Motion Picture Herald (Nov-Dec 1934)

54 MOTION PICTURE HERALD December 29, 1934 $HOWMEN*$ REVIEWS This departmenf deals wi+h new product from the point of view of the exhibitor who is to purvey it to his own public Cheating Cheaters (Universal) Comedy-Drama An adaptation of the popular stage play of the same title, this picture has an enjoyable combination of comedy, romance and the unquestionably amusing situation of two rival gangs of smooth and clever big time crooks, who, by a case of mistaken identity on a large scale, attempt to victimize each other, not realizing their error until it is too late. It is for the most part light and entertaining material, with the comedy rather predominating, the romance an important part of the plot development, and sufficient action, suspense and mystery to add additional spice to the story. A surprise" twist, which falls virtually at the conclusion of the picture, makes for an added bit of enjoyment. The names are not more than fair, with Fay Wray in the lead, and Minna Gombell and Henry Armetta as the best known names in the support. Opposite Miss Wray is Cesar Romero, a newcomer who is capable and may be worth the selling buildup for future appearance. This same lack of cast strength tends to indicate the exhibitor necessity of rather concentrating on the story itself, and indicates that something may well be made in the selling of the opportunities for attention attracting which lie in the intriguing title, which is fully borne out by the story. On board ship returning to the United States are Miss Wray and Francis L. Sullivan, presumably as father and daughter. Miss Wray obviously is making a play for Romero, also onboard, who is an apparently easy victim for the girl. When Romero dives overboard to rescue a crook who has jumped, the crook mentions the name of a feared federal detective, Ferris, who is on board and after him. Sullivan and Miss Wray take a countryhouse near the mansion of Romero, his wealthy father and mother, and then it is revealed that Miss Wray, Sullivan, Miss Gombell, Armetta and Hugh O'Connell make up a gang, headed by Miss Wray, who, international jewel thieves, plan to "lift" the jewels owned by Romero's mother. The plan is set, with Miss Wray invited to stay with the others while her "father and mother" go to Chicago — presumably. Armetta poses as her music teacher and the two plan to get the trinkets from the wall safe. O'Connell and Armetta supply much lively comedy. Only then is it most unexpectedly discovered that Romero, his "mother and father" and their "butler," form another gang who are out after the jewels they suppose the other "family" owns. At the same time that Miss Wray lifts one set of baubles, Romero and his "father" raid the other house. They are all captured by police when they reveal their identities to one another and squabble over the spoils. In the office of the famous Ferris, who they suppose had been trailing them, they are astounded when Miss Wray "squeals" on them, and "confesses" naming each of the gangs in turn. She has fallen in love with Romero, meanwhile, and then comes the most unexpected twist : Ferris is Miss Wray. She gets Romero off lightly and their romance is completed. It is entertaining material, which should be open to lively selling. — Aaronson, New York. Produced and distributed by Universal. A Stanley Bergerman production. Directed by Richard Thorpe. From the stage play by Max Marcin. Photographed by George Robinson. Screen play by Gladys U'nger and Allen Rivkin. Film editor. Ray Curtiss. Additional dialogue by James Mulhauser. Art director, Harrison B. Wiley. Sound supervision. Gilbert Rutland. Editorial supervision, Maurice Pivar. Wardrobe by Vera West. Musical director and score, Edward Ward. Music and lyrics by Barrv Trivers and Arthur Morton. P. C. A. Certificate No. 333. Running time. 67 minutes. Release date. Nov. 5. 1934. General audience classification. CAST Nan Brockton Fay Wray Tom Palmer Cesar Romero Mrs. Brockton Minna Gombell Steve Hugh O'Connell Tony Henry Armetta Dr. Brockton Francis L. Sullivan Mr. Palmer Wallis Clark Ira Lazarre John T. Murray Holmes Morgan Wallace Phil Georee B-'-r-'ud Finelli Harold Huber Police captain Reginald Barlow The County Chairman (Fox) Comedy When the title and credits of this picture flashed on the screen the preview audience broke into a storm of applause, and that enthusiastic appreciation carried all the way through the showing. The reason therefor is simple. "The County Chairman" is Will Rogers at his best, funnier, more human and delightful than ever before in his combination role of Cupid's assistant and an old time backcountry politician. On the basis of the record, Rogers is the