Inside facts of stage and screen (May 23, 1931)

Page Four INSIDE FACTS OF STAGE AND SCREEN Saturday, May 23, 1931 ''SITTIN' IN WITH THE PUBLIC Pictures By V. Hegyi u THE PUBLIC ENEMY" WARNER BROS. PICTURE Warners* Hollywood The gangsters again. But this time they're super-gangsters; there's nothing too vicious or vile for them, and yet they please enormously. James Cagney is largely responsible for this sym- pathetic attitude, playing the lead with such strength and unabashed honesty that he challenges ad- miration. But William WeUman, director, is undoubtedly the guid- ing force to whom credit goes for putting over a gangster film that has originality and realism, com- bined with plenty of entertain- ment and a moral for good meas- ure. James Cagney has a personal- ity that packs a wallop. No mat- ter how hard and mean and low- down his behaviour is, the reac- tion is favorable to him. His characteristic gestures and man- ner of speech would be offensive coming from a less ingratiating personality, but Cagney is appar- ently the kind of young man who can get by with anything—and he does. Two kids are shown at the opening of the picture, and the lives of both are traced from childhood to maturity, when they blossom forth inevitably as a cou- ple of daring gangsters. They develop naturally from wild youngsters whose energies are misdirected to first class crim- inals. Yet there is something so natural about this development that the bad boys get all the sym- pathy, and it is taken for granted that the good brother is good be- cause he just doesn't care about being bad. Tom and Mike, the brothers, are brought up under the same circumstances and one is a plodder by nature while the other is too vital for his own good. Matt, Tom's pal, i«5 an- other who has too much energy to contend with. It is this sim- ple statement of circumstances as thiey exist t. ..t makes the picture one of absorbing realism and in- terest. Edward Woods as Matt is sec- ond only to Cagney in point of excellence of performance. Hand- some and eager he adds another natural note to the picture. Don- ald Cook as the good brother is right up to his part and Leslie Fenton as a gang leader, makes a vivid impression in his few scenes. Robert Emmett O'Connor, Murray Kinnell and Ben Hend- ricks give other outstanding per- formances. Beryl Mercer, Jean Harlow, Joan Blondell, Louise Brooks and Mae Clark are the fern members of the cast. his shore-leave girls is the wife of a mate who is his particular en- emy. Then comes a bit of gooc fortune; he crashes with a young representative of the elite, naval and civilian, who takes him home to a party where he meets Kit, the girl. After posing as a big oil man from Brazil, Jonesy is exposed be- fore his girl and her father, an admiral, for the mcM gob that he is. That ends everything (at pa- pa's request) until Jonesy and the admiral, who has meanwhile been retired, are heroes together in res- cuing an ammunition barge. The result is that the admiral comes to an heroic end; Jonesy, already commissioned for a course at An- napolis, wins the friendship of his ex-enemy, and what is more im- portant, wins the girl. Hobart Bosworth does a distin- guished piece of w^ork as the ad- miral; an intelligent, dignified and sympathetic portrayal. Ernest Torrence is excellent as Scotty, the mate, a part that brings out his rugged talents as a comedian. Cliff Edwards gets hearty response on all his laugh lines. Dorothy Jordan is her usual charming and attractive self in the part of Kit. Very cute and kissable as per the requirements of the part. Edward Nugent's small part stands out, thanks to his brightly accented personality. Gavin Gordan as a ritz but re- jected suitor, and E. Allyn War- ren, playing a Chinese man serv- ant to the admiral, give pleasing accounts of themselves. Joan Marsh, Hedda Hopper and William Worthington, seen only briefly, complete the cast. Adaptation by Lou Edelman and Elmer Daves; continuity by Raymond L. Schrock and Lt. Com. Wead, and dialogue by Malcolm Stuart Boylan and Delmer Daves, are capably done. '^SHIPMATES'* MGM PICTURE Loew's State Theatre A houseful of women was on hand to give Robert Montgomery's lirst starring picture their enthusi- astic support. And no looks of dis- appointment on feminine faces as they filed out, either. Montgomery used his ingratiating personality to its fullest extent in a characteriza- tion calculated to win over the few female hearts that have not yet palpitated to his "eternal boy" appeal. He is seen in one of those parts that no woman can resist— a noble