Motion Picture News (Apr - Jul 1930)

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46 M 0 t i o n Picture X c 7c s April 5 , 1930 Opinions On Picturcb King of Jazz Revue {Universal — All Talker) Very Big If Musicals Go (Reznews by Walter R. Greene) UNIVERSAL'S "King of Jazz Revue," with Paul Whiteman starred, is unquestionably the most sensational filmusical of the industry. Other companies are going to hesitate plenty before attempting to top this one. The only questionable angle revolves around the public reaction to musicals which some circuit heads feel are on the wane. "The King of Jazz Revue" is a symphony of color and music ; with a blending of comedy, sensational settings, and intimate numbers to make the production commanding entertainment. Conceived and staged by John Murray Anderson, the production clearly shows his hand in assembling a musical revue to obtain the utmost results in entertaining qualities. Anderson has combined stage and screen technique for startling cfTects in lighting, staging and tempo. Paul Whiteman and his band predominate throughout with musical numbers presented in gorgeous backgrounds. Accompaniments for various song numbers are also provided by Whiteman's crew. Paul does a little acting himself, and demonstrates ability in that line. Of Whiteman's band numbers, "Rhapsody in Blue" is the standout. The number is rendered as only Whiteman can and is presented in a gorgeous setting with blue predominating. John Boles scores tremendously in two song numbers, "Monterey" and "Song of the Daw/n" — both in startling backgrounds and each a high spot in the production. From the animated color cartoon at the start, showing a comedy conception of how Whiteman was crowned King of Jazz through to the stupendous "Melting Pot" finale, the all Technicolor production is packed with genuine entertainment. There is an exquisite spectacle, "The Bridal Veil" ; a comedy music presentation, "In The Park"; Wliiteman's Rhythm Boys in two song specialties; Billy Kent running throughout in sketches and blackouts as comedian ; various specialty song and dance numbers and flash presentations. In fact, the production is one grand kaleidoscopic effect of dazzling proportions, yet retaining an intimacy for direct audience attention. The finished production of "King of Jazz Revue" is worth all the difficulties and headaches that Universal encountered during preparation and production. Those critics in and out of the business who took a keen delight in calling the production "Universal's Folly" will now place it among one of the biggest accomplishments in the history of the industry. Prorlnced and distributed by Universal. Directed_ by John Murray Anderson. Son? composers and lyricists. Georpe Gershwin, Wabel Wayne, Milton Ager, Jack Yellen. Musical score. Fcrde Grope. De>;iener. Herman Rosse. Dance direction by Russell Markert. Photographed by Hal Mohr and Jerome Ashe. THE CAST Paul Whiteman and his orchestra. John Poles. I-aura I-a Plante, Glenn Tryon, Jeanette LofT, Merna Kennedy. Kathrvn Crawford. Otis Harlan, George (Slim) Summerville. Stanlev Smith, Billv Kent, Grace Haves, Sisters G. Rhvthm Bovs. Brox Sisters, C.eorec Childs, Jacques Cartier. Al Norman. Frank Leslie. Teanie Lang. Charles Irwin. Paul Howard. Marian Statlcr and "Don Rose, Tommy Atkins Sextet and Nell Time Flies "Al Jolson has never appeared more youthful than in his latest. 'Mammy.' which makes all the more amazinir an announcement in last Saturday's "Telegram' that 'Since .Jolson appeared in the first talking picture in histf)rv on October .'), 1827, the Warners have presented one Jolson oo'is annuallv.' states "Mike" in the "N. Y. Telegraph." 3 fVi^P> ^ Lawrence Green, Joseph I. Schnitzer, Edna Ferber, Morris Ernst and Jonah Shapiro watching the signing by Miss Ferber of a contract disposing of talking picture rights to the author's "Cimarron", which RKO will produce. Paramount on Parade (Paramount — All Talker) A Wow Entertainment If — {Reviewed by IP'altcr R. Greene) THERE'S a continuous parade of entertainment in "Paramount On Parade." Every one was speculating on just what Paramount would do with a film revue to follow similar productions of other companies. Its layout and structure are originality itself with an intimacy that strikes a new note in variety of entertainment and audience appeal. "Paramount On Parade" is a natural to click for plenty big grosses everywhere. It's a box office setup in the plainest language. The only dubious factor is a possible public reaction against straight musicals. The production is novel in that it does not strive for bigness of sets and spectacles. Rather, it goes in more for audience appeal through intimate numbers and sketches. The trio of masters of ceremonies — Jack Oakie, Skeets