Motion Picture (Feb-Jul 1932)

a That *©iir 4th grade teacher . . tm ithab earn J. don't want to go to school . . . teacher's too cross." The children all had a hard time in the fourth grade. Then the teacher found a way to end her indigestion. Dr. Beeman made a real discovery in Beeman's Pepsin Gum. A delicious gum containing pepsin to help digestion. It is not necessary to let little digestive troubles spoil your disposition. Beeman's often helps. Chew Beeman's several times a day. You'll enjoy it. 6specla/fy made to aid dlqestiwi Cfomr BEEMAN'S PEPSIJV GUM The Picture Parade REVIEWS OF THE NEWEST PICTURES {Continued from page 70) NIGHT WORLD Cabaret Drama, Fair Enough: Seldom departing geographically from the night club that gives this picture its title the motives and emotions depicted are those suitable to the locale. A racketeering cabaret proprietor, made a sinister figure by the peculiar personality of Boris Karloff, is about to replace his mistress who becomes interested in an unhappy disillusioned youth determined to drown his wretchedness in drink. Mae Clarke, who can make the most dubious characters wholesome, convinces as the cabaret dancer who takes pity on the boy and tries to reform him. Against a background of dance specialties and jazz, various emotions of the various characters are discussed around the tables of the night club. A breathlessly tense final scene carries most of the real drama and almost makes a fair picture into a good one. Almost — not quite. A 4 A \--jt *m i' ""^RB^. 1 WL .-» jj H THE ROADHOUSE MURDER Unusual Story, But Hard to Believe: This one presents the heroine who sobs out on the witness stand her story of what happened in the Lame Dog Inn on the night of the double murder and warns the jury "you'll never believe such an impossible story" — and she is right. Neither the jury nor the audience does believe it. Eric Linden apparently must go on being tried for his life during the remainder of his picture career. This time he is the ambitious newspaper reporter who, happening on a murder, conceives the amazing idea of getting himself suspected of the crime, in order to get publicity. Although the plot is novel to the point of absurdity, the picture otherwise goes over old ground. Rosco Ates adds a comedy note, and two promising newcomers, Bruce Cabot and Phyllis Clare, as the real murderers, are seen briefly. THE STRANGE CASE OF CLARA DEANE Old-Fashioned Tear-jerker: If "Madelon Claudet" could knock the public dead with the story of a mother's sacrifice for the child which an undeserved sojourn in jail has deprived her of, why couldn't it be done likewise with a similar story? But unfortunately, the mothers are not alike. As Clara Deane, Wynne Gibson does not glow, however sincerely she may try. Moreover, the story is guilty of almost sickening sentimentality, and every oldfashioned tear-jerking device that could be crammed into one picture. The audience responded with prolonged sobs in the big scene with Cora Sue Collins, latest cinema tot to teach her elders a thing or two about real emotional acting. Dudley Digges, Frances Dee, and Pat O'Brien support Miss Gibson in her first starring picture. THE WOMAN IN ROOM 13 Melodrama Has Its Points: As an example of what happens when an attractive divorcee marries the young son of a wealthy man, the plot of this melodrama of suspicion and revenge may be open to question. If you can find compensation for banality in merely watching the lovely Elissa Landi for an hour, you will not count the hour spent in seeing "The Woman in Room 13" wasted. Divorcing her husband in the middle of a political campaign, the heroine loses him the governorship. He vows to get even — and almost does. Dictaphones figure prominently in the resulting plot against the lady's happiness and her second husband, played boyishly as ever by Neil Hamilton. Rather unimportant melodrama, embellished, however, by the decorative and distinguished Landi who is worthy of better things — or isn't she? 72