Motion Picture Herald (Dec 1932 - Mar 1933)

January 21, 1933 MOTION PICTURE HERALD 29 SHOWMEN'S REVIEWS This deparfmenf deals with new product from the point of view of the exhibitor who is to purvey it to his own public Rome Express (Universal) Drama Utilizing the single setting, as has been done in several American productions recently, this Gaumont British picture, which Universal is releasing in this country, is excellent drama, strong entertainment. Set exclusively on the speeding express running from Paris to Rome, the production combines drama, smartly handled comedy, a bit of pathos and technical excellence in a manner which serves to make of it a feature entirely entertaining. The production values, as regards photography, sets, atmospheric backgrounds and the development of a clear impression of a fast train speeding through the night, are highly effective. The performances are smooth, capable throughout, with no single exception. From the standpoint of the American exhibitor selling the picture to his patronage, the players, with only a few exceptions, are unfortunately quite unknown. The names which will count to a certain extent, at least, are those of Esther Ralston, Conrad Veidt and perhaps Gordon Harker. The rest cannot be counted upon for selling value, however satisfactorily they handle their roles. The best results, from the advertising angle, will probably lie with a concentration upon the story, the dramatic elements and the unusual setting, rather than with the cast. A cross-section of the train on the trip reveals an official of the French Surete, or police, on a holiday ; a man and a woman, both married, on a clandestine journey; a thief making his getaway with a stolen portrait ; his two former compatriots hot on his heels, without his knowledge ; a garrulous Englishman, proud of his own wit ; a millionaire whose hobby is rare paintings, and his secretary, a meek, downtrodden individual ; a motion picture actress of note, whose rise to fame drew her from a much lesser station, and her publicity-seeking manager. The paths of this strangely mixed group oddly cross, become involved in a murder, an investigation, the renewing of old acquaintances, a denouement as the murderer leaps to his death from the flying train. There is not a moment's lagging of interest in the picture. The oddly shaped pieces of the plot all dovetail smartly to produce a wellrounded, well executed film story. The comparative lack of names of selling value in this country will necessitate the exhibitor putting added pressure behind his selling effort. His first showing, however, should bring others into the theatre. The opportunity for unusual lobby display on the basis of the speeding express train setting, is too good to overlook. — Aaronson, New York. A Gaumont British production. Distributed by I'niversa;!. Directed by Walter Forde. Author, Clifford Grey. Scenario by S. Gilliat. Dialogue by Clifford Grey, Frank Vosper, Ralph Stock. Running time, 94 minutes. CAST Asta Marvelle Esther Ralston Tony Hugh Williams Zurta Conrad Veidt Poole Donald Calthrop Mrs. Maxted Joan Barry Grant Harold Huth Tom Bishop Gordon Harker Mills Eliot Makeham Alistair McBane Fredric Hardwicke Monsieur Jolis Frank Vosper Spinister Muriel Aked THE concept of this department is that the exhibitor is concerned not with any critic's idea of "how good?" or "how poor?" but rather with the question of precisely what the product is and what is to be done with it when and as it is played. The exhibitor, in general, is concerned with the special aspects of strength and of weakness in the product, its appeals and shortcomings, that he may adequately deal with it when he becomes its sponsor to his public. These "review" pages aim to aid the exhibitor as the retailer of the merchandise concerned.—THE EDITOR. No Other Woman (RKO Radio) Drama Considerably by reason of the presence of massive Charles Bickford, "No Other Woman" takes on an atmosphere of rapid and vigorous action which should appeal fundamentally to the audience of almost any type or place. Also responsible for the effectiveness of the picture as entertainment is the splendid work of Irene Dunne, who again demonstrates her ability and versatility, in the role of the long-suffering wife who sticks by her husband through hardship, wealth and scandal, until he returns chastened to the fold. From the play, "Just a Woman," the story is not in any sense new, novel or unusual, but the direction has succeeded in moving the narrative at a rapid pace, with the locale and settings doing their share and the unceasing activity of Bickford carrying the weight of the pace. The cast offers opportunity for exploitation, with Bickford and Miss Dunne of course foremost. Miss Dunne's popularity and ability are a foregone conclusion and selling her is up to the exhibitor. In support, and all performing ably, are Gwili Andre, the blonde, foreignaccented feminine menace in the BickfordDunne marital situation ; Eric Linden, and Christian Rub, as the best of the assisting players. The story moves from the squalor, noise and activity of a typical Pennsylvania steel mill town, which is atmospherically highly effective, to the lavishness of mansions and New York apartments, and back to the mill town, where the two, finally reconciled, are left to recommence a life which they had won away from. Miss Dunne marries Bickford as the film opens, 3jid she makes drastic efforts to make him leave the squalor of the "hunky" town. Through the chemical discovery of young Linden, working with a byproduct of the mill, they achieve fame and immense fortune. The impulsive Bickford becomes entangled with Miss Andre, tries to divorce his wife. The crooked divorce proceedings reach the point of throwing dirt on the character of his wife, when Bickford comes to his senses, calls off the suit, and serves a sentence for perjury. The business smashed, he returns to the mill town and a job, where his wife finds him. The rather time-worn story angle of wife and liusband as outlined will necessarily have to be a selling angle, but with that the performances and persons of Miss Dunne and Bickford should be emphasized. Not great, not unusual, the film is nevertheless well executed, ably performed and contains those elements of entertainment which should find it reasonably successful at the exhibitor's box office. — Aaronson, New York. Produced and distributed by RKO Radio. Directed! by J. Walter Ruben. From the play, "Just a Woman," by Eugene Walter, and a story by Owen Francis. Screen play by Wanda Tuchock and Bernard Schubert. Cameraman, Edward Cronjager. .'^ound recordist, Clem Portman. Film editor. William Hamilton. Release date, January 6, 1933. Running^ time, 58 minutes. CAST Anna Irene Dunne Big Jim Stanley Charles Bickford Margot Gwili Andre Joe Eric Linden Bobbie Stanley Buster Miles Susie Leila Bennett Eli Christian Rub Bonelli A. Carrol Naish Governess Hilda Vaughn Chauffeur Brooks Benedict Butler Joseph E. Bernard .'\nderson Frederick Burton Sutherland Theodore Von Eltz Judge Edwin Stanley Child of Manhattan ( Columbia ) Romance — Drama Here is a neat little romance-drama to which have been added several deft comedy touches and all made coherent by a novel suspense angle. Considered all together, these factors give it an audience interest unusual in the type of program picture that it is. There's nothing startling or pretentious about it, although Nancy Carroll's acting is much more colorful than any of her most recent pictures and certain liberties have been taken with the development of the story which add to the interest. The story is a simple down-to-earth proposition. The fabulously wealthy Vanderkill falls in love with the dancehall hostess, Madeline. Her family are not so sure of Paul's motives and when they characterize him as a wolf in sheep's clothing and term Madeline "a little tramp" for maintaining the association, she leaves home. These scenes, although full of heart interest, are nevertheless made comic by the dialogue and antics provided by Ma, Charlie and Sis. In her luxurious apartment, Madeline discovers that she is to have a baby and the theme looks dangerous for a while, but it becomes understood that Paul is really proposing matrimony, secretly, on account of Paul's social position. The baby is born and dies, providing scenes which permit Madeline to become forcefully dramatic. Madeline goes to Mexico for an easy divorce, without notifying her husband. The story turns lively again as she meets "Panama," a pal of her dancehall days, and promises to marry him as soon as she gets her divorce. A lawyer's visit to Paul complicates things in a hilarious, yet semi-tragic manner. The incident, however,