The international photographer (Jan-Dec 1931)

October, 1931 The INTERNATIONAL PHOTOGRAPHER Twenty-nine sembling that of 1914 it is inconceivable it could have been intended for a period five hundred years earlier. This resemblance even extends to the flat tin hat, duplicates of which adorn the heads of all the soldiery. Mme. Falconnetti has the leading role and splendidly plays it. While it is obvious no actress measurably near the age of nineteen years possibly could do the great part justice nevertheless so young does Mme. Falconnetti look to the eye that there is no wrench on the side of congruity when the character responds to her inquisitors that she believes her age to be nineteen. The photography is credited to Rudolph Mate and Kotula and is done in craftsmanlike manner. THE LAST FLIGHT First cameraman, Sidney Hickox ; second cameramen, Richard Towers, William Reinhold ; assistants, Aaron Hower, Wesley Anderson ; stills, Mac Julian. ALTERNATING with sudden shifts between the heights and the depths First National's "The Last Flight" is a rare example of what may be accomplished through skilled treatment of a story that basically is extremely fragile. John Monk Saunders' novel of "Single Lady" has been adapted for the screen by the same hand that wrote it, with Byron Morgan doing the continuity. Wilhelm Dieterle directs. The tale is of four or five flyers Sidney Hickox emerging from hospitals after the war each with his particular shortcoming and regarding which he is not unnaturally exceedingly sensitive. Disinclination to return home under the circumstances is understandable. So also is the unanimous resort to the flowing bowl for solace and stimulation and forgetfulness of things unpleasant. What these boys and the one girl do to the so-called Hays code on screen drinking is a delightful plenty to those who have a sneaking sympathy with that sort of thing. While it may jar some nevertheless it is reminiscent of a not remote period when lawmakers in Washington and some of their works were entitled to less disrespect than that which for a dozen years they have in their moral cowardice most notoriously commanded. And of course the particular code to which reference is made was uttered as a sop to the long-faced direct and indirect, witting and unwitting sponsors of bootleggers, devitalized grape juice makers, smug professional sabbatistical politicians and Pecksniffian parasites generally. So far as motion picture executives are concerned it must have been greeted with tongue in cheek. Surely the code has been honored in the bre°ch mainly. And after all why not? But we started out to talk about a motion picture — and an entertainingone — possibly even for some of the long-faced persons enumerated. The drinking is only an incident. What stands out above and beyond that phase is the comradeship and affection that exist among men who have faced death together. The tragedy at the end in which first one and then two of the principal characters meet death is logically developed and realistically portrayed. The romance is short but equally pleasing in its final acknowledgment. Richard Barthelmess has surrounded himself with most competent young men — John Mack Brown, David Manners, Elliott Nugent and Walter Byron. The leading place among these has been assigned to Brown, who finely handles it — even to tackling: a horse in the street or nagging a bull in the arena. The others named are equally effective, the villainous stuff falling to Byron. Helen Chandler in her interpretation of the clean minded but unconventional young woman who pals with all the boys earns a good-sized niche for herself. She splendidly plays a "nut" part and at the same time wins the sympathy and the admiration of her house — an achievement in itself. STREET SCENE First cameraman, George Barnes ; second cameramen, Stuart Thompson, George Nosde ; assistants, Judd Curtis, Harold Carney, Harvey Gould ; stills, Kenneth Alexander. ELMER Rice's play of "Street Scene," which Samuel Goldwyn has converted into a striking motion picture, well might have been called "Just Folks." As contrasted with the high and mighty usually employed as the backbone of a screen story simplicity and simple persons here come into their own. For camera material the tale reverts to the Biograph days when with almost unvarying regularity the hero of a picture was one who worked with his hands and the heroine was one unacquainted with stockings. Biograph with its simple stories simply told became the world's leading motion picture maker. Even for the comparatively short period that its chief director, Griffith, was unknown and unidentified to the multitude nevertheless the impression grew among exhibitors that somewhere in the Biograph organization was a man who stood out above his confreres in competing companies. So here a man writes a story around the doings of human beings in a single city block. Actually the locale is restricted to an area nearer to three or four twenty-foot city lots. These human beings do much the same things done by their brothers George Barnes the feel of silk and sisters in thousands of other spots all over the world — scarcely more or less. Yet with it Elmer Rice wins the Pulitzer prize. And why should not the award go to the person who can keep his people near to the soil — even though some of them inevitably must be soiled? The tale is of absorbing interest throughout its entire length. At one time or another all of the thirty-four members of the stated cast are heard from, briefly or otherwise. Disregarding the implication contained in that statement the interest centers on a few, and from them never departs. Principals among these are Sylvia Sidney as Rose, in whose home a skeleton has taken shape; William Collier, Jr., as Sam, a Jewish lad not overpugnacious by nature, abused by the bully of the block and in love with Rose; Estelle Taylor as Mrs. Maurrant, mother of Rose, tied to an uncongenial husband and secretly meeting Sankey, the milk collector, played by Russell Hopton. One of the best performances of the production is that given by Beulah Bondi, as Ma Jones, the chief gossip of the block — which is a statement of major dimensions. She follows not the prescribed routine of overemphasis; rather she rests her work on restraint and deliberation, with a high degree of success. Matthew McHugh as Vincent, the grinning apelike pride of the Jones family, is practically perfect in his most repellent part. David Landau as the father of Rose, the man who when he shoots down his wife and the milk collector contributes the tragedy to the story, is convincing in his bitterness toward life in general. Sylvia Sidney is near her best as Rose, as near as we have had an opportunity to see her on the screen. Her really great part has not yet come to her — one where we may see her not always in drab or unkindly surroundings but one wherein she may have a chance to radiate gayety and be a part of a less unlovely atmosphere. Willie Collier, Jr. does well in a difficult part. King Vidor directs. CALGARY STAMPEDE WHEN Alvin Wyckoff took a truck over two thousand mile* into Canada to record on film both sound and color he undertook a task never previously attempted. What he brought back will show the "Calgary Stampede" in all the glory of its many colors and the bedlam produced by leather-lunged ranchers out for a holiday. The picture will have especial value wherever throughout the earth the English flag is flown — or for that matter wherever the spirit of the pioneer remains undimmed. Aside perhaps from the kilties' band and the detachment of Royal Northwest Mounted, the parade and following stampede well might have been held south of the international border. The picture opens with a shot of Lake Louise and a panoramic view of Calgary, a bustling looking town with a host of good-sized buildings. Then follows the parade of many