Motion Picture Herald (Jan-Feb 1935)

26 MOTION PICTURE HERALD January 12, 1935 SHOWMEN*^ REVIEWS This department deals with new product from the point of view of the exhibitor who is to purvey it to his own public ■'I'll Grand Old Girl (RKO Radio) Drama The school teacher whose life is devoted entirely to the wellbeing of her many charges is eulogized in this dramatic story, wherein May Robson, that ever competent and sympathy-mspiring actress, is the epitome of all that is best in the old fashioned teacher, with ideals and ideas of character building as well as the implanting of facts in the fertile minds of her pupils. It is throughout Miss Robson's picture, and she makes the often-tearful most of her role. That she has a large and steady following should make the selling of her picture no particularly difficult task. In the fact the film is wholly concerned with the gallant fight of the elderly high school principal for the welfare of her students, the exhibitor has an open opportunity to seek actively the patronage of the educational interests and personnel of his community. In the same measure it is a film in which parents, as such, should have a definite interest. The names in support of Miss Robson are not especially valuable as selling points, Mary Carlisle and Alan Hale being the only two who may be expected to be particularly familiar. But Miss Robson's name alone, with the addition of emphatic selling, should be enough to carry the burden. The title may well be linked effectively with the star. The drama of the old teacher who is ready and willing to sacrifice her post and her career and pension in the interests of the children is the dominating element of the story. The romantic interest present is but slight, the comedy but incidental, all being subordinated to the story of the teacher. Miss Robson, high school principal and a teacher for 38 years, in defending the pupils' welfare, comes into open conflict with Hale Hamilton, who dominates the town. Miss Carlisle's daughter is as arrogant as she is wealthy. Hamilton protects Alan Hale, whose soda shop includes a back room where the pupils may drink and gamble. Miss Robson sets out to "get the goods" on Hale. Her stanchest supporter is Fred MacMurray, young truck driver, once a pupil of Miss Robson, and to whom lively Miss Carlisle is attracted, although receiving scant response from him. Through a ruse. Miss Robson discovers the backroom, confiscates the dice, but the case against Hale is thrown out of court. She is warned that her meddling will prove troublesome, but she refuses to back down. Adopting desperate measures, she learns what shooting dice means, and with Hale's own crooked dice wins his money. Opening a rival store, with music and dancing, she is successful until Miss Carlisle and her friends start a fight, the place is closed and Miss Robson gets her notice. Hale has repented, admiring the fine spirit of his antagonist. He arranges that the president of the United States, a former pupil, shall visit his old teacher. Before a crowd he eulogizes the school teacher and Miss Robson in particular, and the film ends with the understanding that Miss Robson shall retain her position. Miss Carlisle sees the error of her ways, through the influence of MacMurray. On the whole, the film appears readily sal able for the entire family. — Aaron son, New York. Produced and distributed by RKO Radio. Associate producer, Cliff Reid. Directed by John Robertson. Screen play by Milton Krims and John Twist. Story by Wanda Tuchok. Cameraman, Lucien Andriot. Art directors, Van Nest Polglase, Al Herman. Edited by George Crone. Recorded by D. A. Cutler. Musical director, Albert Colombo. P.C.A. Certificate No. 429. Release date, January 18, 1935. Running time, 72 minutes. General audience classification. CAST Laura Bayles May Robson Gerry Killaine Mary Carlisle Click Dade Alan Hale Sandy Fred MacMurray Mellis Etienne Girardot Butts William Burress Mr. Killaine Hale Hamilton Holland Edward Van Sloan Bill Belden Fred Kohler, Jr. Neptune Onest Conlev Tom Miller Ben Alexander Walter George Offerman, Jr. The President Gavin Gordon Night Life of the Gods (Universal) Farce Comedy The idea of this show — humans being turned to stone, the gods and goddesses of ancient mythology being made animate — looms as a striking subject for unique exploitation. Naturally the picture is fantastic farce comedy and, frankly, it is undeniably foolish in that quality. As entertainment formula is tossed out the window, the resulting amusement may seem more than slightly ridiculous to the critics. But introduced to the public in the proper atmosphere the ensuing popular