Inside facts of stage and screen (May 2, 1931)

Saturday; May 2, 1931 INSIDE FACTS OF STAGE AND SCREEN Page Fiv€| SITTIN' WITH THE PUBLIC one rating all concerned a vote of thanks from the comedy - loving, section of the g:. p. —MARIE. Foreign Films "DIE LINDENWIRTIN VOM RHEIN'' TOBIS PICTURE Biltmore Theatre It's undoubtedly a strain on the au- coUective imaginations of any dience to accept the cast of "Die Lindenwirtin Vom Rhein" ("The Inn at the Rhine") as pay and carefree young: students and beau- tiful younj? lady innkeepers. They niicrht be able to pet by with it beliind the footlights, but before the camera they show up for what they are—pleasing vocalists who are past the tender ape. Nevertheless their combined ef- forts make some miglity pretty entertainment of operette vari- ety. The picture is not up to the best German music-film standards but still it has a quality of whole - hearted and attractive c'larm that is not to be overlook- ed. The general atmosphere is that of springtime in a musical comedy. Birds twitter 'midst the blossoming branches and tenors find sopranos trill their love duets in florescent bowers. And by way of contrast they also do their stuff in the homely atmosphere of the Inn's kitchen. Georg Ja- coby directed the picture with special emphasis on music. The whole thing is divided into musi- cal sequences which tends to slow up the action, but adroitly brings out the melodic virtues of the pic- ture in the best possible way. Michael Krausz is responsible for the tunes, all of them charming and easy on the ears. Two love stories are involved in the tale; that of a girl innkeeper and a university professor, and that of the girl's brother and a EC k m m girl student. There is the usual mix-up before straightening out who is whose in the two love jf- fairs, and delightful bits of com- edy from the admittedly middle- aged members of the cast. Kaethe Dorsch is the innkeeper. She sings her part with verve and charm. In some shots she makes a very good appearance, and in others the camera has been unkind. Hans - Heinz Bollmann tenors his love songs to every- body's satisfaction. Leo Schuet- zcndorf is also strong vocally. Os- car Sabo takes comedy honors, and Ina Wuest, Fritz Schulz, Eugen Rex and Maria Eisner make very acceptable individual showings. "VIER VON DER INFAN- TERIE" TOBIS PICTURE Filmarte Theatre An imposing example of the— art and craft—of. picture making, built on a scale of emotional mag- nitude and conducive of a strong mental kick-back long after it's over. Such is "Vier Von Der In- fanterie." (Titled in the American release "Comrades of 1018." It's a war film, thundering with war from start to finish. It's a cry against the futile slaughter and colossal misery of war. It is an achievement and a credit to its makers. G. W. Pabst, the director, has fashioned a work that rates easily among the best war films yet made—and that covers a lot of celluloid territory. The cast is as nearly perfect as any cast of human beings and fine actors can be. The performance of Fritz Kampers alone would be enough to make this German talkie well worth viewing. Gustav Diesel does magnificent work and Claus Clau- sen has. a couple of scenes that will not soon be forgotten. The picture as a whole is ex- ceptionally well handled. There are times when the screen goes dark and only the tortured cries of war hold the audience spell- bound. There are incidental scenes that are compleLc dramas in themselves, each one stark, simple and indelibly effective. A comedy sequence (an entertain- ment for the men at the front) is spotted at just the right mo- ment. A view of two of the men doing their best to give a decent burial to their comrade, who has been lying dead in a watery shell hole for days is a blood-chilling bit of artistry. Somehow, none of it seems like touched up hoke. it all impresses as a natural and inevitable beat in the relentless rhythm of war. And the whole is worked into a tremendous ef- fect that leaves the bitter taste of tragedy, and starts a rush of unwonted thought to the head. War. That's the story. With bitj of the lives of a few soldiers followed to their helpless and miserable conclusions. A young student is torn from the arms of his French sweetheart. A hus- band coming home on leave of absence discovers his wife with another man. Again there is a dramatic scene of highest quality. A young and zealous lieutenant goes mad after a battle. More magnificent acting. The