Modern Screen (Dec 1937 - Nov 1938)

MOVIE REVIEWS (Continued from page 13) Algiers Based on a foreign film hit ("Pepe Le Aloko") "Algiers" is a cops-and-robber story in a new background. The plot is a thin fabrication about a section in Algiers known as The Caspah, hideout for criminals of all nations, and the more or less placid existence there belies the alleged viciousness of its inhabitants. The excellent camera work, however, manages to keep the story moving and actually makes it seem more exciting than it really is. Charles Boyer is Pepe Le Moko, a French jewel thief, regarded as the most dangerous man in the Caspah. The police are unable to catch him because Pepe has his gang and his girl ( Sigrid Gurie) and lie"s quite content not to emerge. One day, liowever, a beautiful Parisienne (Hedy Lamarr) comes to the Caspah on a slumming trip and Pepe falls in love with her. You know what happens. The police trick him with a message from her, he comes to town and walks into their trap. Boyer plays Pepe in his usual sulky, dark-eyed manner. Hedy Lamarr _ causes a minor sensation and Sigrid Gurie does not fare quite so well. In the supporting cast, Gene Lockhart almost walks away with the picture with a well-defined and expert portrayal of an informer. Directed by John Cromwell.— rFo//cr Wanger. *^ Little Miss Broadway Little Miss Temple, queen of 20th Century-Fox and America's answer to England's Princess Margaret, comes to her public once more in another of those sugary sweet offerings which send her admirers home happy and contented. Despite her advancing years, Shirley still manages to captivate the entire cast. This time she is an orphan (what, again?) who is adopted by the kindly proprietor of a Broadway theatrical hotel. Her surroundings, of course, give Shirley ample reason to demonstrate her talent as a singing and dancing star. In the latter department she excels, and is fortunate in having George Murphy as her partner in two or three really entertaining routines. Her songs still run to the saccharine. However, Shirley's personality and general excellence will make audiences forget such relatively minor complaints. Suffice it to say that under Shirley's guidance the old proprietor pays off the mortgage, and the mean old rich lady next door winds up sweeter than Snow White. It is, of course, Shirley's picture throughout, but credit must go to George Murphy, Timmy Durante, Edna Mae Oliver, Edward Ellis, Donald Meek and others_ for keeping the thing amusing when Shirley has her stage waits. Directed by Irving Cummings. — 20th Century-Fox. **Love Finds Andy Hardy When it's love in bloom for And\Hardy there isn't a man, woman or child in these United States who couldn't get a chuckle out of it. This time he's torn between three charmers — Ann Rutherford, the old girl ; Lana Turner, the town siren ; and Judy Garland, an out-of-town visitor. Trying to purchase a twentydollar jallope on the installment plan doesn't add anything to his peace of mind either, particularly since father Lewis Stone, though pretty understanding about most things, is rabid on installment plans. Andy's plight is real and heart-rending as he becomes more deeply involved with every move. This role will add even more prestige to Mickey Rooney's record, while the picture is bound to make the Hardys, en fainille, more popular than ever. It's their best story to date. Andy isn't the only Hardy with problems. Mother Fay Holden is called away from home, and daughter Cecilia Parker is left holding the reins. Between cooking, an absolute mystery to her, and kid brother Andy, a constant nuisance to her, Cecilia has her hands full. To make matters worse, it's the Christmas season, and things look pretty glum around the Hardy household for a time, though everything turns out for the best, of course. Judy Garland almost steals the honors from Mickey with her excellent characterization of the sympathetic girl friend. You won't want to miss this Hardv familv picture. Directed by George P. Seitz.— .l/-G-il/. -yk'^^The Texans A glorified Western, this picture is full of strong men, strong language and daring adventures. The story centers about the trials and tribulations which befall a courageous group who attempts to drive a herd of 10,000 head of cattle from Texas to Kansas in the perilous days following the Civil War. The herds belong to Ivy Preston (Joan Bennett) and her grandmother (May Robson). They are the victims of an exorbitant tax levied on their cattle by the government and, in order to save their property, they resort to the 1,500 mile trip. With them go their trusty friends, the old cowhands on the Preston ranch, and Kirk Jordan (Randolph Scott) whom Gramma regards as a tried and true friend but who's just a pain in the neck to granddaughter Ivy. Romance, of course, blooms along the trail for the two, though the atmosphere is hardly conducive to sentiment. Isaiah Middlebrook (Robert Barrat) and his troupe of Yankee cavalry follow close at heel, determined to get the herds back in their hands. Indians descend upon them. They are the victims of blizzards, dust storms, droughts, and In "Algiers," Charles Boyer surprises his admirers with a very good singing voice. Nice work, Charles. thunder-storms along the trail. In short, it's durned tough goin'. But you who like films where men are men and women full of courage will like "The Texans." The pictorial effects in many instances are breath-taking. Joan Bennett and Randolph Scott turn in satisfactory performances, but the honors go outright to May Robson for her characterization of the Southern lady who is all gentleness and charm in appearance but turns out to be the fiercest fighter of them all. Directed by James Hogan. — Paramount. Passport Husband Stuart Erwin, true to form, is in for another terrific beating. This time two gangs of desperate characters are vying for the privilege of murdering him. It all started, of course, because of Stu's good heartedness, which has got him married to a glamorous creature, Joan Woodbury. When Joan allows as how she'll die_ if Stu doesn't wed her, he doesn't know it s deportation and not death that's facing her. Nor does he realize that Joan isn't exactly the home type, but a moll at heart. Complicating matters even more is Douglas Fowley, a gentleman of unsavory reputation who would have Joan for his own, and Pauline Moore, an awfully nice girl who feels just that way about Stu. It's all pretty innocuous stuff as far as the plot goes, but the laughs are good and plentiful. And the cast, though far_ from illustrious, do an excellent job within the script limitations. The climax is one of the rowdiest, lustiest and funniest ever, with Stu Erwin capturing both gangs of criminals single handed by the simple expedient of pushing them out of a supposedly burning building into the waiting firemen's net below. You will find real entertainment ii "Passport Husband," in which Stuart Erwin is at his best. Directed by James Tinling. — 20th Century-Fox. Tlk"Ar Tropic Holiday Paramount has taken Bob Burns, Alartha Raye, Dorothy Lamour and a number of their friends down to Mexico for a musical show which has its moments. Said moments are confined, properly enough, mostly to the musical numbers, beautiful Mexican songs by Augustin Lara, the country's foremost ballad writer. In addition there are comedy moments, the best being a bull fight sequence featuring a ferocious bull and a very frightened Martha Raye. Story has to do with a Hollywood scenario writer on a Mexican hegira trying to find peace and time in which to finisli a script. He runs into everything, including romance with Dorothy Lamour, who is probably as surprised as anybody to show up in a picture without a sarong. Martha Raye and Bob Burns furnish most of the comedy, agreeably aided by Roberto Soto, Mexico's Charlie Chaplin. Tito Guizar is handsome and pleasant to hear as he sings several Mexican love songs, and Miss Lamour tosses off a song or two of her own with good effect. Binnie Barnes is excellent as a Hollywood beauty jealous of Milland's romance with Miss Lamour, and there is nice work ^ by a group of natives. "Tropic Holiday" is no great shakes, but it is entertaining and lietter than most run-of-the-mill song and dance films. Good for a frivolous mood. — Directed by Ted Reed. — Paramount. 82