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The Talkies
Laurence Reid The Celluloid Cmk
They've messed up Molnar's play about I I I I O Jul the carousel barker who goes to Heaven I I L. I \J IVi
and is granted one day more on earth to do a good deed — and fails. Originally it was a poignant, affecting drama in which Joseph Schildkraut gave a masterly characterization of the misunderstood boy who just couldn't be good. But the best scenes have been eliminated, perhaps because the idea of a heavenly police court is a bit advanced for the censors — or the producers. Charlie Farrell is a nice boy — but an amateurish Liliom Rose Hobart is ineffably better than in "A Lady Surrenders," and Estolle Taylor hasn't quire enough footage to steal the picture.
WHOOPEE
Florenz Ziegfeld makes his movie bow as co-producer of Eddie Cantor's musical stage smash. It is very funny and very beautiful providing you haven't seen the show. Perhaps you'll think the wise-cracks got their wisdom with old age, but you'll like Cantor and the Technicolor. There are two new songs which aren't at all bad. And the girls are beautiful — but you can't meet 'em after the show, so don't hang around the stage door! Any way you look at it, you'll find color and movement and Eddie Cantor — and Eddie is as prominent as the color. It is the first musical comedy to come out of Hollywood with that certain something that Broadway has.
MADAME SATAN
This latest De Mille "epic" is something in the nature of an antiquated museum piece decked up in the lavish gew-gaws associated with this director's production. It cost plenty. But it doesn't mean anything. I he story is about an angelic wife who becomes a little devilish to win the affections of her wandering boy-friend. Reginald Denny dresses up in a Dennis King suit for a masque ball sequence. Kay Johnson impresses as a fine but unsympathetic actress, and Lillian Roth has nice legs. The ball takes place on a zeppelin. A nice little De Mille touch that may dazzle you. Or daze you.
Walter Huston, showing more ver T LJ C RAH satility than any actor in Hollywood, • C, U f\\J turned easily and surely from Lincoln a to give us his idea of the "bes' dam ' caballero in all Mexico." That is the fiusron way to do his job and do it well. Bur he doesn't do quite so well here as in his Lincoln study. Then, too, we've had so many of these below-the-border melodramas of the good bad man that this one seems to creak a little. But it still holds some kick and quite a hit of shootin.' Df)rothy Revirr, Jamr« Rennie and Svdnev Blackmer aid the action with slighfU less merit.
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