Gallagher and Leon Errol — introduce the various numbers with short blackouts that carry plenty of laughs in themselves. Opening with a smart song and dance number featuring Buddy Rogers and Lillian Roth, the production swings through the entire list of Paramount stars and featured players. Maurice Chevalier carries a good portion of the Revue with three separate numbers— each a natural in itself. Bancroft is in there with a slapstick sketch that is a riot. Ruth Chatterton hits one of the many high notes with a dramatic sketch that equals anything that has been done on the talking screen. Little Mitzi Green, Paramount's youngest featured player, stops the show with imitations of Chevali'^r and Charles Mack of "Two Black Crows" fame. Then there are Nancy Carroll, Garv Coooer, Harry Green, Helen Kane. Dennis King, Nino Martini, William Powell, Give Brook — in fact, practically every player on the Paramount contract lii^t." Previewed in rough form, "Paramount On Parade" shows definite qualities of cinch box off.ce excellence. Tt will draw heavy money. Produced and distributed by Paramount. Supervised by Elsif Janis. Directors. Dorothy Arzncr. Otto Brower. Edniund Goulding. Victor Heerman. Edwin IT. Knopf. Rowland V. T^e. Ernst Lnbitsch. T^thar Mendes, Victor Schertzinger, Edward Sutherland, Frank Tuttle. Dance ensembles bv David Bennett. Cameramen, Harry Fischbeck and Victor Milner. Release date, April 26. IQ.'iO. THE CAST Richard Arlcn. Jean .Arthur. William Austin, George Bancroft. Clara Boxv. Evelvn Brent. Marv Brian. Clive T?rook. Virginia Bruce. Nancy Carroll. Ruth Chatterton, Maurice Chevalier, Garv Cooper. Leon Errol. Stuart Erwin, Kav Francis, Skeets G.illagher, Harry Green, Mitzi Green, James Hall. Phillips Holmes. Helen Kane. Dennis King, .^bc Lvman and his band. Prc'lric March. Nino Martini. Mitzi Mavfair, David Newell. Taf-k Oakie. Warner Oland. Zclma O'Neal. Eugene P.-il!ette. loan Peers William Powell. Charles Rogers, Lillian Roth. Stanley Smith. Fay Wray. The Cuckoos {RKO— All Talker) A Laugh Hit {Reviewed by Walter H. Greene) i<' I "HE Cuckoos" should rank pretty close to -*■ "Rio Rita" in public fancy — not as a %2 attraction, but rather one that can step into runs for plenty of business. The picture stacks up as a "money" proposition in big cities and small communities. Bert Wheeler and Robert Woolsey, comedians of "Rio Rita," take advantage of every laugh opportunity. The comedy is low-brow and unsophisticated — much of it good substantial stuff that has proven successful in the past. There is a plot, but no one takes it seriously. In addition, a musical background is provided with serious and comedy songs, and several dance ensemble "flashes." A few Technicolor sequences, inserted to heighten production value, are unnecessary. The story details the experiences of the pair of adventurous comedians around the Mexican border. Opening shows them at a Mexican resort, presumably Caliente, where trouble begins with a tribe of gypsies. Switching backto San Diego, the pair finally hop off to the interior of Mexico for plenty of adventure, with finale back in San Diego. Backgrounds and story are only excuses for putting over the many comedy sequences and pieces of business. Paul Sloane directed most capably, and his work demonstrates the reason why the comnany signed him to a term contract. Jobyna Howland, six feet tall, is a sure-fire comedienne for the screen. Dorothy Lee and Mitchell Lewis are prominent in cast. Dramatic shorts and neivsreel fit here. Produced and distributed by RKO. From stage play, "The Ramblers," by Guy Bolton. Harrv Rubv and Bert Kalmar. Adapted by Cyrus Woods. Directed by Paul .Sloane. Photographed by Nicholas Musuraca. Length, approximately 8,100 feet. Running time about 90 minutes. Release date. May 4. 1930. CAST Sparrow Bert Wheeler Prof. Bird Robert Woolsey Rtith Tune Clyde Billv Hugh Trevor Anita Dorothv Lee The Baron Ivan Lebedeff Gypsy Queen Marguerita Padula Julius Mitchell I^ewis Aunt Fannv Jobyna Howland Isle of Escape (JVonirrs—. Ill Talker) A Scenic Wow I (Rei'ie^i'ed by J. P. Cunningham) II' your customers are fond of tropical rum orgies, mean-shaking hula hula dancers and beautiful shots of Hawaii and the South Sea Islands, they'll go for this. There are no other (jualifying factors, which is just too bad considering the opportunity they had to make a much finer picture. It flops hard because of the amateurish — and at times idiotic and unnatural stxlc in which is bungled a fine cast, topped by {Continued on page 47) This Way Out Some die o bootleg liquor Some die o' dancing sweeties, Some die o' dissipation And some die o" diabetes; Bui b\ far the saddest victims Who sink •n Fortune's bog. Are the dumb, outmoded actors | Who die 1 ) dialogue. — talking Screen.