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MODERN SCREEN
SMART MONEY (First National)
THERE'S good entertainment in this tale of a lowly and garrulous barber who becomes a big shot gambler. But from a purely critical standpoint, the story is thin and trite, both direction and editing being below par. Nevertheless, the presence of those twin cinematic aces, Edward G. Robinson and James Cagney, makes it possible for the picture to hold audience attention all along the route.
Mr. Robinson contributes one of his best characterizations as the "tonsorial artist" who becomes a big card and chip man, only to fall victim to a blonde. Several blondes, in fact. And James Cagney in a less important role shares the star's honors. It is whispered that the plot idea is based upon the exploits of one Nick the Greek, a very real character in the gambling world.
NIGHT ANGEL (Paramount)
COMPARISONS, of course, are odious. And this goes doubled in spades when Nancy Carroll strives for Garbo effects as she does in this cheap, incoherent melodrama. Despite a cast including such names as those of Miss Carroll, Fredric March, Phoebe Foster, Alison Skipworth and Alan Hale, its strength is insufficient to elevate the silly story to program merit.
The triangle is composed of Mr. March as a district attorney, Mr. Hale as a love-sick strong man, and Miss Carroll as a Lily-of-the-Gutter. For the big moment the hero slays the heavy with a (whoops !) nail file. And for the climax Mr. March, having been acquitted of his crime, chases Nancy through crowded thoroughfares for the clinch. By far the best of the players is Mr. Hale — minor laurels for Mistresses Skipworth and Foster.
MAN IN POSSESSION (M-C-M)
ROBERT MONTGOMERY, Metro's newest star, acquits himself admirably as a light farceur in this "risky" comedy of errors. And because of his excellence, a lesser effort of the studios becomes spicily palatable entertainment. The film is fast-moving and rollicking, but it's nothing to which the kiddies should take grandma, for the racy dialog and situations might bring a blush to her cheek.
The slender, smiling Montgomery is cast as a bailiff stationed in the home of Irene Purcell. Subsequently the "man in possession" is forced to pinch-hit as the family butler, and complications come fast, if not thick, when he is compelled by plot exigencies to spend the night in the heroine's home. Mr. Montgomery extracts all the sly fun from the farce and is ably supported.
THE VIKING (Independent)
RAGEDY stalks the screen in every sequence of this epic of the frozen Northern fastnesses, for it can never be forgotten that the film cost the lives of many brave men. The picture is impressive in the awesome splendor of its Arctic scenery, and genuinely thrilling when it confines itself to realism. But, unfortunately, in weaving a plot against the glamour of its background, its fundamental strength has been weakened by absurd melodramatics, poorly conceived and played.
Had the film been limited to an exposition of the perils of seal-hunting in the ice-bound seas of the Polar regions, it might have been a record for all time to come. But the introduction of a fictional plot lessens both its drama and romance. Except for that scenery, one feels that it was all a bit futile. But, of course, if you like scenery —
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