Motion Picture Herald (Jan-Feb 1935)

February 23, 1935 MOTION PICTURE HERALD 55 than French names and actuating atmosphere to identify the production with the famous Parisian theatre, which, it seems, ahnost everyone associates with the idea of being the last word in bizarre, risque amusement. Essentially the yarn is a story of a famous star of the Folies Bergere Theatre show. It opens with the actor, Charlier, singing two or three songs in a row, the on-stage atmosphere of which is climaxed by the ingenious "Rain" solo and chorus song and dance sensation. The off-stage bit is Mimi demonstrating in hectic and very excited fashion that she considers Charlier her sole property as far as romantic inclinations are concerned. Imitating Baron Cassini in detailed fashion, Charlier is prevailed upon by Gustave and Henri to substitute for the real Baron in his home and in his extensive business world. He does, in a manner that both delights and amazes the Baroness, who is wise to the situation all the time, but nevertheless cannot differentiate the exact moment the substitute husband faded out and the real Baron came in. The comedy romantic episodes concluding with an air of all's well that ends well, the production returns to the theatre for a straw hat music-dance finale. Primary selling qualities in this appear to be fun and eye and ear attractiveness. Most potent, however, seems to be Chevalier the entertainer. As he appears in practically every sequence, aided principally from a comedy point of view by Ann Sothern, his name, coupled with that of the title, looms as the most effective interest creating lure. Possessing that semi-intimacy acknowledged as an appealing factor in both metropolitan and smaller centers, together with old-fashioned hokum fun, always a factor in arousing general interest, the show permits two selling premises. Where musicals exert a strong draw, it can be sold as such. Where comedy romance is the intriguing element that quality can be used to draw the patrons. — McCarthy, Hollywood. Distributed by United Artists. Produced by 20th Century Pictures, Inc. Producer, Darryl F. Zanuck. Directed by Roy Del Ruth. Associate producers, William Goetz, Raymond Griffith. Based on a play by Rudolph Lother and Hans Adler. Screen play by Bess Meredyth and Hal Long. Photographed by Barney McGill. Sound. Vinton Vernon, Roger Heman. Musical director, Alfred Newman. Film editors, Allen McNeil, Sherman Todd. Art director, Richard Day. Costumes designed by Omar Kiam. Assistant director, Fred Fox. Musical numbers created by Dave Gould. Song numbers by Jack Meskill and Jack Stern, Burton Lane and Harold Adamson. Christine and Willemegz. P. C. A. Certificate No. 600. Running time, when seen in Hollywood, 85 minutes. Release date, March 8, 1935. General audience classification. CAST Fernand, the Baron Cassini and Eugene Charlier Maurice Chevalier Mimi Ann Sothern Genevieve, the Baroness Cassini Merle Oberon Francois Eric Blore Morrisot Ferdinand Munier Rene, the Marquis de Lac Walter Byron Gustave Lumsden Hare Henri Robert Grieg Perishot Ferdinand Gottschalk Monsieur Paulet Haliwell Hobbs Premier of France Georges Renevant Victor Phillip Dare Joseph Frank McGlynn, Sr. Toinette Barbara Leonard Stage manager Olin Howland Transient Lady (Universal) Romantic Melodrama While title, cast personalities and story content are suggestive of unusual exploitation, the nature of the entertainment in this average class feature is such that it most likely will have its major appeal confined to the every day theatre goers. A romantic melodrama with comedy, af¥ording several worthy character portrayals, the show deals with a not too familiar topic. Yet while the material is novel, the manner in which it is presented permits easy anticipation of ensuing situations. Suspense being lacking, there is, however, plenty of action in several sequences. This appears in the scenes depicting the commission of a murder, the framing of an innocent accused, the court trial, preparations for a lynching party and the romantic climax. The picture is localed in the interior South and timed to the present. The populace is awaiting the opening of a roller skating rink, flamboyantly advertised and owned by Nick Kiley, Dale Cameron and Chris Blake. The premiere is a grand occasion, particularly for Carey Marshall, young lawyer, presumably in love with the local belle, Pat Warren, but very much attracted to the voluptuous Dale. A bit of local hoodlumism eventually results in the killing of Fred Baxter, brother of the local political big shot, Hamp, who, seeking a victim, has Blake arrested for the crime. Dale has little trouble in getting Marshall to accept the defence, particularly when his father tells him it is his duty, though it means ruination of his ambitions to be a judge. Before a packed jury the trial goes against the Baxter coterie. Anticipating failure, Hamp decides upon a lynching. The little town seethes as the law and order contingent rally to defend the prisoner against the mob. Politically sagacious Baxter foresees what violence might also do to his future career, delivers an inflamed speech on upholding the law, and calls off his mob. Killer Kiley returns to exonerate Blake and prove that the slaying was a matter of selfdefense. The skating act trio are ready to move on when Marshall discovers he loves Dale and the act is deprived of its feminine member. Despite the value of cast names, the attraction is hardly of the caliber necessary for the larger first-run houses, but for the others there are several showmanship values. — McCarthy, Hollywood. Produced and distributed by Universal. Directed by Edward Buzzell Screen play by Harvey Thew, Edward Buzzell and Arthur Caesar. From the Liberty Magazine story by Octavus Roy Cohen. Art director, Harrison