Motion Picture Herald (Sep-Oct 1935)

38 MOTION PICTURE HERALD October 5, 1935 §HOWNEN*$ REVIEWS This department deals with new product frona the point of view of the exhibitor who is to purvey it to his own public || 'O'Shaughnessey's Boy' (MGM-Goldstone) Circus Drama Two things usually considered quite risky in screen entertainment are incorporated in this picture. Presented in exploitation with the same degree of force and power that they are in the filrh, it is not impossible that they may become the dominatingshowmanship assets. "O'Shaughnessey's Boy" is a circus picture, reflecting in substantiating production values all the peculiar glamor, color and thrill of all phases of circus life. Its motivating story is father and son conflict. In this, none of the many old familiar angles has been omitted. Additionally, several that are distinctively new have been included. Love interest, usually deemed indispensable whether it pertains to clinching hugs and kisses or not, is completely ignored. In place of this, however, is a gripping, heartwarming human interest love story. Showmanship which, in acknowledging this condition, endeavors to create a publicity campaign that will give the public the proper slant and understanding, should bring the best results. The basic story is simple and powerful. Windy is an ace tiger trainer. His toddling son (Spanky MacFarland) thinks he's the grandest guy on earth. His wife, given some little cause but mainly egged on by viciousminded sister Martha, develops an aversion that finally impels her to desert him, taking the boy along. His nerve shattered. Windy loses control of the tigers, and is mauled and maimed. Wanting his boy more than anything else in the world, he spends years searching all over the country. One day, practically forced back into the circus, he learns from Hastings that his wife is dead and the boy is in military school and that he has permission to have him with him for a while. The boy Stubby (now Jackie Cooper) has nothing but hatred for his father. Compelled to be a soldier and obey orders, he goes along with the circus. No kindness that Windy can conceive can break down the rigid barrier erected by Stubby. But one night, aboard train, as Stubby in going to bed finds his mother's picture in a beautiful frame, he talks with and finally calls Windy "pop." That one word completely restores Windy's confidence; he wants to do the great act over again. Demonstrating his mastery over the tigers, he starts practising, with Stubby close by encouraging him. Comes Aunt Martha to claim the child. But the boy doesn't want to go. Windy makes the plea of a desperate father which, when coldly received by Martha, so inflames the trainer that he socks her and dashes out to meet his call. In the cage, mentally harassed by what has happened, fearing what might happen to Stubby, things break badly. For a few suspense-packed minutes it seems that the tiger again will attack his trainer. At the crisis, with the circus audience in near panic. Jack appears at his usual place at the steel bars to shout encouragement. That's all Windy needs. He makes his beasts do their stunt and wins Stubby to him forever. By its very nature the story of this picture is an exploitation feature. Smart showmanship which capitalizes the condition previously pointed out will do much for it. From the circus atmosphere production background, the fact that it can be given a carnival flag-wavinc. calliope tooting ballyhoo campaign is evident. With Beery and Cooper there are two names bound to command patron attention, in addition to the best worths of all assets properly amalgamated. — McCarthy, Hollywood. Produced and distributed by Metro-Goldwyn-Mayer. Produced by Philip Goldstone. Directed by Richard Boleslawski. Screen play by Leonard Praskins, Wanda Tuchock, Otis Garrett. Based on a story by Harvey Gates and Malcolm Stuart Eoyland. Musical score by Dr. William Axt. Recording director, Douglas Shearer. Film editor, Frank Sullivan. Art director, Cedric Gibbons. Associates, Stan Rogers, Edwin B. Willis. Photographed by James Wong Howe. Assistant director, Robert Barnes. Running time, when seen in Hollywood, 87 minutes. Release date, September 27, 1935. General audience classification. CAST "Windy" Wallace Beery "Stubby" Jacky Cooper "Stubby" (as a child) Spanky McFarland Major Winslow Henry Stephenson Martha Sarah Haden Cora Leona Maricle Hastings Willard Robertson Jeff Clarence Muse Franz Ben Hendricks Callahan Wade Boteler Mack Jack Daley Lawyer Oscar Apfel Doctor Granville Bates Barbary Coast (United Artists-Goldwyn) Romantic Drama An absorbing tale of romance and melodrama, told against the background of rough, tough San Francisco in the colorful, exciting early gold rush days, constitute the story