Motion Picture Herald (July-Aug 1935)

July 2 0, 19 3 5 MOTION PICTURE HERALD 85 $HOWMEN*§ REVIEWS This departmenf deals with new product from the point of view of the exhibitor who is to purvey it to his own public Diamond Jim ( U niversal ) Comedy Drama In highlighting the life career of Diamond Jim Brady, peer of American go-getter salesmen and one of the most colorful characters of the Gay Nineties era, this picture is both an entertainment and exploitation feature. It is not a straight biography ; fiction is blended with fact, and liberal license is taken with actualities. While heroizing its central character, it also succeeds in making entertaining and amusing its cross-section view of New York life at the time when rough, rugged American individualism was at its apex. Skipping inconsequential details, the picture deals with incidents in Brady's career with which the older generation, remembering the many topical headlines which the character inspired, are quite familiar and which should be interesting to those to whom the name of Brady is synonymous with glamorous character as a great spender, resourceful promoter, friend of sporting world, stage and political figures. In so doing, it moves at interest holding pace, and being dramatic, romantic, exciting and comic, it makes a real character of its central figure. First, it's Brady, the boy, and his ambitious dreams ; then the darmg character whose plans, ideas and accomplishments amazed and altered the trend of big business dealings. Then is traced Brady's love of the sweetheart of his childhood, the dazzling Lillian Russell. There's Brady of lavish spending proclivities, a penchant for gaudy personal display, association with notables who made news that dazzled a nation as he wined them and dined himself in fabulous style. The production readily adapts itself to circus ballyhoo. It makes possible a whole string of cooperative advertising ideas. — McCarthy. Hollywood. Produced and distributed by Universal. Producer, Edmund Grainger. Directed by Edward Sutherland. Assistant director, Joseph McDonough. From the biography by Parker Morell. Adaptation by Harry Clork and Doris Malloy. Screenplay by Preston Sturges. Photographed by George Robinson. Furs by Willard H. George. Art director, Charles D. Hall. Film editor, Daniel Mandell. Gowns by Vera West. Editorial supervisioti, Maurice Pivar. Sound supervision, Gilbert Kurland. Music by Franz Waxman. Musical director, Bakaleinikoff. P. C. A. Certificate No. 979. Running time, when seen in Hollywood. 95 minutes. (To be cut.) Release date, September 2, 19.^5. General audience classification. CAST Diamond Jim Brady Edward Arnold Emma Perry Jean Arthur Jane Matthews Jean Arthur T^illian Russell Binnie Barnes Jerry Richardson Cesar Romero Horsley Hugh O'Connell Pawnbroker George Sidney Harry Hill Bill Demurest Sampson Fox Eric Blore .\. E. Moore Robert McWade ^rrs. Perry Maidel Turner John L. Sullivan (as a young man).... Bill Hoolahahn -Secretary to Horsley Fred Kelsey Drunk ; Otis Harlan Station agent Charles Sellon Railroad president Henry Kolker Brady (as a boy) George Ernest Physician Purnel! Pratt Brady's mother Helen Brown Brady's father Robert Emmet O'Connor Bartender Lew Kelley Jewelers Albert Conti, Armand Kaliz Also: Dtorothy Granger, Dot Farlev, Barbara Barondess, Arthur Houseman. Matt McHueh. Del Henderson, Irving Bacon, Mary Wallace. Richard Tucker. John Miltem. The Murder Man (MGM) Melodrama This picture is melodrama which has a tragic twist. Essentially, it is strong and meaty material in which the contrasting elements of romantic love interest and comedy have little relation to the central theme. In idea, it is a combination newspaper man and murder mystery story, but the mystery, while concealed from the characters of the story, is evident to audiences. It moves in interest-stimulating fashion and in so doing gives Spencer Tracy, the lead character, opportunity to turn in one of the most colorful and absorbing performances of his career. The picture takes the cue for its story and title from the personality and work of Steve Gray. As a newspaper man, he is just smart and discerning enough to be a step ahead of the police department in solving crimes. In the course of his work, he himself becomes involved in a killing ; in this situation the love interest angle is introduced, with Mary Shannon, also a reporter. Grey's father. Pop, having been victimized by a pair of ruthless financiers, and it developing that Mander, one of the partners, is morally responsible for Grey's wife's suicide, the reporter planning the perfect crime kills and so twists reports that Mander is arrested and convicted of the murder. In a death house interview with Mander he gloats over his revenge until his sense of honor and decency overcomes baser tendencies and he confesses that through desire for one grand headline story