Motion Picture News (Apr - Jun 1927)

1274 Motion Picture X e zc s Cabaret Interesting Melodrama of Broadway Night Life (Reviewed by Laurence Reid) IT'S quite a jiiiiip from the south seas to Broadway, but Gilda Gray has nefjotiatcd it easily. Emerging from a romantic background of sunlight and moonlight and sheltering palms to take in the artificial atmosphere of a night club the star has occasion to be emotional in as crisp a melodrama as has come along in some time. "Cabaret" is just what its title indicates. If one guesses that it will concern the plottings of the underworld one will not guess wrong. But instead of involving one of our biggest industries — bootlegging — it caters to the less complicated occupation of murder. Our only criticism is its length. It runs a trifle too long and loses some of its compactness. And, come to tliink of it, the casting is none too good, aside from Miss Gray and Tom Moore (the latter appearing as the detective). It features some firstrate atmosphere and the star certainly demonstrates that she is in a class by herself in her particular style of dancing. She also shows ability to emotionalize her role. The Cast: Gilda Gray, Tom Moore, Chester Conklin. I J' in. Harriiujton. Jack Egan, Anna Lavsa, Charles Beyers. Director, Robert Vignola. THEME: Melodrama involving a murder — with dancer saving her brother from being framed. PRODUCTION HIGHLIGHTS: The cabaret scenes. Gilda Gray's dance. The murder. The acting by star and Tom Moore. Chester Conklin 's comedy. The subtitles. EXPLOITATION ANGLES: Bill the title and feature as picturization of New York night life. Stage prologue of dancer doing Charleston and Black Bottom. Play up star. DRAWING POWER: Title and star will draw them. For any house. Produced and distributed by Famous Players. Lengtli. eiglit reels. Released April, 1927. A quartet of sliots from ^^Quarantined Rivals," a Lumas release Madame Wants No Children Nevertheless, the Stork Arrived (Reviewed by E. G. Johnston) BILLED as an hilarious comedy but somewhat overshadowed in that respect by its serious theme, William Fox's first German-made feature for American consumption has come to our shores. Now, in the opinion of this writer, some more importations of this calibre won't do a bit of harm; for outside of a few crudities here and there such as occasional bad lighting, at times a too speedy action and one awkward melodramatic situation, it's a darn good picture and worthy of favorable comment. Some fine directorial touches have been injected by Alexander Korda in a story which deals with a man's attemjjt to escape his liumdrum bachelor life. The attractive Mai'ia Corda plays the loie of the jazz-crazed woman he marries, and does it in a most praiseworthy manner. Harry Liedtke, well-known Euro]iean actor, has the role of husband. These, and the rest of a well-balanced cast, combine to make what we believe to be a first rate general audience picture. We might also add that the director and feminine lead of this picture have been signed by one of our largest National distributors. The Cast: Maria Corda, Harry Liedtke, Maria Paudler, Triide Hestcrberg, Dina Gralla, Herrmann Vallentin. Camilla V. Hollar, Olga Mannel and Ellen Muller. Directed by Alexander Korda. Cameras. Theodor Sparl'uJd and Robert Baberske. THEME: Sophisticated comedy drama dealing with homeyearning bachelor who picks a jazz crazed mate. Has happy ending. PRODUCTION HIGHLIGHTS : Clever directorial touches and camera work. Acting of the principals. Intense Gale^ human feelinn is displayed in ttiese scenes from "The liroken a Tifjuny picture ivhich ivas adapted from a novel by the late Emerson Iloug.li Of course, you'll say: Whoozinit? But forget this and play it up as a darn good "Imported Production." Also, don't forget the comedy and "baby" angles. DRAWING POWER: Appeal for sophisticates stands out but also as general audience on account of theme and comedy relief. EXPLOITATION ANGLES Length, 5.415 feet. Released April 3. 1927. Produced and distributed by Fox Films.