Motion Picture (Feb-Jul 1932)

You need not trust to Luck in the Movies GIRL OF THE RIO Look It Over — Packs A Wallop: When you put two such torrid Latins as Dolores Del Rio and Leo Carillo together in a film about Mexicans in Mexico, it just simply can't be a flop. So "Girl of the Rio" isn't — even though it isn't, either, a really great film. You'll find it plenty entertaining, amusing and even thrilling. You know the story, of course? — about the beautiful but pure Mexican cafe entertainer (believe it or not!) who loves the young Americano. And then in swaggers the "bes' dam' caballero in Mexico" and wants the gal for his own. How she out-maneuvers him and saves her American sweetie is the rest of the tale. Del Rio as the girl is swelegant. Her peculiar beauty is perfect in this setting. And in her big scene — that emotional climax where she tells the bad man where to go, she's simply exquisitely afire. As for Carillo, you can always depend on him in a dialect role. Norman Foster, as the American lover, made the best of a tough role. THIS RECKLESS AGE No Great Shakes — But Should Satisfy: This pleasantly sentimental little story proves once again that though the feet of the Younger Generation may jazz in strange paths their hearts are in the right place. Parents of sons and daughters in their teens will see themselves in the selfsacrificing Richard Bennett and the indulgent Frances Starr, but it is a question whether they will recognize their sons and daughters in Frances Dee, Buddy Rogers, and Peggy Shannon, whose "recklessness" seems to consist in bumping peoples' automobiles, playing juvenile tricks and taking dares. Charles Ruggles, as the godfather of the playful Dee, injects a new characterization into the familiar formula of a family united by trouble, that of wistful middle age aware of its grotesqueness in young eyes. If Buddy Rogers has to be seen in such callow bits, it is high time he took his undeniable charm into other fields. A safe picture for all the family. ALMOST MARRIED Well Done — Will Inspire You: With a cast almost unknown as to the stars, and with a title which doesn't promise much in the way of drama this picture is a surprise from its first scene. Extraordinary photographic effects enhance the feeling of vague horror sensed with the first glimpse of the mad musician filling the air with wild music in his garret while passers-by in the street below look up in amazement. With none of the usual movie clues to go on one is kept in suspense as to the ultimate fate of the young English diplomat who pretends to be married to a chance acquaintance in order to protect her from the wrath of Soviet Russia. Circumstances force the two to keep up the pretense of being married on their return to London, and they are about to find happiness when the crash of mad music from their drawing-room warns her that she has the Past to reckon with. Violet Heming, Ralph Bellamy, Alexander Kirkland and Allan Dinehart provide the thrills. MANHATTAN PARADE Kidding The Stage With Humor and Color: Both satire and slapstick are lavishly employed in the movies' answer to "Once in a Lifetime." As pictures were kidded by the stage so the stage is now razzed by pictures. And the job is neatly done. Certainly you'll recognize Lou and Jake, theatrical producers extraordinary. The story centers about the milliondollar production they give a play by an "unrecognized genius." This play has no first act. It begins with Act II to save time. And the audience sits on the stage instead of in'the orchestra. A welcome innovation. Smith and Dale, originators of the Avon Comedy Four, play Lou and Jake to a fare-thee-well. The boys are in the cheese business and after their venture into the theater, realize the two vocations are closely allied. Charles Butterworth and Bobby Watson add much to the merriment, but Winnie Lightner is hampered by a straight role. The picture is all in Technicolor. 64