Modern Screen (Dec 1938 - Nov 1939 (assorted issues))

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MODERN SCREEN **** — iT^~^msfS i (Use r'irls of today accent rale ..for rare loveu Ss and allure. Start your day the Djer-Kiss way! Bathe your entire body with this delightful talc each morning. Djer-Kiss is refreshing, helps you begin the day dainty and cool. Clothes feel more comfortable. Your skin seems soft as satin . . . you are alluringly fragrant from head to toe. Use plenty of Djer-Kiss, for the cost is small. 25<t and 75<£ sizes at drug and toilet goods counters.Generous 1 0-cent size at all ten-cent ^gpsfe stores. Get your Djer ISSllii Kiss talc today! ^K^M The same exquisite fragrance in Djer-Kiss Sachet; Eau de Toilette; and Face Powder. Imported tale scented with genuine Djer-Kiss perfume by Kerkoff. liy. K £ r K o ( f MOVIE REVIEWS {Continued from page 15) has been used to show the mark of passing years on schoolmaster Chips, its existence is scarcely noted. For Mr. Donat has brought such sympathetic understanding to his characterization, such mellow humor and warmth of personality, that he has made every moment of Mr. Chips believable. Another beautiful performance is that of Greer Garson, as the woman with whom the middle-aged schoolmaster falls in love. Their courtship in the Tyrolean Alps and their subsequent happy marriage which is terminated by the wife's tragic death in child-birth, are sequences which could stand comparison with the best that's been done. Another admirable bit of casting was in the selection of Terry Kilburn for one of the most appealing and important roles. There are many excellent performances in the large cast assembled, with several of the English schoolboys giving impressive accounts of themselves. Production and direction deserve highest compliments. Directed by Sam Wood. — M-G-M. ★★ Lucky Night "Lucky Night" is so bogged down with confusing dialogue and unconvincing story material that even Myrna Loy and Robert Taylor cannot turn the picture into good entertainment. When in doubt what to do next all members of the cast look around for a drink, setting something of a record for elbow-bending in motion pictures. The Loy and Taylor personalities are the only recommendations for the picture. They emerge with some new characteristics that should please their fans. Taylor proves himself a pleasing comedian, and Miss Loy is sweetly serious as the young bride who suddenly realizes she wants security instead of hectic excitement. The story title refers to the night they meet. Both are broke, looking for jobs and in low spirits. They manage to talk the park cop into staking them to a meal, and Myrna Loy hits a slot-machine jackpot at the restaurant. They drink too much and wake up the next morning bound by a marriage that neither can remember. From there on, it's the same story of young married love, only there are no absorbing problems to hold interest. Henry O'Neill, as Miss Loy's father, is very good, and Douglas Fowley is particularly entertaining as a night club owner. Directed by Norman Taurog.— M-G-M. ★★ Captain Fury Mellerdrammer, with not a single hairraising trick left out, is here for you in this picture — if you can take it. The story takes place in Australia where the cruel land-owners (and are they cruel) use pitiful convicts from England (and are they pitiful) to slave on their land. Brian Aherne and Victor McLaglen are two of the convicts forced to work for one of these ruthless gents, and they go through untold tortures before finally making their escape. Whereupon Aherne turns into a Robin Hood for the poor of the land, wreaking vengeance on the wicked wealthy in order to give money to the deserving downtrodden. It's all pretty stirring, and not a scene goes by without a good fight where right triumphs gloriously over might. There's a love story, too, between Aherne and June Lang. And though it seems to have been put in the script as an afterthought, the two provide a sentimentally satisfactory romance. Aherne gives as good an account of himself as could be expected in such a role, but Buck Jones needn't lose any sleep over this actor stealing his thunder. Paul Lukas, John Garradine, Douglas Dumbrille, Virginia Field and Margaret Roach are others in the cast who are convincing. But Victor McLaglen can take all the laurels for making the picture as much of a success as it is. Directed by Hal Roach. — United Artists. ★★Some Like It Hot Some won't like this at all, in spite of Bob Hope and Shirley Ross in there pitching. The story lacks umph — even with Gene Krupa to step up proceedings. The jitterbugs will be disappointed in the lack of footage allotted Krupa. So will the more sedate members of the audience, for when the swing-master is given an occasional chance the picture looks like it might hum along after all. Bob Hope doesn't lack gags or Shirley Ross her customary gaiety, but the usually spontaneous antics of these two seem forced in this threadbare story. Hope runs concessions in Atlantic City and is the manager of Krupa's band and singer Ross. Principally he manages to steer his charges into a series of misfortunes, until they take matters into their own hands and strike out on their own. But of course, Cupid has entered into the picture by this time, so Shirley forgives and forgets before the final reel. There is good work by Una Merkel and satisfactory performances by most of the other members of the cast. You'll like "The Lady's In Love With You," as sung by Shirley Ross. Directed by George Archainbaud. — Paramount. ★★ The Kid from Kokomo "The Kid From Kokomo" can take the title for the wackiest picture yet to come out of Hollywood. It's pure slap-stick, the kind that makes you howl, and doesn't even attempt to strike a single serious note. May Robson walks away with acting honors in her role of the night-court habitue. When Wayne Morris, a country boy gone big-time prizefighter, is presented with this shoplifting old sot for a mother, the fun begins. Pat O'Brien, the fighter's manager, is the genius behind this idea as he thinks his gold mine will continue up the road to big money with a mother as inspiration. Joan Blondell, an ex-bubble dancer and fiancee of O'Brien, is excellent as the discouraging menace to all the fancy plans concocted by the manager. Jane Wyman is the cute girl friend that detracts the Morris attention from both fighting and mother, Sidney Toler plays the role of her father and Stanley Fields barges in toward the end of the picture as the fighter's phony father. With a cast like that, hilarious entertainment is to be expected and that's exactly what the customer gets. Don't expect another "Kid Galahad," but do anticipate a diverting story, snappy dialogue, and repeated ridiculous situations with fast action. Directed by Lewis Seiler. — Warner Bros. Intimate, inside stories on Ginger Rogers, Spencer Tracy, Irene Dunne and Jane Withers in September MODERN SCREEN 80