youth with just the right touch of impishness, always doing the A^Tong thing, anc* being caught at it by the wrong person. Just a swell juvenile ready to step up and take what's coming to him. Harry Pollard's direction is smooth and efficient, bringing out nice contrasts between thrill stuff and heart beats, and dividing the breaks between story and actors very capably. Clyde De Vinna's camera work is a distinct attrib- ute to the picture. Use of the wide screen for a fire scene on an am- munition barge is especially ef- fective. The picture opens with Jonsey, (Robert Montgomery) a very low- ly gob running into his first piece of grief when he finds that one of **UP POPS THE DEVIL" PARAMOUNT PICTURE Paramount Theatre A program picture of only mild- ly amusing proportions despite the fact that there are several very neat comedy characteriza- tions by Skeet Gallagher, Lilyan Tashman, Stuart Erwin and a standout bit by Sleep N. Eat, Stepin Fetchit's dusky rival. Nor- man Foster is pleasing albeit his acting is slightly reminiscent of a line rehearsal. The gratifying effect of Carole Lombard's dis- tinctive beauty is somewhat mar- red by faulty talkie diction that could easily be overcome. The picture is adapted by Arthur Ko- ber from the stage play by Al- bert Hackett and Frances Good- rich, with the screen play credit- ed to Eve Unsell. This talkie ver- sion will never achieve the popu- lar success enjoyed by the orig- inal. Action, which is better suit- ed to stage presentation, has not been adapted advantageously to picture requirements. A. Edward Sutherland directed. A young author marries the girl of his affections, and makes an attempt- to fit in authoring a book between an office job and social activities. The marriage had a trick proviso that would release the pair if either had any complaints to make at the end of one year. But they come through okay, the boy finishes his book and the wife submits it to a publisher who is a former sweet- heart. He turns it down but tells them that the author has unmis- takable talent, advising them to arrange matters so that he may devote himself exclusively to writing for a year or two. So the wife takes a job as a show girl and the boy drifts into the unsavory position of a kept man. A devil pops up in the form of a little southern neighbor to in- crease their difficulties, but fin- ally surprise angles bring about a happy ending. Skeets Gallagher gives one of his spontaneous and efficient comedy portrayals, teaming up with Lilyan Tashman (a newspa- per woman). They prove neat foil for one another as smart com- ics. Stuart Erwin in an inciden- tal part packs a lot of laughs into his brief appearance. Carole Lom- bard shows noteworthy develop- ment as an actress in the part of the wife, and looks her loveliest. Norman Foster as the husband, offers a quality of boyish appeal that is worth developing. Edward Nugent and Theodor von Eltz turn in especially fine perform- ances. The cast is completed by Joj'ce Compton, Eulalie Jensen, Harry Beresford, Effie Ellsler, Sleep N. Eat, Guy Oliver, Pat Moriarity and Matty Roubert. "GOOD BAD GIRL" COLUMBIA PICTURE RKO HilUtreet Theatre Here is another \reditab^e Co- lumbia production. Direction, by Roy W, Neill, is highly competent. With only a fairish variation of the apparently immortal gangster theme to work with in Winifred Van Duzer's story, Neill has man- aged to emphasize particularly the human angles of the tale in a very knowing manner. His cast is well chosen and he has handled them with especial regard for their in- dividual talents. Jo Swerling con- tinues to prove that he can write easy flowing and natural dialogue consistently, regardless of story. Practically every member of the cast does excellent work. No big b. o. names here, but each one de- livers as if the entire responsibility of the picture depended on him— or her. (Even the baby, who got gurgles of admiration in all his scenes.) All of wnich speaks well for the director. Co-operation like this isn't usually manifest in a just fair story containing just fair parts, for no good reason, (regard- less of good intentions of perform- ers)—and that reason seems to be Roy W. NeiU. Marcia, a high-class gangster's moll (her first affair, by the way), finds a legitimate love with wed- ding ring, license, etc., all prop- erly in order, signed and sealed. But Tyler, her gangster friend, re- sents her leaving him for a mys- terious and marriageable stran- ger just when he needs her to es- tablish an alibi for a killing. Mar- cia's loyal girl friend squeals to a detective the