Modern Screen (Dec 1934 - Nov 1935)

After a long absence from the screen, Ruth Chatteron signed with Columbia. She'll do "A Feather in Her Hat." beautiful pig-tail rushed up to her and asked her for a date that very evening. At least Valerie thinks that was the proposition,, being a little vague on her Chinese. ** The Glass Key (Paramount) When you realize that this picture is based on a story by the astute Mr. Hammett of "Thin Man" fame, you may think you're facing an evening of brain strain. But never mind the aspirin, as this murdermystery dwindles down to monotony. George Raft is cast as the ultra-modish and super-courageous hero, who is so devoted to the town's biggest politician, Edward Arnold, that he not only risks his life to save him from disgrace, but makes the supreme sacrifice of offering to teach Mr. Arnold how to dress snappily. Raft's role, however, gives him a better opportunity to display his versatility than he's had in many a moon, while Edward Arnold is as satisfactory as ever. The love story is more tangled up than the murder motives, since Mr. Arnold is in love with the sister (Claire Dodd) of the murdered man, and she thinks Mr. A. is the meanie who "done him away," while Mr. Raft, not to be outdone, falls in love with Mr. Arnold's daughter (Rosalind Keith ) who's violently enamoured of the murdered man. On second thought — mebbe you'd better bring along that aspirin. Preview Postscripts George Raft has oft been heralded as the second Valentino, but the only real resemblance seems to be that patent leather pompadour. However, it's nothing against George, for he's a pretty good guy even if he doesn't remind us of the Great Lover. He's the answer to the haberdasher's prayer — buys anything and everything in that line if expensive enough. Would sooner be caught dead than in a pair of unmonogrammed suspenders. Lives in Hollywood's snappiest penthouse, equipped with the last gasp in chromium bars — but never drinks himself. In spite of which, his alibi on arriving at the studio late the other morning was that a herd of pigeons had flown through his window and landed on the bedpost. It had taken a good hour to shoo them out. . . . Edward Arnold has two hobbies — hunting and motoring, and owns the prize collection of 98 guns in Hollywood. . . . Rosalind Keith's story should never be breathed in the presence of movie-struck girls, for 'twould result in Hollywood Blvd. being overrun with coyotes on a leash with a blonde. Which is the attention-getting device this Missouri girl employed after getting the cold shoulder from casting offices for a month of Sundays. She's happy now, except for occasional weeps over her peroxided locks and "Gottlieb" (the coyote) whom she periodically loses. ** Headline Woman (Mascot) Here's another picture bent on glorifying the gentlemen of the Fourth Estate. Roger Pryor is the star reporter with an amazing nose for news and a dashing new mustache, all of which features prove irresistible to Heather Angel — and being's how she's the boss' daughter this should have led to a snappy, happy ending. But the course of true love doesn't run any smoother here than in other places we've heard about, so Heather's papa isn't aware of Roger's sterling qualities. However, when he steps in where the other reporters fear to tread and sleuths out a couple of murder mysteries, to say nothing of saving his Angel's name from being dragged in the mud, everything is okay. Pretty painful as. to plot, the picture is saved by Mr. Pryor's good performance. Preview Postscripts Bill Nigh directed this flicker with his usual flourish. He has a flexible cane without which he's lost, directorially spikkin, which weapon he brandishes around in a menacing manner and gets action from his actors. However, he was stumped on this one. The scene was in the City Room of a newspaper office, and seeing one young man sitting at his desk, with nary a fleck of dust, a piece of paper or a cigarette butt in sight on its gleaming surface, he waved said cane and yelled, "Hey, you, doncha know what a reporter's desk should look like? How long you been acting, anyhow?" The young man regarded him calmly, then replied, "Just started acting — been working for the past twelve years on the New York Times.". . . Roger Pryor's noted for his cool, calm and collected air — besides that mustachio. But he weakened in one crisis. Roger had painstakingly rehearsed his scene of picking up an egg and remarking jovially, "Well, hope this egg's okay." But the ninth time, the egg slipped from his numb fingers, and crashed on the table. 'Twas a "prop" egg — and slightly the worse for wear. Roger fled with the rest of the cast from the set. . . . Heather Angel (yeh, that's what she answers to) is an English import. Married these past few months to Ralph Forbes, a Chatterton "ex," she's now enjoying a British vacation — alone. ** Alias Mary Dow (Universal) You'll have to have the faith of an extra bent on stardom to believe this one. It's about the mother who goes through the years lamenting the loss of her strayed or stolen baby. When, in her dying hour, she calls for the child, her husband goes to a coffee shop and induces a slangy, young waitress to pretend she's the returned Mary. Hard to take, you'll admit. That is, to everyone but the authors and Katherine Alexander who is paid to take it. The dialogue in the story is as impossible as the plot, the characters actually making speeches in lieu of conversation. Sally Eilers, who should lose ten pounds, is best in the dance hall sequences. Henry O'Neill and Katherine Alexander play her parents with nice restraint and Chick Chandler and Lola Lane give fair ac counts of themselves. Then there is Clarence Muse, sincere and sympathetic, in a small role. Preview Postscripts The only time the Harry Joe Brown family ever saw one another while this picture was being made, was at the studio commissary for lunch. Sally was busy 'til all hours, Harry was frantically grinding out another film at a neighboring studio and "Sonny" was the next thing to a complete orphan. Ray Milland looks like an Arrow Collar Lad (ad. gratis) but honestly would rather resemble an ex-pugilist. For this 6' 2" Adonis craves rough, tough, roles — claims he'd rather wear a strait-jacket than a dinner-jacket. . . . Katherine Alexander is a familiar name to Broadway. This very handsome lady has been on the stage since she was' a mere cheeild. Married Producer William Brady, Jr., some time later, and to date hasn't regretted it. Clarence Muse has "sung for his supper" ever since he can remember — some forty years now. As talented a song-writer as a songster, he's credited with several hits of the past season. ***** Oil for the Lamps of China (Warners) We found this an admirable and unusual picture for many reasons. First, because, having read the novel of the same name, we did not see it as picture material, excellent though the book was. Score one for Warner Brothers for choosing it. Then, we did not expect that the rather even pace of the book would provide enough action and emotion for a screen drama. Score one for Director Mervyn LeRoy, who so superbly crystallizes the very deep feeling of the story into a series of tense and tender scenes. Third, we were delighted to see Pat O'Brien, so long confined to cigar-chewing and wise-cracking roles, given a really worthy dramatic part — and doing splendidly in it. And fourth, there is Josephine Hutchinson — a young dramatic actress who is so real and appealing and convincing that you will wonder where she has been all your lives. Briefly, the story concerns the business pioneering of a great oil company in the Orient, the back-breaking and heartbreaking struggles of the company's employees in their efforts to sell more "oil for the lamps of China" and the loyalty and heroism of one of those employees — O'Brien — and his game little wife — Miss Hutchinson. See the picture by all means. It's completely worth while. "Oil for the Lamps of China," another triumph for Warners and its stars, Josephine Hutchinson and Pat O'Brien. Printed in the 0. S. A. by Art Color Printing Company. Dunellen, N. .7.