reception is quite likely to confound those who base their opinions on the rule of the book. Where laughs, no matter how insanely procured, are the things that arouse theatre-goers, this bizarre concoction may prove an unanticipated surprise. The original novel, by the late Thorne Smith, has been widely read. In developing the fun of the attraction there's not much of a fundamental story. Hunter Hawk has discovered the secret of reversing the natural order. Not caring very much for his in-laws and a couple of cops, he turns them to stone. Then he meets Meg, an amazing woman who maintains that she is 900 years old. Together they invade a museum and think it would be a grand stunt to bring the sculptured figures to life. They do, and in ultra modern fashion all the ancient melange have a grand and glorious time doing the things for which they are mythologicallv famous. Of course their antics and conflicts with the moderns result in one laugh after another. Eventually, Hawk and Meg, who during the hilarity fall in love with each other, have trouble with their re-created playmates. To solve the problem that is getting tougher and tougher, Hawk petrifies the whole gang again but in poses quite different from those in which the world has learned to identify them. Finally Hawk makes stone of Meg and himself so that they can be together. A glance at the character names, plus a knowledge of the attraction's entertainment character, should dictate the caliber of advertising with which "Night Life of the Gods" should be sold. Where usually real names are an important adjunct, the situation, in this case, is reversed. Venus, Anollo. Diana, Mercury, Bacchus, et al. being the agents providing the unusual amusement. Introduced to patrons as a farcical farce without one serious moment, and getting them to accept the production in the mood in which it was created by going to the most unheard-of means and making hash of all established practises, seems to be the method of capitalizing the full entertainment and commercial value. — McCarthy, Hollywood. Produced and distributed by Universal. Directed by Lowell Sherman. From the novel by Thorne Smith. Screen play by Barry Trivers. Photographed by John Mescall. Film editor, Ted Kent. Art director, Charles D. Hall. Sound supervision by Gilbert Kurland. Editorial supervision, Maurice Pivar. P. C. A. Certificate No. 470. Running time, when seen in Hollywood, 75 minutes. Release date not yet set. General audience classification. CAST: Grampa Richard Carle Mr. Lambert Phillips Smalley Alfred Wesley Barry Mrs. Lambert Theresa Maxwell Conover Diana Irene Ware Hebe Geneva Mitchell Venus Marda Deering Bacchus George Hassell Hunter Hawk Alan Mowbray Neptune Rabert Warwick Meg Florine McKinney Daphne Peggy Shannon Stella Alene Carroll Mr. Betts Gilbert Emery Mrs. Betts May Beatty Ludwig Turner Ferdinard Gottschalk Cyril Sparks Douglas Fowley Mike Mulligan William (Stage) Boyd Reigi Henry Armetta Apollo Ray Bernard Perseus Pat De Cicco Mercury Paul Kaye Life Returns (Universal) Drama Because in the climax this picture deals with an amazing incident, it deserves more than ordinajy showmanship attention. Several months ago the accomplishment of Doctor Robert E. Cornish, University of California scientist, in restoring life to a dog was a matter of world wonder. The experiment vied with any contemporary happening as a matter of public interest. The final sequences in "Life Returns" are the actual motion pictures of Doctor Cornish's experiment. While topical material long has been recognized as a distinctive entertainment asset, the usual film adaptation is attained by means of re-creation with either the actual participants or actors repeating the incidents. In such occasion, though there is realism, the illusion of actuality is merely the result of theatrical technique. Topical drama in this picture has the advantage of being grippingly real and factually actual as well. To develop the situation which is the show's outstanding entertainment and commercial feature, the director has created a human interest Actionized situation. Three young medical graduates become associated with a philanthropic research laboratory. Doctor Kendrick devotes himself to the age-baffling question of finding a formula that will restore life after death. The incident which shatters his hope of immediate discovery also reveals the sham under which the philanthropic institution operates. Years pass and the doctor, vainly but courageously searching for the secret, becomes a disappointment to his friends. Eventually in a crisis that means much to his son, Danny, he confesses that his knowledge of practical medi