whereabouts of Tyler, who is thereupon pursued, captured and imprisoned. Part of the gang gets Marcia to go to see Tyler at the city jail; a couple of reporters make a front-page story of this visit, and her new life is wrecked—and a little stranger on its way, too. Her husband's par- ents, more especially the father, persuade her that she must disap- pear from their well-ordered lives, which she does, going back to Trixie, the girl friend, and her boy friend. The husband goes to Paris to try to forget; the baby is bom; Tyler, who has been sent up, es- capes, and believing that it was Mai'cia who squealed, goes to her with a gun in his hand and blood in his eye. But the police detec- tives are on the job, and it is Tyler who gets bumped olT. The hus- band, who has returned to claim his wife and child despite every- thing, reaches her just as she is about to go out of everyone's life after having given up her baby to her mother-in-lav,', and there is happy reconciliation all around. Mae Clark does fine work as Marcia. She is natural and dra- matic in the simplicity of her por- trayal in a role in which she avoids the tritely melo. Marie Prevost as Trixit is, a standout. She plays with absolute surety of characteri- zation that is a pleasure to see. Big hearted, hard boiled, and reg- ular, she's ace high in this type of part. James Hall's engaging person- ality and ability as an actor bring sympathy to the rather ungrateful role of the husband, not an easy assignment to play sympatheti- cally, but he comes through with honors. Paul Porcaei as Pagano, Trixie's boy friend, provides fur- ther bright moments with his clever work, getting smiles and chuckles for his neat comedy. Robert Ellis does his gangster part smoothly and Nance O'Neil plays the mother with her usual finish and style. Edmund Breese does the father in properly prig- gish manner, James Donlan is a neat police detective, and Paul Fix, Wheeler Oakman and George Berliner prove capable in small parts. Foreign Films ^'ZWEI HERZEN IM % TAKT" TOBIS PICTURE Fiimarte Theatre Direction, music, performance, story—its hard to decide which of these is the heaviest contribu- tor to the success of "Zwei Her- zen Im %. Takt." (Two Hearts in Waltz Time,") Geza von Bol- vary, the director, has dealt so cleverly with other German musi- cals that it is only reasonable to assume that it is largely his bril- liant work that makes this one of the sure fire hits of the year Every picture seen by this re- viewer in which he has held the megaphone, is distinguished by those indefinable touches that translate bits of life into terms of art. Not exclusively highbrow art either, he's too human for that. Then there's the music Robert Stolz has written. The song from which the picture takes its name is one of those irresistible Vienna waltzes of spirited charm and de- lightful melody. Nor is "Zwei Herzen" the only piece of meri- torious melody. There is **Auch Du" which is done with chorus, principal and comedian as part of the operetta with which the picture concerns itself. In fact, the music is as much a part of the picture as any single factor. The cast as a whole is one that can't miss. Willy Forst is seen as Vicky, half of a team of lyricists. Oscar Karlweiss is Nicky, the other half of the team. Both rate a long list of superla- tives for their spontaneous com- edy, their singing and their de- finitely outstanding personalities. Walter Janssen playing Toni Ho- fer, composer, wins the girl and lots of aprpoval for his highly competent performance. Irene Eisinger is seen as a prima donna and Gretl Theimer is the inspira- tion for the theme song. Szoeke Szakall does a theatre director, and Karl Etlinger is his subdued and comical assistant. Paul Mor gan, Paul Heerbiger and August Veckau make small parts stand out. There is plenty of amusement in the story which describes the trials of the composer who can't find a waltz for his operetta un- til he is mysteriously visited by an unknown admirer, Hedi, sup- posed sister of Vicky and Nicky, who inspires him to write a love- ly melody. But when she leaves him at the stroke of 12, the in- spired tune goes with her, and not until the night of dress re- hearsal does she return, dramatic- ally singing the lost waltz. There is more than enough incidental action and there are extraneous situations that keep interest go- ing 100 per cent throughout the film. erties with the character of Mo- zart, but none that could be of- fensive to that master's most de- vout admirers. Several of the better known and more simple Mozart melodies are used