and revenge, he is the killer ready to accept the law's penalty. Though the title and most of the story content is lurid, the big appeal of the attraction is a man's sacrifice. So presented that patrons are aware that it is the story of a perfect crime in which the only weakness is a hero's sense of honor, it has values for the men. Its general tone and paucity of love interest and comedy, however, constitute a problem that undoubtedly will require shrewd showmanship in making attractive to women. In any case, the picture is entirely an adult attraction, as the elements of which it treats are not only of little interest to children but hardly the type of entertainment that they will enjoy. — McCarthy, Hollywood. Produced and distributed by MetroGoldwynMayer. Producer, Harry Rapf. Directed by Tim Whelan. Screen play by Tim Whelan and John C. Higgins. From the story by Tim Whelan and Guy Bolton. Musical score by Dr. William Axt. Recording director, Douglas Shearer. Art director, Cedric Gibbons. Associates, Eddie Imazu, Edwin B. Willis. Photographed by Lester White. Film editor, James E. Newcom. Assistant director, Dave Friedman. Running time, when seen in Hollywood, 70 minutes. Release date, July 12, 1935. General audience classification. CAST Steve Gray...; Soeneer Tracy Mary Shannon Virginia Bruce Captain Cole Lionel Atwill Henry Mander Harvey Stephens Robins Robert Barrat "Shorty" James Stewart "Pop" Grey William Collier, Sr. Carey Booth Bobby Watson "Red" Maguire William Demarest Sweeney John Sheehan Rafferty Lucien Littlefield Sol Hertzberger George Hiandler "Buck" Hawkins Fuzzy Knight Lillian Hopper Louise Henrv Colville Robert Warwick Tony Joe Irving Pendleton Ralph Bushman Farmer Takes a Wife (Fox) Here is a picture that any exhibitor can present with pride. Containing practically every essential that either spontaneously appeals to or is demanded by any class of patrons, it is an entertainment and showmanship feature destined to mark a new milestone in motion picture annals. For exhibitors and the public it presents many things, each of which is a distinctive entertainment and exploitation asset. The love story, moving in an atmosphere of uniquely thrilling conflict, yet tender and attentionholding in its heart appeal, is gripping. The contrasting drama, in action and dialogue, expertly embellishes these qualities. Its homespun natural comedy in all phases is a delight. The locale in which it is told, and the times, are new to the screen. The Erie Canal, in the days when railroads were first beginning to supersede that famous waterway as an empire building medium, is the background. Production values reflect the spirit of the setting and the persons who lived in it. Produced and directed with intelligence and understanding, fine camera work and spotted musical accompaniment are definite commercial and entertainment assets. In the matter of the most primary exhibitor requirement — names — it leaves little to be desired. Janet Gaynor is a star of acknowledged box office power. The supporting cast is composed of popular players. Introducing Henry Fonda, it presents a personality whose screen character, talents, mode of diction and manner of handling himself point definitely to a favorable public impression. The glamor of canal life and business being established, Molly and Dan meet, come into conflict and fall in love. Born on the canal, she loves it with a fanaticism that causes her to hate anyone or anything that would sully its glory. Dan, equally attached to the soil, hoping one day to be a farmer, accepts work on the canal as a means of gettin.g money with which to buy a farm. When Molly, getting a mad on Klore, best boatman, drinker and bruiser on the canal, quits as his cook, she goes to work with Dan, who has been given an interest in a boat by lottery winning Weaver. All season long, as their love grows more beautiful, by prior agreement they refrain from discussing their life ambitions. Each hopes that the other will somehow be won over. Klore has sworn to be revenged upon Dan for taking Molly away from him. Both are on the grounds of a county fair when, after the Klore-led canal men wreak vengeance on a hated railroad car. the bully sets out after Dan. Dans runs away. Molly can only believe that he is afraid. All season long she bravely strives to stifle her disillusionment, while Dan. now owning a farm, dreams that it would be heaven on earth if Alolly were only there. Late in the season. Fortune rides by and tells Dan that Molly is the object of scorn and ridicule because her chosen man turned quitter. Back on the landing Klore and Dan meet. Follows a fight that fully matches any previous screen melee, and Klore, in losing, is astounded but thankful that it took a real man to lick him. In the finale Dan is back home plowing, with ^lolly coming stumbling over the furrows {Continued on page 88)