Motion Picture Herald (Jun-Sep 1934)

August 18, 1934 MOTION PICTURE HERALD 35 §HOWMEN*§ REVIEWS I This depari-ment deals with new product '<(i|i|iil from the point of view of the exhibitor I who is to purvey it to his own public Madame Du Barry (Warner) Farce Comedy Title significance, character names, locale, time and the fact that it's a "costumer" to the contrary, "Madame du Barry" emphatically is not an historical romance drama as that term is commonly . applied. Rather, it's a colorful, spectacularly staged farce comedy. Intriguingly provocative without being the slightest bit shocking, it's the intimate story of Louis XV, King of France, and a lady of uncertain antecedents and character. As is literally shown in the picture, it is the story of du Barry who took the King, his court and all France for a sleigh ride. Farce, usually satirical, sometimes ridiculously burlesque, there seldom being a serious moment, is the sole motivation. Louis is a gay dog who likes the ladies. When he becomes exceedingly fond of du Barry, she doesn't utilize her favor politically. No empires or dynasties dramatically rise and fall because of her. She just has a grand and glorious time, and while enjoying it to the limit permits herself to do what every woman likes to enjoy — triumphs, big and little, over other women and some men who think they are a whole lot better than she. The show is lavishly mounted and staged ; skillfully acted and directed, there's fun in the modernly applied dialogue, action and situations. Imagination-exciting illusion is allowed to play an important part. Everybody knows that a lot of intimate sexy stuff is going to and does happen. But nobody sees it. Only a few of the highlights are necessary to illustrate its character. Gay Louis feels pretty good when du Barry more than does the trick as his unofficial consort. Her slightest whim is the occasion for him to squander the wealth of France in its gratification. Jewels and gowns are hers for the asking. She wants a sleigh ride in midsummer and Louis orders his ministers to see that she has it. That they must commandeer all the sugar in Paris to cover the Versailles gardens for the sliding runners doesn't mean a thing to him or her. When du Barry wants to put a particularly obnoxious worthy on the spot by inviting him to a clandestine liaison and then double crossing him before the King, he's sore only because she let his regal rival use his robe and slippers. Desiring to be presented formally at court, her wish amazing the courtiers, Louis assents partly in fear of what the explosive lady might do to him and partly in admiration for her nerve. That Richelieu, Lebel, d'Aiguillon and the Duchess de Grammont conspire and succeed in stealing her court gown doesn't stop her. She shows up in her nightgown. And the sequence is not brazen. The balloony Dauphin, completely educated in the arts, sciences and politics, proving a husbandly washout with Marie Antoinette on their wedding night, Louis asks du Barry to give his successor a few lessons in what every young husband should know. With brilliant pageantry that's about how it goes. In the end, Louis dies and the royal Marie Antoinette, wary of what the captivating Du Barry might do to her husband, banishes her to a lonely convent. Du Barry, content that she has had a pretty good time, takes it with a smile. The picture is entertaining for class and mass. The introduction should capitalize on personalities, accentuate its poignant subtle humor, and play upon the spectacularly elaborate staging. — McCarthy, Hollywood. Produced and distributed by Warner Bros. Story and screen play by Edward Chodorv. Dance creations by Albertina Rasch Dancers. Directed by William Dieterle. Photography by Sol Polito. Film editor, Bert Levy. Dialogue director, Daniel Reed. Vitaphone orchestra conducted by Leo F. Forbstein. Supervisor, Henry Blanke. Art director, Jack Okey. Gowns by Orry-Kelly. Production Code Administration Certificate No. 73. Running time, 79 minutes. Release date to be announced. CAST Du Barry Dolores Del Rio Louis XV Reginald Owen d'Aiguillon Victor Jory Richelieu Osgood Perkms Duchess de Grammont Verree Teasdale Lebel Ferdinand Gottschalk Adelaide Dorothy Tree Marie Antoinette Anita Louise The Dauphin Maynard Holmes Due de Choiseul Henry O'Neill Professor de la Vauguyon Hobart Cavanaugh Countess de Berne Helen Lowell Florette Joan Wheeler EngHsh Ambassador Halliwell Hobbes Mme. Noailles Nella Walker Sophie Virginia Sale Master of the Bedroom Arthur Treacher Zamore Jesse Scott Victoria Camille Rovelle The Human Side (Universal) Comedy Drama It's the entertainment and showmanship of this picture that provides the exhibition values. Basically it's a comedy drama. Understandable humanness is its outstanding characteristic. Not a, preachment, although it has a moral, it is light, airy and exciting. Just when everything seems securely settled, new