Modern Screen (Dec 1931 - Nov 1932 (assorted issues))

MODERN SCREEN THE MOUTHPIECE (Warner Bros.) Warren William in this, his first starring picture, portrays the lawyer who becomes a "mouthpiece"' for the underworld after the disillusionment of sending an innocent boy to the electric chair while acting for the District Attorney. William is exceptional in his sincerity and smoothness. The picture is crowded with incidents from the life of New York's famous mouthpiece, Fallon, and some of them will leave you breathless. Sidney Fox, the typist in his huge office, shows him the error of his ways. The scene in which William "drinks poison" to convince a jury of his client's innocence is enough in itself to recommend this picture for your preferred list. BUT THE FLESH In this spicy comedy-drama, originally "The IS WEAK Truth Game," Bob Montgomery is the penni less but attractive son of an impoverished (M-G-M) Englishman. Father and son's only material salvation lies in Bob's marriage to a wealthy English noblewoman, but love steals a march on their well-laid plans in the person of beautiful but poor Nora Gregor. As the sensuous Russian prince, Nils Asther proves that his slight accent can no longer be considered a handicap to his career. You may come away with the feeling that Bob Montgomery is becoming too William Haines-ish — with his insistent buffoonery , but don't let that keep you at home. THE MIRACLE MAN (Paramount) A good cast, under intelligent direction, with convincing dialogue, sufficiently animates the somewhat outmoded story of the regeneration of four crooks, in its talkie revival. You will probably remember the plot from the story's silent version. Of the underworld foursome's plans to make "easy money" by capitalizing on the reputed healing powers of the miracle man (Hobart Bosworth). This quartette is ably portrayed by Chester Morris, Sylvia Sidney, Ned Sparks and John Wray. Naturally you will want to see how the portrayals of these actors stack up against those of Thomas Meighan, Betty Compson and Lon Chaney in the silent-day filmnization. THE FAMOUS Certainly there have been better pictures CPDr~l ichm r"AQF^eP'c^n^ devious practices of unscrupulous rtKCUjUN L-A2>t newspapermen. However, there are a few new (First National) twists in the plot. The murder of a famous financier at his summer estate in a quiet village brings a flock of big city reporters swarming to the scene of the crime. Before they return to the fold of the metropolis the lives of guiltless persons have been wrecked. Tom Brown is the youthful editor of the village paper who comes through with some real newspaper work, and some commendable acting. Joan Blondell as the city sob-sister proves she can be depended on for good performances. GIRL CRAZY (RKO-Radio) When the girl-crazy Eddie Ouillan converts an old Western rancho into a night club and imports Woolsey, Wheeler and a score of beautiful girls to help him put it over — he also introduces a goodly number of farcical situations. Especially when the town's bad man, who shoots prospective sheriffs on sight, learns of Wheeler's candidacy for that office. Mitzi Green's imitations are grand. Wheeler and Woolsey caper through a lot of footage in their fast and furious manner and can't be held culpable if some of the lines prove not uproariously funny. The scene showing them posing as Indians is uproariously comical. Dorothy Lee and Arline Judge are good. i I 48