Motion Picture Herald (May-Jun 1935)

June 8 , 1935 MOTION PICTURE HERALD 73 §HOWMEN*» REVIEWS This department deals with new product from the point of view of the exhibitor who is to purvey it to his own public Chinatown Squad (Universal) Mystery Melodrama A lively combination of mystery, aptly set in the atmosphere of San Francisco's Chinatown, and melodrama, as the Chinatown squad of the local police investigate one murder which leads to another, this picture has those elements which are salable in that they appeal to two basic and perennial interests of the motion picture going public, action and mystery. Those two elements are, obviously, the angles on which the exhibitor should concentrate in selling the film, which, incidentally should be good for playing at almost any time during the week, including the weekend. The cast offering comparatively little in the way of box office drawing power on the marquee, the selling had best be in the direction of the story and its elements, making whatever use of the title suggests itself in order to indicate the character of the picture. Tn the lead is Lyle Talbot, supported by Valerie Hobson, Hugh O'Connell, Andy Devine and Bradley Page in particular. They all perform in satisfactory fashion, O'Connell and Devine providing much of the comedy material with which the picture is thickly spotted. The comedy, and a certain amount of suspense, on the whole add to the effectiveness of the film. Talbot, ex-detective on the Chinatown squad, is driving a Chinatown sight-seeing bus, and takes his charges into a cafe for dinner. Clay Clement, engaged in some sort of shady deal, comes in to confer with the cafe owner, Yee. He makes two phone calls, takes a private dinner booth, and shortly after a girl in black, who had previously visited Clement's apartment, to find only Devine, his assistant, takes a booth on one side of him while Arthur Hoyt takes that on the other side. Devine breaks into Clement's booth to find him stabbed to death. O'Connell, Talbot's former buddy on the squad, and his not too brilliant rival, reaches the scene and proceeds to do the wrong thing. The girl. Miss Hobson, with Talbot's assistance, poses as one of his passengers, and gets away through O'Connell's stupidity. She gives Talbot the wrong address. Page arrives to see Clement after he is murdered. It develops that Clement had taken $75,000 from the representatives of a Chinese Communist organization with which to buy plane* to ship to China. He owed his broker, Page, $10,000. When his body is found there is no money, nor the letters that Miss Hobson wants, nor the Chinese jade ring which is apparently an open sesame. Suspects include Hoyt, De vine, the girl. Page and Yee. Talbot, to protect the girl when she seeks his assistance, and with whom he is falling in love, plunges into the investigation, unofficially, and proceeds to upset O'Connell completely. He learns that Miss Hobson had been engaged to Clement until she understood the truth about him. The letters she then wrote are what she is after. Yee, in hiding, leaves his place, trailed by Talbot, is murdered on a ferryboat, and the missing ring stolen from him, he having taken the ring from Clement after the murder. Putting clues together, piecing the puzzle. Talbot, with a lively snrinkling of action, comedy and suspense, finally Dins the crime on the murderer. Page, who had killed Clement for the money he knew him to be carrying. The romance completes the film. — Aa[<onson, New York. Produced and distributed by Universal. Producer, Stanley Bergerman. Directed by Murray Roth. Story by L. G. Blochman. Screenplay by Dore Schary and Ben Ryan. Photographed by George Robinson. P. C. A. Certificate No. 791. Running time, 65 minutes. Release date, May 20, 1935. General audience classification. CAST Ted Lacey Lyle Talbot Janet Baker Valerie Hobson Sergt. McLeash Hugh O'Donnell George Mason Andy Devine John Yee E. Alyn Warren Quong Leslie Fenton Albert Raybold Qay Clement Palmer Bradley Page William Ward Arthur Hoyt Lieut. Norris Wallis Clarke Wanda Toshia Mori No More Ladies (MGM) Comedy Drama For entertainment and showmanship purposes, "No More Ladies" seems to be the kind of attraction in which theatre goers like to see its lead players, Joan Crawford and Robert Montgomery, and in which exhibitors like to have them. The story is smart, sophisticated comedy romance drama. It is produced in lavish, yet tasteful and good looking settings. It moves with speed and ease. Intimate in spots, it never goes overboard, so that there should be no worry as to its moral character. Comedy in action, dialogue and situations forms a refreshing contrast for its more serious dramatic moments. The plot is comparatively simple. Marcia, very much in