The international photographer (Jan-Dec 1931)

Thirty-tivo The INTERNATIONAL PHOTOGRAPHER October, 1931 any dramatic production — Frances Starr. She makes much of a part which necessarily is abbreviated by reason of the play given to other characters — those interpreted by Dicky Moore, Edward J. Nugent, Grant Mitchell, Sally Blane and Ralph Ince, among others. Bobby Jones in No. 9 of his Warner series, the one devoted to the driver, supplied one of the best features of the evening's show. There were some striking shots where from a distance of perhaps fifty yards he drove the ball straight at the camera. It made the man out front feel like ducking his head. The most spectacular of all the drives was a slow-motion shot with the camera from behind Jones following the ball in its flight. As the sphere climbed step by step and continued so to mount there came from all over the packed Hollywood house a hum of excited comment that grew into a small-sized roar. Whether they play it or at it surely there are a lot of persons interested in golf. POLITICS First cameraman, Clyde DeVinna ; second cameraman. Dick Wade; assistants, Harry Parkins, Cecil Wright; stills, James Manatt. THERE'S an unusual interweaving of box office twists in M-G-M's "Politics," starring that equally unusual team of Marie Dressier and Polly Moran, the success of which has done more than any other single agency in recent years to prove that humans are not all done at the age of forty — the onetime widely exploited Osier to the contrary nevertheless. In the first place hidden behind the comedy that frequently creeps to the surface is some real drama of the Clyde DeVmna home and family and of the effort of womankind to protect and make more secure that same home and family — in other words the story has strong appeal for femininity. Secondly to reach that vast number of persons of which the majority are youthful who so singularly display fondness for the underworld stuff the story contains a gangster phase. It is more or less subdued, speaking comparatively, but it is present. Any screen showman will tell you if you will give him a tale that will attract the women and the young folks you may do what you will with the rest of the world at large. Marie Dressier is a bit different here from the woman we usually see on the screen. That is not to say she is in any wise more human, for always she is just that above everything else. Instinctively she is "regular," which means inwardly as well as outwardly, and instinctively that fact penetrates the consciousness of the person out front. If as a rule in her fun she is some what boisterous the exact opposite is true in more serious or pathetic moments. There she is restraint itself, and most effectively so. Perhaps in none of her screen work has she displayed more of the real quality of the artist than she gives us here. The story is by Zelda Sears and Malcolm Stuart Boylan and the adaptation is by Wells Root. Robert E. Hopkins writes the dialogue. Charles F. Reisner is responsible for the excellent direction. Polly Moran as Ivy is the youngish looking sidekick of Hattie and one of her chief supports for the mayoralty. Peter, husband of Ivy, is Rosco Ates. Peter is among the husbands who revolt at the absent treatment administered by the militant women determined to bring their menfolks to the ballot box in the proper frame of mind. While it cannot be said of Ates he never repeats himself it may be suggested he never repeats himself in exactly the same way or as the listener is sure he is going to repeat himself. Somehow he does not run true to the form or to the lines already drawn by the studious and anticipating follower. Herein lies the genius of Ates — and undoubtedly it is the explanation of why his stuff continues to amuse and does not tire. In this matter of the revolt of the women and the boycotting of the husbands, in the disbarment of the latter from all rights and privileges and comforts assumed to accompany matrimony, the dialogue runs at times close to thin ice. It is doubtful, however, if the censorious female busybodies will be able to find what they classify as justification for sticking pins in it — not even where the bride of twenty-four hours timidly suggests she is afraid her husband will not like that boycotting plan. Others in the cast are Karen Morley, William Bakewell, John Miljan, Joan Marsh, Tom McGuire, Kane Richmond and Mary Alden. All contribute to the making of a picture which not only has strength but constitutes excellent entertainment. SHARKS AND SWORDFISHES SITTING in a projection room in the M-G-M studio the other afternoon George Thomas third saw himself on the screen as he battled with a 721-pound shark with not much of any bond between them other than a regular tuna tackle the main features of which were a 16-ounce tip and some No. 24 thread. It was a great scrap, the highlights of which were photographed by Raider Olsen. The one reel subject is the seventh which has been described by Pete Smith, the publicity chief who after nearly twenty years of exploiting other and frequently lesser persons suddenly landed on the screen with a bang. The capacity for enter taining description demonstrated in the initial efforts again is in evidence, although the plunging shark and the tugging and straining fisherman as well as sturdy Skipper George Farnsworth with his gaff at the close of the ceremonies so well tell their own story the unseen verbal participant frequently gives the performers the stage. It was a stroke of fortune that permitted Cameraman Olsen to sit in on this battle with camera all set to register on film what proved to be the biggest fish ever hooked and killed with that kind of equipment. The second half of the subject is devoted to the capture of a marlin swordfish, a spectacular bit of fishing in itself. From the picturesque side it is even of larger importance than capturing the shark. The swordfish makes all the surface fuss created by the former, adding to the excitement by leaping clear of the water, frequently a hundred or more times in the process of wearing down. The picture will be enjoyed, whether it be shown near the ocean or a thousand miles in the interior. Raider Olsen MY SIN George Folsey, Jr., first cameraman ; George Hinners, second cameraman ; Charles Salerno and Bill Kelly, assistant cameramen. HUMAN beings are strange creatures. Here was a reviewer who after seeing "The Royal Family" couldn't be convinced a man who would mangle Frederick to Fredric possibly could have enough sense to be a good actor, yet who after seeing the Eastern Paramount's "My Sin" was ready to admit that entirely apart from any matter of ordinary judgment March certainly is a good actor. In Fred Jackson's tale adapted by Owen Davis and Adelaide Heilbron.Tallulah George Folsey Bankhead has a story made to order for her — at least she does after George Abbott's directing hand has guided it. "My Sin" is a fine picture. It is filled with contrasts. Where it opens in Panama in a night club and in boisterous surroundings it closes in summer in a flower strewn Connecticut garden backed by a typical New England homestead of white and green and in ideal rural atmosphere. The shift in wholesomeness of locale is emblematic of the progress of the story and the social and moral status of the two principals the goings and comings of whom tightly hold the interest. While no man who has touched the bottom of the drunkard's pit can restore himself to the world of action without the bitterest of struggles we see in "My Sin" none of this. They are "off stage," so to speak. So also it is with the regeneration of the woman, who following her ac