big, cheerful, reliable soldier who sings himself through the war without a touch of bravado gets fiis. An- other adjective-defying character- ization. And then the young hus- band who has returned to the front without forgiving his wife, dies wearily sorrowful, murmur- ing that it is no one's fault— everyone is to blame. And that's war in "Comrades of 1918." Fritz Kampers, Gustav Diesel, Hans Joachim Meebis, Claus Clau- sen and Jackie Mennier are the only performers noted on the cre- dits, but there are many small parts, notably the wife, deserving of billing. And the photography must not be omitted of mention—it is su- perb. Presentations Erin O'Brien Moore, leading lady of "Street Scene" at the Mayan, has been signed by M-G-M. FOX SAN FRANCISCO First week of Le Roy Prinz as producer and this house scored decisively doing "Ship Ahoy," one of the best prologues to be done along this western front. Prinz thoroughly undressed his girls and in addition had one of the flashi- est finales yet seen here. Setting was that of a futuris- tic ship deck, with the 24 girls and all others on board. Walt Roesnei: stepped on and went tlirough his paces in a soft shoe number and some singing with Mona Ray. Will Stanton followed, doing his familiar drunk stuff and netting okay results. Allen and Delma got over the top with an excel- lent rhumba dance. Joe Davey got over with his juggling and then the curtain dropped to one for Leonard Sillman, who did his exceptionally modernistic and Broadwayese conception of "Com- ing Back to Harlem," dancing and singing it in blackface, but not getting over so well. Closer was a cinch using the flag for a big red, white and blue finish with the band, girls, voices and everybody else on stage. Walt Roesner and band did an overture of Moon songs that click- ed, following with Joaquin Ga- ray's vocalizing of "Running After Rainbows" that encored. "Shipmates" the picture. BOCK. LOEWS STATE LOS ANGELES (Reviewed! April 30) "Sketches" Idea is another win- ner for Fanchon and Marco. Cre- dit for staging, which is excel- lent, goes to Lou McDermott, with individual honors for talent being pretty evenly distributed right down the line. "Limber- legs" Edwards, Angelo, Andre and a'nd Sanger, Royal Gascoyne, Mil- dred Perlee, Frank Hopkinson and Allan and Canfield had the goods and sold it to an enthusi- astic house at the opening mati- nee. Costuming and sets were worthy of this ace-high unit. Ev- erett Hoagland's Troubadors sup- planted the regular Loew's State band and scored neatly with their snappy syncopations. The Idea opened with Frank Hopkinson, in artist's wardrobe, warbling in a fine voice, Mildred Perlee perched on a stand as a model before going into a clever aero routine as graceful as it was tricky, which means plenty of both. The opening line number has the girls seated on a bench hidden behind their skirts repre- senting intriguing daubs of color on an artist's palette, which was formed by the drop. The routine was ajpretty piece of staging. Royal Gascoyne did some migh- ty nifty paper cornucopia balanc- ing tricks that won hefty ap- plause, contrasting this part of his act with the same kind of smooth balancing stunts with a heavy steel ball. His dog, Teddy, gave him ample support drawing ohs and ahs on both appearance and performance. Everett Hoagland was intro- duced by Dion Romandy (current m.c. at the State) and his band picturesquely set as a hunting tableau went into "Have You Forgotten" followed by a novelty tune, "Egyptianola" in which Beau Lee pulled comic singing and dancing that was well re- ceived. "I've Got Five Dollars" and Hoagland's original arrange- ment of "Dinah" closed this part of the presentation in good style. His trumpet work brought espe- cially good applause returns. Angelo, Andree and Sanger have a burlesque adagio trio that is among the best of its kind. Tricks were plenty tricky and gagging them smashed over with continuous laughs. Their music segued from the chestnutty "Swan" to the equally chestnutty (Continued on Page "^^ m m m 3^. m M k m k k m m M k m m A SOUDERS MASTER OF CEREMONIES Grand WALTER Lake, Oakland WITH RUDOLPH hi m m m m AND THE RED HOT BAND BOB PILKINGTON TOM JONES BASS TROMBONE GEO. GARLAND LES LYONS SAX TRUMPET CHAS. RUSHTON DRUMS Presenting The Merrymakers' Revue and the Sweet Sixteen Sweethearts ^LLARD MARTIN VIOLIN HARRY GULMON SAX WALTER RUDOLPH PIAN O CARLOS BARTELS SAX.-CLAR. TOM QUIRK TRUMPET BILLY KNOX ORGAN SHOW PRODUCED BY NEILL