Motion Picture News (Jul - Sep 1930)

40 Motion Picture News September 27 , 1930 Opinions on Pictures Africa Speaks i i olumbia ) Thrilling i Rei iewed by Robei t Hage < ADVENTUROUS souls invaded the African jungles with sound cameras and merged with a film document of epic proportions. Many pictures oi wild life in the bark i .lit muf nt have been filmed, but this is the first time that the mars of wild beasts have been captured as they made their kills of man and beast, and the result is an attraction that will create much word-of-mouth advertising and click at the box-office. When the lion leaps upon and slays a native boy the hitter's shriek is the most despairing cry imaginable; and one hears the death agonies of a warthog as a lioness sinks its teeth into its neck. Other sound effects include the chants of natives and their tribal music. Paul L. lloefler, explorer, who headed the Colorado-African Expedition, is deserving of unlimited applause for producing "Africa Speaks." It was apparent that he and his aids faced great dangers at times, for lions were seen circling the motor truck in which they penetrated the wild country, and the authenticity of the settings was enhanced by a second cameraman shooting Hoerler grinding away as wild animals sped past the scene. There is such a quick succession of thrills that the picture is a break-taking one. While one is apt to view with suspicion the coincidence that the camera should have been focused on the spot "f the slaying of the native, the fact remains that it caught the fugitive and lion with hut a few feet separating them and then the liny struggling on the ground with the beast. The episode w:as a short one, but the eye could detect no trick stuff. One of the most unique sights ever beheld on the screen was the scene showing millions of locusts flying through the air and literally darkening the skies. Later the sections which they traversed are shown, bare of every vestige of vegetation. Another unusual feature depicts the Might of large herds of gazelles which leap high in the air and at times clear forty feet in their spurts. A portion of this sequence is shown in slow motion. Walter Futter's synchronizing job is highly commendable. Close-ups of pygmy tribes, of duck-billed women whose lips have been enlarged by means of discs so that they would be unattractive to maurauding savages, of natives tracking down and killing a lion with spears and of weird native dances add to the thrills. The production should make the grade in any type of house, but exhibitors should capitalize tlie fact that the public can hear the sounds of the jungle in addition to getting a visual kick. Any type of comedy will fit in here. Produced by Paul L. lloefler and Walter Flitter for the Colorado-African Expedition, Inc. Distributed bj Columbia. Length, 7.054 feet. Running time, 74 minutes. Release date, Sept. 15. Extravagance i / iff any) For Women (Reviewed by Don Ashbaugh) DtGNED for women, "Extravagance," I iffany's latest, which never gets above ordinary program standard, is the sort of pictun to cause the feminine heart to hop about in a most alarming manner. It's not hard to believe that thousands of dollars were invested in the exquisite smvns so abh worn by June i ollyer. Unfortunately, the story and direction do not match the clothes. i ept for the matinee audience, the picture wide appeal. The storv is the old one of the innocenl young wife who longs for beautiful things and doesn't realize the high price she is paying to obtain them. June Collyer is the wife of Lloyd Hughes, a fairly prosperous young man trying to get a good start in the business world, and she is an expensive although alluring young wife. Her friendship with Gwen Lee, the wandering wife of Owen Moore, results in her meeting Robert Agnew, a handsome and designing young bachelor. Agnew is most anxious to assist with gratifying her desire for new clothes, but eventually Hughes discovers the affair and files suit for divorce. Matters are brought to a sudden climax and there is, of course, a reconciliation. Capable acting is done by the entire cast, but the story lacks the sustained interest necessary. Cutting will undoubtedly improve it. The type of story and the really gorgeous clothes worn by attractive girls supply a certain glamour. Nezvs reels and comedies will be needed with this. Produced and distributed by Tiffany. Directed by Phil Rosen. Story by M. B. Deering. Adaptation and dialogue by Adele Bufnngton, Frances Hyland and Phil Rosen. Photographed by Max Dupont. Edited by Charles Harris. THE CAST Alice June Collyer Fred Lloyd Hughes Jim Owen Moore Efther Dorothy Christy Morrell Jameson Thomas Sally Gwen Lee Billv ' Robert Agnew Mrs. Kendall Nella Walker Guests Martha Mattox Arthur Hoyt Der Tiger Von Berlin (The Tiger Murder Case) ( Ufa-German Dialogue) Good Underworld Program (Reviezved by Charles F. Hynes) A WELL directed German mystery story, characterized by good acting. Although it slows up somewhat, due to a succession of long talking sequences, which lack action, it holds the interest throughout, and the real tiger is not revealed until the final scene. The mystery element