The international photographer (Jan-Dec 1932)

Thirty-four The INTERNATIONAL PHOTOGRAPHER February, 1932 as played but the value of the camera enhanced them by showing the action from the ends and sides of the field coincident with the long run. Of especial interest were the shots of a play in actual timing from behind the goal post followed by a slow motion of the same play from the side. The touchdowns also were shown in this same manner with an added shot from a third angle. The success of this initial attempt and the outstanding photography achieved no doubt wrill encourage further films of complete games, thereby serving the twofold purpose of gaining for the game of football a more general understanding of the science and skill it calls for and develops together with a greatly augmented appreciation on the part of the general public as to the achievements possible through the medium of the camera when guided by skilled hands. Of course football was intended to be the featured role, but this is one of those interesting cases where another element entered in to steal the show. Teamwork that embodies the perfect coordination of purpose and action supplied by each individual unit to attain the goal sought by the entire group is the idea that registers. With no intention of serving so serious a purpose, the picture unconsciously grips one in this way so that when the tension and excitement of the dramatic moments wear off the impression that lingers is — Teamwork. THIS RECKLESS AGE First camera, Henry Sharp ; second cameras, Otto Pierce, Dan Fapp ; assistants, Paul Cable, Arthur Lane; stills, Earl Crowley; sound, Frank Goodwin. EVERY once in a while the barrage of sophistication and crime motives in screen plays lifts to show us that back in the lines of defense is the home influence where normal, self-sacrificing parents with high ideals for their children also can provide a worthwhile theme. Such a happy interlude is Paramount's "This Reckless Age." The director, Frank Tuttle, also made the adaptation for the screen from the play "The Goose Hangs High," by Lewis Beach, and a good accounting he has given in the dual capacity. Discrimination in the selection of the cast is also marked, each member of which registers an individual and impressive characterization. Richard Bennett and Frances Starr are the parents in the Ingalls home with Charles "Buddy" Rogers and Frances Dee, the thoroughly modern and seemingly irresponsible offspring. These parents think they are following a very worthy plan of self denial all in the best interests of their children. Of course, what they really are doing is denying this son and daugh Henry Sharp ter any opportunity for personal sacrifice and responsibility on which to build character for themselves. Circumstance, however, enters in to give the children a chance to prove themselves which, of course, they do most satisfactorily. An important personage in the Ingalls household is Rhoda, the general all-around servant. Played as Maude Eburne plays it, every line and gesture gets an audience response. All the young people depicted are truly the product of a reckless age for youth, but underneath they are wholesome and likable. The recklessness is recognized as purely a surface affliction. When life steps in to administer a little needed discipline their energies are simply given direction along different lines and they come through in true blue fashion. Charles Ruggles does not have to get intoxicated once, but he does have to carry on with a name such as Goliath Whitney. Of course, he is equal to the task, and perhaps as a reward wins a young and attractive bride. Any way he does and everyone rejoices with him. Peggy Shannon completes the list of the main characters. As Mary Burke, the fiancee of the son of the Ingalls household, it is not difficult to understand why a career in marriage with her seems more attractive than two remaining years of college. Pictures such as this are rare because they are much more difficult to produce than sensational or spectacular ones, but they are welcome innovations, especially when accomplished with such satisfactory coordination of effort as herein evidenced. STEADY COMPANY First camera, Charles Stumar ; second camera, Richard Fryer ; assistants, Martin Glouner. Charles Crane ; stills, Mickey Marigold ; sound, Joseph Lapis. WITH plenty of punch in its theme and rapid action directing in its presentation Universal's "Steady Company" contains much popular entertainment value. Norman Foster discloses a physique which previous parts have kept under cover. While working during the day as a truck driver, at night he is getting training as a boxer with ambition to one day become a champion. How he fights through two contests to losing decisions and enlists the interest of June Clyde, an attractive telephone operator, in his career supplies the action that carries the suspense. J. Farrell McDonald makes only one brief appearance, but the way he registers a former champion pleading over the telephone with his oldtime manager to give him a chance to fight one more match in order to get money for his sick wife is a performance not easily forgotten. Henry Armetta, the Italian comedian, takes first honors as the cobbler, paternal adviser to the young boxer in the making. Every gesture, facial expression, voice intonation and even his walk contribute to and are an essential part of the characterization. Zasu Pitts, in her own inimitable manner, gets a laugh for practically every one of her lines. But, of course, that is why she gets the lines. The screen play and dialogue were written by Earl Snell. Edward Luddy in his direction passed up no opportunities in getting the maximum amount of effectiveness in each and every scene. Shown in advance of this picture at the studio preview was one reel of the German production "Mountains in Flame." On a recent trip abroad Carl Laemmle saw this film. He was so impressed with it that he arranged to make an American version of it, the German star, Luis Trenker, to be featured in the American cast and the one reel shown to serve as a background. The story deals with a phase of wartime activities between Austrian and Italian forces staged in the Alps. The combat is exceptionally spectacular engaging as it does men on skiis and intrenched machine gunners. The treatment and perfect photography of the one reel shown give promise of a release of unusual novelty and excellence if the accompanying reels can maintain the high standard of that fur.nishing the background. Arthur Edeson THE IMPATIENT MAIDEN First camera, Arthur Edeson ; second camera, Allen Jones ; assistants, William Dodds, John Martin ; stills, Sherman Clark ; sound, William Hedsecock. IN PRESENTING a director and cast who have figured prominently in several of the screen's outstanding productions in "The Impatient Maiden" Universal seems to have overestimated the possibilities of the novel by Donald Henderson Clarke from which the adaptation was made by Richard Schayer and Winifred Dunn. A hospital ambulance summoned to attend a woman who has attempted suicide with gas in an adjoining flat brings a young doctor and a male nurse into the flat and lives of the two girls who discovered the woman. This accidental encounter leads to others based on premeditation. Lew Ayres wins sympathy as the young physician who is trying to retain an impersonal attitude toward all women patients by regarding them solely as biological exhibits requiring medical attention until his finances will permit a more personal attitude. Mae Clarke gives a logical portrayal of the shattering effect on youth's ideal of love and marriage when daily subjected to the disillusioning recitals she hears as the able secretary of John Halliday, a lawyer who specializes on divorces. Andy Devine completes the quartet supplying the love interest. He contributes a very amusing characterization of the nurse who has invented a straitjacket intended to be effectively restraining to the person wearing it but a financial walkaway for the inventor. Under the capable direction of