Wiley. Associate producer, Julius Bernheim. Photographed by Charles Stumar. Film editor, Maurice E. Wright. P. C. A. Certificate No. 572. Running time, when seen in Hollywood, 72 minutes. Release date, Feb. 25, 1935. General audience classification. CAST Carey Marshall Gene Raymond Hamp Baxter Henry Hull Dale Cameron Frances Drake Pat Warren June Clayworth Chris Blake .1 Clark Williams Major Marshall Frederick Burton Matilda Branham Helen Lowell Nick Kiley Edward Ellis Matt Baxter Douglas Fowley Eva Branham Clara Blandick Fred Baxter Clifford Jones Angel Verner Alan Bridge Ed Goring Willard Robertson "Noxious" Eddie Anderson "Plato" John Taylor All the King's Horses ( Paramount-LeBaron ) Comedy The name value of Carl Brisson is a rather unknown quantity, that of Mary Ellis absolutely untested. The title is somewhat of a misnomer. Nevertheless, "All the King's Horses" is real entertainment from its unique start to surprising finish. It has much in the way of music, dancing, spectacle, romantic love interest, comedy, action, costuming, color and punch to lure the sophisticates. As those elements, blended with skill and charm, unfolded upon the screen, they also seemed, judging by the manner in which the preview audience reacted, to be just what the doctor ordered for the masses. Where names, regardless of story, production and other values are the compelling influences, getting out a good attendance at the first performance should bring much favorable word-of-mouth advertising for the BrissonEllis duo and for the picture. The show is all comedy — situation comedy, grotesque, farcical, sympathetic, romantic and even passionate comedy, plus music and dancing. It's one of those mythical kingdom affairs with Brisson in the dual role of King Rudolph and Carlo Rocco, a Hollywood film star whose personality combines all that is exotic of all the great from Valentino to Gable. As the business-like king, he's pretty much of a washout to Elaine, the Queenj whose thoughts are only of love and romance. Anyway the King and the vacationing star. as much alike as two peas in a pod, swap places. Rudy goes to Vienna to learn a few lessons in life under the expert conniving guidance of Peppi and Mimi. Rocco and his publicity man, Conley, remain in the palace to play hob with affairs of state and do more amazing things to the heart of Elaine, who does not know she is being deceived. There's a Brisson solo or two, "Be Careful Young Lady" and "Play A Little," followed by romantic situations in which Ca,rlo sings "A King Can Do No Wrong" and Miss Ellis scores with a gypsy melody, "When My Prince Charming Comes Along," and "White Gardenia." The amazed queen becomes more happily excited and the psuedo King more and more scared of what is likely to happen if the real king doesn't show up in a hurry. It all builds to a midnight rendezvous. With only a few available hours, Rocco flies to Vienna and locates the King, who is having a grand time posing as the picture star. Here occurs the picture's charming spectacle sequence. With Ilonka, Rocco sings and dances "Dancing the Viennese," accompanied by a glamorous quick-costume-changing boy and girl chorus. Rocco rushes Rudy back to the honeymoon cottage. One last dance with Elaine, and in a blissful moment Rocco slips out of her arms and King Rudolph, now knowing exactly the kind of a man the Queen expects her prince charming to be, takes his place. As all the picture's assets are of the character carrying a particular appeal to women, sma,rt showmen should be readily able to appreciate the exploitation values, selling the gay, melodious charm of the play, concentrating on making its comedy romance a ticket-buying urge, and going to greater lengths than usual to sell the lead personalities. — McCarthy, Hollywood. Produced and distributed by Paramount. Producer, William LeBaron. Director, Frank Tuttle. Based upon a play by Laurence Clark and Max Giersberg, and a play by Frederick Herendeen and Edward Horan. Screen play by Frank Tuttle and Frederick Stephani. Music and lyrics by Sam Coslow. Dances by LeRoy Prinz. Sound, Harry Lindgren. Film editor, Richard Currier. Art directors, Hans Dreier and Ernst Fegte. Photographer, Henry Sharp. P. C. A. Certificate No. 539. Running time, when seen in Hollywood, 85 minutes. Release date, Feb. 22, 1935. General audience classification. CAST King Rudolph ) Carl Brisson Carlo Rocco J Elaine, The Queen Mary Ellis Peppi Edward Everett Horton Mimi Katherine DeMille "Con" Conley Eugene Pallette Ilonka Rosita Baron Kraemer Arnold Korff Steffi Marina Schubert Count Batthy Stanley Andrews Minister of Finance Eric Mayne Count Blntenheim Phillips Smalley Clerk Michael Mark Baron Kurt Chizlinska Walter McGrail Prince Rumpfeffer George MacQuarrie Girl Diana Lewis Vanessa— Her Love Story (MGM) Dramatic Romance A select picture for selected audiences, general mass contribution to its box office success resolves itself into a knotty problem. The story follows a love theme, involving dramatic situations so developed as to play upon sentiment. Essentially it is a woman's picture. An English story, naturally localed in that country, its time being that of the late Victorian era, the atmosphere is typically English in dialogue and action. Following a party honoring the 100th birthday of Judith Herries, Benjie, scamp of the clan, and Vanessa, its fairest flower, pledge their troth. The engagement brings Benjie and Ellis, cultured and refined but not at all popular, into conflict. Fire breaks out in Vanessa's home. Benjie finds her father, Adam, already dead of heart failure, but rescues his beloved, only to be castigated by the girl. The swashbuckling Herries blood surging, Benjie goes away, has a protracted drinking spree, becomes involves with an inkeeper's daughter. Inspired by the liberal minded Ju