is well handled, with suspicion cast upon several of the characters. This is not done in the accepted American manner of seeking to befuddle spectators, but through logical development, which keeps the audience guessing. The director deserves major credit for this result, for he has told his tale so well that any one can understand the story, regardless of whether he is familiar with German. The leading role is played by Charlotte Susa, a comely and capable blonde. Opposite her is Harry Frank, who is a good looking hero of the he-man type. The balance of the cast is good, the work of Trude Berliner as the dancer standing out. The tango is a well done sequence. The story is of the Tiger, dread murder and robbery specialist of Berlin. In each case the evidence is the same: the victim shot through the middle of the forehead and stripped of all money. The only clue to the latest murder is the fact that the loot consisted entirely of 100 mark notes. And so, when a well dressed stranger appears in a notorious cafe and begins spending 100-mark notes, suspicion is aroused, and a juggler in the assemblage squeals to police. When an inspector arrives, the welldressed man at the bar, Harry Frank, arouses the crowd's mirth by some sarcastic remarks. This gesture wins recognition from a beautiful young woman, and he joins her in her booth. Adjoining is a party consisting of an adventurer and a bejeweled woman. Suddenly there is a shot and the latter is found dead, stripped of her jewels, when the lights again go on. Police unsuccessfully seek the murderer. Later Frank breaks into a fashionable house. He is followed by the girl of the cafe. He makes love to her and, in embracing her, sees the necklace worn by the woman murder victim. He then arrests her as the murderer, disclosing his identity as a detective, after successfully defending himself from her bullets. This needs comedy relief. Productd and distributed by Ufa. An Alfred Zeiss production. Directed by Johannes Meyer. Story by Rudolph Katscher aDd Egon Eis. Sound by Dr. Erich Leistner. Lyrics and music by Willi Ko.lo. Photographed by Carl Hoffman. Running time, 55 minutes. Release date not set. THE CAST The Lady in the evening dTess Charlotte Susa The Man in the frock coat Harry Frank The Jewel bedecked foreign lady..Hertha v. Walther Trude, the dancer Trude Berliner Count Eggenhorst Max Wilmsen The Inkeeper Max Maximilian Gustav, the Juggler Erich Kessin The Wrestler Henry Pless Inspector Moeller Ernst Dernburg Deputy Inspector Holzknecht Victor Gehring The Silver Horde (RKO— Radio) Synthetic (Reviewed by Jack Grant) PLENTY of exploitation values in this filming of Rex Beach's novel — a great cast in the sort of outdoor action drama tney seem to go for these days. Nevertheless, your audiences will feel dissatisfaction without being conscious of exactly why. Several cogs slipped in attempting to catch the spirit of the Beach tale. To begin with, the results fail to justify the expense Radio entailed in sending a production unit to Alaska. There is little in the finished picture that has not been seen before in newsreels and travelogues. To top it, whatever punch the salmon fishing episodes have is lost by sinking the spectacle in the middle of the feature. From that point things dribble off to a weak finish. The story is rather incoherent in its transcription. Just what all the fighting is for lacks clarity. From the looks of it, there were plenty of fish for both camps. Rivalry might be expected, but not the deep hatred expressed. This is, of course, from the layman's viewpoint. The love interest, therefore, takes on false importance, and what should be supplementary becomes paramount. Two mushers drive their dog team into an unfriendly Alaskan camp. They are offered shelter by Cherry Malotte, who may be remembered as a former Beach character — the dance hall girl in "The Spoilers." In this instance the role is splendidly conceived by Evelyn Brent. Serving Cherry, as sort of a watch dog, is Louis Wolheim. He bears a murderous hatred for the owner of the fishery in the village. (The basis for his grudge is another point which could be better emphasized. ) In the two strangers (Joel McCrea and Raymond Hatton) Cherry sees the means of founding a rival fishery for Wolheim. Her inteerst in rehabilitating McCrea is another factor in the plan. She dispatches the trio to Seattle to finance the needed machinery. Seattle is McCrea's home town, and there lives the girl (Jean Arthur) for whom he originally went fortune-seeking in Alaska. Her father favors the courtship of Gavin Gordon, owner of the fishery with which McCrea will compete. The financing scheme is blocked by them. Whereupon Cherry arranges to sell her copper mine and effects with her bankers an apparent loan. The machinery is purchased, set up, and the salmon run begins. During the run Jean Arthur, aboard her father's yacht, comes to see McCrea make good. She meets Cherry and a dramatic scene between the women ensues. McCrea learns of Cherry's reputation and renounces her friendship, only to learn at last that he loves her despite what she may have been. McCrea is a forthright hero throughout.