and production values, which give this feature unique and powerful entertainent and exploitation worth. More a piece of attention-holding fiction than it is historical, it's chock full of the Hecht-MacArthur sock and savor. At the same time, two well known incidents of San Francisco history — the start of the first newspaper and the organization of the Vigilantes — finely substantiates the show's more imaginative character. In the last-named phase, the story (featuring the most noted) puts the modern gangster and his henchman in costume, and turning back the clock more than 75 years, combines two mediums of entertainment and showmanship interest, preserving and embellishing the thrill, excitement and suspense in the action drama quality of both. The yarn wastes no time getting started, or does it hesitate in moving from one vivid chapter to another. There's a thrill to the arrival of Mary Rutledge, first white "lady" ever to come to 'Frisco. A bit of comedy drama arises as she, befriended by Colonel Cobb, is victimized by Old Atrocity. Heart-break ensues as rough men tell her that the man she came to marry is dead, killed by Louis Chamalis. Comes a pulse quickening sock as Chamalis and Mary meet and Mary becomes Swan, the alluring come-on of the roulette tables. There are the melodrama of murder, the comedy of the racketeer controlled barroom court and the thrill as one realizes that the vigilantes are coming into existence. Then more gangsterism, Chamalis muzzling Cobb's paper, prevented from destroying it by Swan. More killings follow and the supporters of law and order are powerless against the armed might of Chamalis and his mob. Through it all is an air of romantic conflict as Swan rebuffs Louis' every effort to make love. Then comes a switch to real romantic love in terest as Swan and Carmichael, the poem-reading miner, meet. A few hours of happiness and they part, Carmichael to leave for the East, Swan back to the sordid world to which her imagination had permitted her to escape momentarily. But James, not sailing, comes to Chamalis and loses his fortune at cold-hearted Swan's table. Chamalis, feeling that Swan is in love with someone else but not knowing whom, is going mad with jealousy. After more killings. Knuckles, Louis' number one bodyguard, is the first strung up. Chamalis determines to fight; Swan and James flee; Louis and his mob chase them over the fog-shrouded harbor. Carmichael is wounded and captured. Then the climax. Chamalis, knowing that his day is ended, gives Swan and Carmichael to each other as he trudges off with the Vigilantes. In all ways, "Barbary Coast" is finely balanced material, presented in such a way that it holds unusual attention for almost every class of theatre goer. It features Miriam Hopkins, Edward G. Robinson and Joel McCrea in glovefitting roles. In Walter Brennan it presents a cackling comedian with a big wallop. It's a picture that blends the story telling ability of Hecht and MacArthur, an action melodrama with a legitimate love story, and the Goldwyn flair for spectacular production details. — McCarthy, Hollywood. Distributed by United Artists. Produced by Samuel Goldwyn. Directed by Howard Hawks. Screen play by Charles MacArthur and Ben Hecht. Assistant director, Walter Mayo. Cameraman, Ray June. Musical director, Alfred Newman. Costumes by Omar Kiam. Sound technician, Frank Maher. Art director, Richard Day. Film editor, Edw. Curtis. Running time, when seen in Hollywood, 90 minutes. Release date, September 27, 1935. General audience classification. CAST Mary Rutledge Miriam Hopkins Louis Chamalis Edward G. Robinson James Carmichael Joel McCrea Old Atrocity *. Walter Brennan Col. Marcus Aurelius Cobb Frank Craven Knuckles Brian Dunlevy Oakie Clyde Cook Slocum Harry Carey Broncho Matt McHugh Peebles Otto Hoffman Wigham Rollo Lloyd Judge Harper J. M. Kerrigan McTavish Donald Meek Captain Fred Vogeding First Mate Dave Wengren McCready Anders Von Haden Pilot Jules Cowles .Steward Cyril Thornton Sandy Roger Gray Little America (Paramount) Travel Drama This production is the pictorial record, concentrating on the more dramatic highlights of showman adventurer Richard E. Byrd's second Antarctic expedition into Little America, romantically described as "Capital of the Unknown." It deals in incidents and events which, although made popularly familiar via radio broadcasts and running published accounts during the time the expedition was isolated in the frozen south, assume a more thrilling and dramatic aspect as they appear in authentic picturization. In an introductory preliminary Mr. Byrd explains the reason for the trip, a purely scientific fact-finding expedition, the results of which will add to the world's store of knowledge. There follows the loading of the boats at Nor