Everett Horton, despite the fact that he is heavily billed as the star of "Kiss Me Again,” was given so little to do that John Doe could have been doubled into the part with just as good results. Horton’s name may draw the customers up to the ticket window, but the name won’t be helped any by being, as it were, taken in vain. Another per- former whose talents were buried in this one is Walter Pidgeon, who, was doled out one meager half chorus of the theme song in the part of the officer lover of Fifi. Pid- geon has a voice that has always shown up well in the past and is up to heftier exploitation value than one-half of one chorus — in a duet at that. Frank McHugh gathered unto himself most of the laughs in a very knowing way. Quietly, un- obstreperously, playing a sap part up to the hilt, he convinced the chair warmers that he was a hilari- ously funny fellow. And he is. Claude Gillingwater, as the Count, father of Fifi’s pursuer, struck with resounding force the right note for the heavy parent of musical comedy persuasion. Just one of those old timers wh,o is up to any male char- acter part written for stage play or talkie version, and his song, “I Want What I Want When I Want It,” was the highlight of the mel- ody portion of the picture. June Collyer was briefly and beautifully on view as Marie, and Judith Vos- selli and Albert Gran played other small parts. Anton Grot did a great job as art director, the original Victor Herbert music was used with book and lyrics by Henry Blossom. Photog- raphy by Lee Garms and A1 Gilks was effective. Julien Josephson and Paul Perez are credited with the screen version. “MAN OF THE WORLD” PARAMOUNT PICTURE Paramount Theatre Were is worldly fare that scorns the usual gesture of bowing to popular taste; the kind of thing that will draw its audience from the more selective trade and flour- ish best in class houses. William Powell has again evolved a suave, strong character whose behaviour bears the marks of reality. The story by Herman Mankiewicz is in- telligently conceived and direction by Richard Wallace is equally in- telligently executed. A former newspaperman, after taking, the rap for dirty doings in America, becomes a Parisian ex- patriate carrying on a profitable blackmail sheet with the assistance of a pseudo guide and a lady with a past. Fie works his game with a wealthy American and then falls in love with the man's niece, while working her. He comets clean when things get serious between them and she, in thoroughbred style, is willing to - stand by him just the same. But the jealous female as- sistant convinces him that he is wronging the girl by tying her to such a man and be pretends that the whole affair was just part of tire racket. He and the: other woman clear out and the girl mar- ries a “good” man. Powell gave bis usual fine per- formance with surety and ease. Carol Lombard was distinctive, beautiful and very much in her element as the girl, and played her part with skill besides. The other woman, Wynn* Gibson, delivered with exactly the right degree of hardness and womanly wistfulness. Guy Kibbee created a believable, homest-to-God character as the uncle who expands under the in- fluence of Paris. He furnished laughs, got sympathy, and deserves credit. Lawrence Gray, had little to do. but did it well in his clean cut personable manner. Andre Cheron, George Chandler and Tom Costello completed the small, but astutely chosen cast. “WIDOW FROM CHICAGO” FIRST NATIONAL PICTURE Warner’s Downtown Theatre A good all around programmer this “Widow From Chicago.” It’s fine, punchy racketeer stuff pre- sented by a cast that couldn’t be improved upon from star to hum- blest bit player. Good judgment was shown in not hitting for a special with this production. There is noth- ing special about it; just straight crook melo. There was no angling after angles, no casting about for opportunities, fortuitous or studied, to emphasize characters or charac- terizations, no mighty moral les- sons advanced, no shocks nor dis- play's of any kind to detract from the straight presentation of the pic- ture. Hence, it is as stated, a good picture, and by virtue of the same set of reasons, just a good program picture. Director Edward Cline has put it over with assurance and con- sistent showmanship, very accept- able substitutes for the distinctive and unique—especially' at the box office. Edward G. Robinson is seen as