The international photographer (Jan-Dec 1931)

Thirty-eight The INTERNATIONAL PHOTOGRAPHER June, 1931 for the average dub golfer. Following each smack the ball travels the same route with machinelike regularity and undeviatingly — that is, it does as far as the eye can follow it. To witness such precision is a treat. As Jones is warming up he is interrupted by the appearance of Barthelmess, who warns him of the approaching talkfest of Brown and Craven. After the battle is won bv the former, the latter drops into conversation with the golfer, who explains his own method of putting and guides the actor through a lesson. The result is that Craven jibes his confrere and inveigles him into playing a hole with him to settle the outstanding account. Of course, Joe takes it on the chin. The series is being directed by George E. Marshall, and in this instance any one who utters the not infrequent charge that the megaphone wielder does not know what it is all about will commit a serious error. Marshall is one of the best golfers not only among his own division of the industry but throughout the entire film business — and that is taking in considerable territory. The producers need not be afraid of displaying "too much Jones." He is the one the crowd goes to see. Chip Shots A DECIDED buzz of animated conversation followed the curtain on "Chip Shots," second of the single reel series in which Bobby Jones explains some of his golfing methods. Warners' Hollywood seats 2650, and all chairs were pretty well filled. The only conjecture on the part of the reviewer in seeking an explanation of the decided interest was that those who were concerned were very much vocal. It may have been like the prohibitionists, a noisy minority. Nevertheless it was a silent house while the reel was running— which went to prove that the few persons in Southern California who do not themselves play golf sometimes are forced to listen to the chatter of those who play it or at it. The number is devoted to chip shots, the champion showing how he lays them down by the pin from the apron of the screen to a distance of several score of feet away. What may interest many is the fact that he uses four clubs of the mashie and niblick families in these shots, their character depending on the nature of the shot. Many of the approach shots rolled close to the pin, seemingly within a few inches, and stopped dead. Invariably the failure of the ball to slip into the cup seemed to be occasion for mirth. Also the failure was evidence the champion is playing the game straight and that the shots are not being tricked, as of course they easily might be. But when from forty feet away from the edge of the green a player may lay pushover after pushover alongside the pin why call in the effects department? Dev Jennings THE PUBLIC ENEMY Dev Jennings, Cameraman THE opening of the latest of the gangster pictures, Warners' "The Public Enemy," at the Hollywood theatre of the company, was attended by a full house. The turnout undoubtedly was ascribable to the advance screen advertising. It was rather interesting to glance around the house and note practically the entire absence of grayheads — of which in Hollywood there is a host. It is here that great numbers come late in life to finish the slide down the hill. These older residents are theatregoers, too. If in doubt you should have seen the way they turned out to greet George Arliss in a homely everyday story of today, one without a gun in it or even a thought of one. So strongly and enthusiastically did they and their youngers respond it was necessary to hold over the subject for the second week, both in Hollywood and in the downtown house. The age of the house the opening night of "The Public Enemy" ran mainly from the later teens to the early forties. There were few exceptions. It demonstrated that the appeal of the gangster picture is to youth and the younger division of the middle-aged and the interveningstrata. The story, which was directed by William Wellman from an adaptation by Harvey Thew, does not match up with some of the preceding subjects of its kind. There is no love element worthy of the name in the picture if we except the affection of a mother for her sons — and this hardly attained anything approaching moisture in the region of the optics or a stirring of the heart. James Cagney, who headed the cast, did his capable best to put into the tale what its creators intended. Some day this young man is going to get a chance in a story that is without an underworld slant, one that will give his talent an opportunity, something; like that bit we saw in "The Millionaire," and then watch his smoke. Jean Harlow was seen, much of her, in her customary Conformist garb and in her usual daring characterization. The young woman seemingly has designs on the vamp's yellow jacket earned by Theda Bara and the glory of which still is undimmed in the memories of older picture goers. Possibly Miss Bara will surrender it without a struggle. Any of her friends will tell you the decoration as a symbol was the antithesis of the real personality of a charming woman — which also Miss Harlow seems to be. There is a competent cast, among the players being Edward Woods, Joan Blondell, Donald Cook, Beryl Mercer, Ben Hendricks Jr., Robert Emmett O'Connor, Leslie Fenton, Louise Brooks, Murray Kinnell and Mae Clark. James Van Trees THE MILLIONAIRE James Van Trees, Cameraman DELIGHTFUL entertainment is Warners' ''The Millionaire," starring George Arliss. It is major comedy in large part, but there is a flash of serious drama, the kind that imposes deep silence even on a large house. The stillness comes when the man of threescore forced into retirement by the commands of his doctor and the pleas of his wife bids goodbye to his assembled employes. The situation is splendidly handled and reflects credit on Director John Adolfi. It is a sequence that notably moves even the less susceptible. No one will sit through the running of the subject without being impressed in the first place by the story, all the greater by reason of its simplicity, and secondly by its treatment and its dialogue. An examination of the credits clarifies matters. The basis is "Idle Hands," by Earl Derr Biggers. Julien Josephson and Maud T. Howell adapted it. Booth Tarkington wrote the dialogue. That is a combination which should be able most satisfactorily to answer the prayer of any leading player in search of a play. The picture is one for all ages. Supporting George and Florence Arliss among others are Evalyn Knapp and David Manners. This pair of attractive and enthusiastic youngsters supply the love romance even as Arliss and his associates furnish the business romance. For the tale as it touches Arliss is of business and of business men. That is why it will have marked appeal for those who really may qualify in the field of the much kidded t. b. m. To see Arliss in the role of an everyday man of the moment is a treat — especially when he dons overalls and drops the monocle. What a thought it was to place in charge of a gas station a successful automobile manufacturer who had started as a mechanic! What motorist will not be thinking of the possibility of milliondollar advice being lavished on a fiftydollar car? Excellent support is accorded Arliss. As his associates in the making of automobiles are Sam Hardy and Charles Grapewin. Noah Beery is a crooked owner of a gas station who unloads on Arliss and later through