most popular personality in the film business. His appeal and box office draw, in the big cities as well as outside, is universal. The general public, those who go to theatres week after week, apparently would prefer to miss any other attraction than a Rogers picture. Persons who attend but seldom always seem to find time for Will Rogers. He rates with both young and old. All this leads up to one point. This picture has just as many values, if not more, than any other Rogers films, including "David Harum" and "Judge Priest," and calls for the kind of business-getting campaign that the importance of its star and its entertainment worth command. In the picture, modernized but maintaining the hutnan, homey, down-to-earth atmosphere of its early 1900 Wyoming stnall town locale, the full chord of entertainment is sounded. Everything happens naturally ; there are no artificial build-ups. As it unrolls, Rogers doing plenty of topical political quipping, there is fine entertainment in its light drama, made laughably poignant by Rogers' hokum political chicanery. There is punch in the romantic love affair he fosters between his shy candidate, Kent Taylor, and Evelyn Venable, daughter of the blatherskite perpetual office-holding opponent, Berthon Churchill. Drama, tinged with understandable pathos in the sequences involving Louise Dresser, marks the conflict between Rogers and Churchill. Comedy predominating all, there is action enough for anyone in the convention scenes ; the buggy-riding, neighbor-visiting campaign and home town rallies. Comedy colors the suspense on election night, when Rogers seems to have failed. But that suspense gives way to a surge of triumph in the chase finale, when in marrying Taylor to Evelyn Venable, Rogers scores his greatest coup. With so much that is valuable in cast names, story and production worth, yet there is no reason for presuming that the show is already in the bag. Much can be said to remind patrons of all the enjoyment Rogers has provided for them and that now, in this picture, and at the apex of his popularity, he again delivers.— McCarthy, Hollywood. Produced and distributed by Fox. Produced by Ted Butcher. Directed by John Blystone. Screen play by Sam Plellman and Gladys Lehman. Based on the play by George Ade. Photographed by Hal Mohr. Sound, Donald Flick. Art director, William Darling. Costumes by William Lambert. Musical director, Arthur Lange. P.C.A. Certificate No. 486. Running time, when seen in Hollywood, 80 minutes. Release date, Jan. 11, 1935. General audience classification. CAST Jim Hackler Will Rogers Lucy Rigby Evelyn Venable Ben Harvey Kent Taylor Mrs. Mary Rigby Louise Dresser Freckles Mickey Rooney Elias Rigby Berton Churchill Henry Cleaver Frank Melton Tom Cruden Robert McWade Vance Jimmison Russell Simpson Uncle Eck ' William V. Mong Abigail Jan Duggan Lorna Cruden Gay Seabrook Riley Cleaver Charles Middleton Wilson Prewitt Erville Alderson Sassafras Stepin Fetchit The Band Plays On (MGM) Comedy Drama Although this is the story of a glorified four horsemen backfield, it is more than a football picture. Thus there should be no worries that because the gridiron sport season parade has passed by, interest, too, will be directed elsewhere. "The Band Plays On," not lacking in the elements that go to make up an exciting football picture and in many ways possessing more than most is really the story of what collegiate authorities always maintain football is — character building. Utilizing a novel premise and then going on to ring in plenty of color, excitement, drama, comedy, romance, the show affords much that is new to talk about. Starting in the tenement district of a big city, four tough kids — Tony, Stuffy, Mike and Rosy — are paroled to playground instructor Howdy and introduced to football as a means of working off surplus energy. Clicking as kids, they blaze a glorious trail through high and prep school football and when Howdy becomes Pacific's coach they go there too. Sensational, a la the original Notre Dame four horsemen in their sophmore year, the quartet run into trouble when Joe, agent for a pro football league, sows the seeds of discord. Tony is bounced off the team by Howdy, who has learned what he's up to. Stuffy is injured in an auto wreck, and the other two quit their coach. With romance revolving about Kitty and involving Tony and Mike, the boys learn from Mike, who never will play again, that Howdy, instead of thinking only of his own record, really has their welfare at heart. Back for the final year, the four "Bombers," reduced to the status of scrubs, prove by the way they take it that they have learned their lesson. In the big game, although defeated, {Continued on page 59)