Dominic, a big time racketeer, who outsmarts ’em all until he comes up against a little blonde whose dick brother he has killed. As the “Widow From Chicago” she comes to work at his dive and finally tricks him into a confession of the kill- ing. Robinson is a perfect king of the high pressure brotherhood. His attitudes and mannerisms of speech and action were smooth and force- ful enough to convince Capone him- self. Alice White was highly per- suasive as the fake gangsteress and widow who fights for revenge. Her gradual falling for the charms of “S.wifty” Dorgan, the man her brother was after when Dominic killed him, was a well constructed piece of work. She got a full quota of sympathy into her part without slopping over into sentimentality. Neil Hamilton put across the im- pression that “Swifty” Dorgan was a strong, lovable guy who could make the step from bootlegging to business and legal sanctity with complete success. A natural actor, he needs no histrionics to put his points across. Frank McHugh, as “Slug,” just one of the gang, can step up and take another bow for scene stealing. All he has to do is open his mouth—or keep it shut, move from here to there—or stand still, and the house pays tribute to his standout ability as a comedian by offering up gales of giggles and laughter. Frank McHugh is the name. The cast is completed by Lee Shumway, Brooks Benedict. E. H. Calvert, Betty Frapcisco and Har- old Goodwin in small parts, all well played. Presentations PARAMOUNT THEATRE Los Angeles (Reviewed March 26) . This was a big music week for the Paramount, and the customers approved of every note at the open- ing day matinee. Max Fisher and - his Band, Jose Arias with his Mexican Tipica Orchestra in Ro- : sita Moreno's act, and Oscar Baum, the house’s tip top musical person- ality with his band. Jack Parting- ton is in charge of the entire stage show from now on. and this first offering is a noteworthy lineup of talent. Fisher’s orchestra opened with a pop medley starting them off in great style. Several novelties of arrangement and presentation were. enthusiastically received. Hale, Derry and Allan, Rhythm Trio gave out a rhumba interpretation that got ’em hot and hiccuppy out front. Florence Hinlow, Oriental child dancer, drew the big hand of the act with a sensational and speedy contortion routine that fin- ished with an amazing series of. tricky flips. The closing number, with Fisher at the. fiddle was ef- fective. Rosita Moreno demonstrated her ability as a dancer with a Spanish' number brilliantly executed and beautifully costumed, with the. Paramount Girls building up the scene. Miss Moreno is strong on flash, style, beauty and talent, and tops all this off with distinctive showmanship. She closed with a tap routine selling simple steps to great returns. Jose Arias’ Tipica Band offered two. novel tunes typical of Mexico. Baum’s band came on for the dos- ing, backing the number and with Baum adding his punchy batoning for a strong finish. ' - O - ’ ... L ■ -J > - ' LOEW’S STATE Los Angeles (Reviewed March 26) Two mttslical numbers by Vic Ince and the Loew’s State Orches- tra started off the flesh entertain- ment; a medley from “The Student Prince” and a hot itune with one of luce’s ace cornet solos spotted and a vocal number .by one of the boys. “Russian Art” Idea features a couple of corking show-stopping comedians, Bill Telaak and Bud Hanley; a pair of top notch con- tortionists, the Walters Duo. Olga and Mishka, class dancers, Ed Rube in one of his fast routines, Wania. with a trick sword dance: on toe and hock stepping to, his own accord- ian accompaniment, and Diena La- reina vocalist, whose appearance fits in well with the spectacular beauty of the sets. Telaak, in the role of nr.c., had a way of offering gags and chatter that clicked. He and Bud H'artley know to just what degree their ma- terial must be emphasized to hit hard out front. The. Walters Duo got big returns on their sensational contortions. Tricks are new and original and off the beaten track of what iis usually offered by this type of entertainer. The. closing spinning stunt on the trapeze was a high spot of the act. Olga and Mishka’s ballroom waltz was pleasing, graceful and effortless, and performed with dis- tinction. Olga, in a teje dance in a Russian Minuette scene sold her work with charm. Dessoff’s Bale- Tommy Harris A Radio Hit in 6 Months KFRC San Francisco