complications arise, and taking quick twists it races ofif to new interest-creating angles. A family type attraction, it has plenty of strength in cast and entertairiment quality as a big house attraction as well as for smaller communities. Always fast moving, it has an exciting opening. Aboard train en route to New York. Gregory, producer, and Alma, financing star, read a criticism of their latest flop, the tenor of which is that the reviewers had very bad seats, because they were unable to see and hear everything. A hectic verbal clash ensues. Although divorced, and much to Alma's displeasure, Gregory makes a visit to his e.x-wife Vera and their four children as his first duty. Jealousy leads to more excitement between the squabbling pair. This is anathema to Vera, who now is finding much in Dalton's company. Much as he likes Vera, the children and the good times he has with them, Gregory can't stay at her home. In his club, he comes across Speigle, a composer who has a hit supposed to have been a sensation in Germany that he wants produced. A little intrigue sets him back in Alma's good graces and with her as the star and financial angel, Speigle's yarn is produced only to have the critics tab it as the most colossal of all Gregory's flops. A furniture wrecking battle ensues between Alma and Gregory, which makes newspaper headlines and brings odium upon his family. Vera decides she will marry Dalton. The kids, however, find out that she doesn't love him, but is only doing it to insure their safety and future. Ganging up on her, the elder two, Lucille and Phil, tell their irresponsible father what's in the wind. Bag and baggage he moves back home. When marriage-license-hunting Vera returns, there he is and no amount of argument can move him. Next morning Dalton comes around to claim his bride, only to be met by Gregory, who convinces him that he has moved back home for good with Vera's assent and permission. Vera, however, having had enough of Gregory, leaves with Dalton, but all her illusions about her and the children's happiness are shattered when Dalton plans to send the elder pair off to boarding school and arranges a rigorous schedule for the younger two. Walking out on him, she goes home to find that Gregory for some strange reason has received one of those fabulous Hollywood offers. The reunited family is off to the Coast and all the happiness that Gregory's years of gadding around have denied it. It's a wholesome family picture, and there is plenty of sock in it for those who must have their sock. While comedy in action, dialogue and situation is its big point, it tells a real love story. The menace of its triangle is not heavy. Gregory loves Alma only for the money she will put up for his shows. The cast is adequate; Menjou, Reginald Owen, Doris Kenyon and Betty Lawford for the grownups, Charlotte Henry and Dick Winslow for the adolescents, and Dickie Moore, George Ernest and their dog for the youngsters. Beside the commercial campaign given this, word of mouth advertising can be relied upon to boost it considerably.— McCarthy, Hollywood. Produced and distributed by Universal. Directed by Edward Buzzell. Associate producer, E. M. Asher. Stage play and screen treatment, Christine Ames. Screen play by Frank Craven and Ernest Pascal. Sound supervision, Gilbert Kurland. Photographed by Norbert Brodine. Film editor, Maurice Wright. Art director, Harrison Wiley. Editorial supervision. Maurice Pivar. Production Code Administration Certificate No. 130. Running time, 60 minutes. Release date, Aug. 27, 1934. CAST Gregory Adolphe Menjou Vera Sheldon Doris Kenyon Lucille Sheldon Charlotte Henry Fritz Speigle Joseph Cawthorne James Dalton Reginald Owen Alma Hastings Betty Lawford Phil Sheldon Dick Winslow Tom Sheldon George Ernest Bobbie Sheldon Dickie Moore The Dragon Murder Case (First National) Mystery The title is fully explanatory of this picture's character. Adhering closely to the familiar Van Dine story formula, it's a mystery thriller. There's plenty of weird and baffling situations for the gasps and screams ; the full quota of comedy for contrasting laughter, and only a modicum of romance for love interest. Primarily it's entertainment, aimed at mystery thrill fans, those who have followed the series of Van Dine pictures, his book readers and to detective yarn devotees. As in its predecessors, there's a tinge of terror ; not revolting, but rather as a motivating basis. The novelty of the picture is its difference of locale, the premise of its story and the new characters surrounding the familiar Philo Vance and Sergeant Heath. Contrasted with the comedy of the bewildered detective, the yarn is mainly dramatic, with a sustaining romantic angle. Menacing mystery is apparent from the start. A swimming party is suggested by Bernice Stamm. Her fiance, Montague, leaps into the pool, and though Tatum and Greeff search for him, he is never