in *'Die Forsterchristl," other music in the score being written by Bruno Granichstaedten, all of it deli- cately appealing and in keeping with the atmosphere of the film. Irene Eisinger as Christl has opportunity to use her beautiful coloratura voice advantageously. Sh'^ is dainty and vivacious, at- tractive and can sing so that it doesn't seem to make much dif- ference what sort of picture sur- rounds her voice. Paul Richter is a very handsome and likeable monarch as Kaiser Joseph. Oscar Karlweis restrains his ebullient sense of comedy and plays Mozart with a just-right note of fun. Tibor von Halmay does a broad comedy part for good laughs, and Andre Pilot, Fritz Daghofer and Jelly Staff el please in their parts. "DIE FORSTERCHRISTL" TRANSOCEAN FILM CO. Biltmore Theatre This is a fairy tale sort of pic- ture, interesting chiefly to those who are content with a delicate and imaginative interlude thai moves slowly and inconsequential- ly through its several reels oi lovely song and picturesquely dec- orative photography. There some pretense that the film * based on incidents in the life oi Mozart, but it is a pretense that no one need take seriously. These incidents have only a very minor bearing on the picture itself. It is Christl, daughter of a for- rester in the woods of Vienna, and her ilttle love affair with Kaiser Joseph that provides the chief interest. * Cinderella and Prince Charming again. But this time Cinderella has to put up with an everyday lieutenant after her brief acquaintance with the king is closed. The director, Friedrich Zelnik, has let his musical talkie drift along with little regard for pro- duction as a whole, depending en- tirely and in leisurely fashion on trifling, if pretty and harmoni- ous details, to hold up interest. He has taken unconventional lib- "CITIES AND YEARS" Fiimarte Theatre "Cities and Years" is one of the lesser Russian propaganda pictures. Lesser, because its form is not as significant nor as artis- tic as that of "Soil" or ^'Storm" Over Asia" or many other films of similar character that have come out of U.S.S.R. While the underlying theme may be the im- portant angle from a social or economic standpoint, entertain- ment value is the important an- gle for the exhibitor, and in this one entertainment is only a minor factor. It is neither strong enough nor sufficiently stressed to make a favorable impression with an average audience. Technically, too, the picture is under par. Direction, by Cher« viakov, tends to bring out dra- matic points with childish obvi- ousness. Emphatically, this is not the type of picture that will win over American audiences to a positive interest in Russian ideals of either art or economics. The picture is a plea against possession, ssessiveness and possessors. Un this case with re- gard to works of creative art.) It also flaunts ridicule at the misuse of the words "law" and "order," demonstrating that man-made laws for the benefit of the few, and the orders of those in power before the revolution were exercised at the expense of the worker. Sacrifice of personal friellUi^rjlp for the furtherance of the Cause is depicted in the ultimate ges- ture of one man bringing about the death of his weak-willed friend. The necessity of avoiding the dangers of personal entangle- ments with royalists and capital- ists are also shown. Abdrey Startzev plays a Rus- sian artist who, despite his de- sire to serve the Revolution proves too weak willed to carry out his intent. Bernhard Goetzke makes the most dramatic impres- sion as a German officer. G. Michurin as a German who gives himself to the new Russia and A. Kostrichkin in a tragic-comedy part are other members of the cast whose work merits mention. Presentations LOEWS STATE THEATRE Lot Angcle* (Reviewed May 21) An attractive and topical F. and M. stage show, this ''Vacation Days" staged by Larry Cehallos, with nifty specialties offered by Zelda S a n 11 y, impressioniste, Three Jacks and a Queen, adagio team, Lee Wilmot and Ralph Pe- ters, tap dancers. Kirk and Law- rence, comedians, and Kathleen Kay, who sings, steps and looks cute at all times. The show shoved off with a camping scene in the great out- doors, some of the campers arriv- in an Austin for a solid laugh. The line offered routines of nov- elty style which included a fish- ing number and an effective of- fering in which the girls were costumes as deers, both very neat- ly staged. Zelda Santly's impressions were p ATRICK N D M ARS H Orchestras - Vaudeville - Clubs - Radio Talent 607-8 Majestic Theatre Bldg. Elslabliahed 15 Years TU. 2140