love with Sherry, cannot resist him, even though his conduct as a carefree, irresponsible playboy continually has her in a position where she never knows what to expect of him. Knowing the kind of home-wrecking, heart-breaking, yet lovable fellow he is, she marries him ; fearful of what the future may develop. At the very first opportunity, Sherry, who has filled himself with a lot of high ideals, cheats and in his alibi makes the mistake of incriminating Edgar, who happened to be enamored of the girl he stole, and was with Marcia and her grandmother Fanny, at the time he stole her. Following a suspense packed dramatic situation in which Sherry pleads for forgiveness, but in which Marcia gives no sign of relenting, she invites all the people, unbeknown to her husband, to a weekend party at her country home. With comedy becoming the prevailing quality, Marcia, using Jim, whose home Sherry had once broken up, Caroline, the erstwhile object of his affections, and Theresa, the girl with whom he had cheated, she gives Sherry a dose of his own game. Together with Jim, she makes Sherry suffer unendurable tortures and the party becomes so loaded with the atmosphere of something likely to happen that befuddled Sherry, now knowing that he loves Marcia and knowing that losing her, especially to Jim, would be the most horrible thing in the world, is at his wit's end to know what to expect. However, everything is adjusted satisfactorily, with Sherry taking a vow that there shall be no more ladies. Always gay and interest-holding, the picture combines its various elements in a manner that makes lively entertainment. There being a pair of good namts to concentrate on for primary selling purix)ses, the supporting cast is of better than usual value. Miss Crawford's gowns being a veritable fashion show, the picture is one that should stir much interest among the feminine patrons. At the same time, its general character is such that it fully justifies plenty of attention from the men. — McCarthy, Hollywood. Produced and distributed by Metro-Goldwyn-Mayer. Directed by Edward H. Griffith. Screen play by Donald Ogden Stewart and Horace Jackson. From the play by A. E. Thomas. Musical score by Edward Ward. Recording director, Douglas Shearer. Art director, Cedric Gibbons. Associates, Joseph Wright, Edwin B. Willis. Assistant director, Sandy Ross. Gowns by Adrian. Photographed by Oliver T. Marsh. Film editor, Frank E. Hull. P. C. A. Certificate No. 891. Running time, when seen in Hollywood, 90 minutes (to be cut). Release date, June 14, 1935. General audience classification. CAST Marcia Joan Crawford Sherry Robert Montgomery Edgar Charlie Ruggles Jim Franchot Tone Fanny Edna May Oliver Theresa Gail Patrick Oliver Reginald Denny Lady Diana Moulton Vivienne Osborne Caroline • Joan Burfield Lord Moulton Arthur Treacher Duffy David Horsley Sally Jean Chatburn Charlie Chan in Egypt (Fox) Mystery While this feature deals with a familiar character and an equally familiar brand of amusement, there is much which is entertaining and valuable from a showmanship point of view. The Chan series having proved its audience and commercial value, this one not only preserves all that has proved appealing in the others, but adds to it with much that is new and different. As such it is not only an attraction that should fully satisfy the Chan fans, but one in which the crime sleuths and general run of patrons should find much to hold their attention. Though Warner Oland is again in the role he created, practically all the other players are new to Chan pictures. The production itself is localed in a new and intriguing situation and the way in which the story is told gives it an atmosphere that is completely different and refreshing. Moving in the tempo characteristic of its predecessors, it makes a punchy use of suspense ; combining its motivating mysterj' with drama, romance, comedy and action which establishes the attraction as entertainment not entirely dependent upon the popularity of previous Chan films. The story, set among the tombs of long dead kings, deals with an attention-holding subject. Professor Arnold has found a fabulously valuable tomb. Though his expedition is sponsored by a French Archeological society, various findings turn up in rival museums. Chan is sent to find out why. Brought face to face with the unfathomable mysticism of ancient taboos and the wily schemes of avarious moderns, he finds the professor missing, then dead and a host of circumstantial and extenuating facts that cast suspicion upon practically everyone in the cast. Working patiently, making use of his Oriental philosophy together with ultra modern scientific methods. Chan, at great danger to himself and those whom he is endeavoring to protect, makes