Motion Picture Herald (Nov-Dec 1935)

November 2, 1935 MOTION PICTURE HERALD 57 Turn of the Tide (British National Films) Sea Drama P^irst feature of a new British unit, "Turn of tlie Tide," promises well for its producers, who have certainly struck a new story note and, in the technical sense, achieved a definite and original success. Box office appeal does not reach the same standard, the dramatic values being overweighted by a background excellent in itself but possessing "documentary" rather than entertainment appeal. The story traces the development of a feud between two families of fishermen on the Yorkshire coast. The Fosdycks have been established in the village for generations ; the Lunns only recently have come from another village twenty miles away, and are called "foreigners." Feeling is further embittered by the fact that the newcomers are progressive, fit a motor engine to their boat and go out after catches which the others are afraid to attempt. Old Isaac, head of the Fosdycks, is most bitter against the Lunns and threatens to turn his granddaughter, Ruth, out of his house when she falls in love with young John Lunn. In the end, however, the Hfeboat salvages a stranded steamer, the Lunns and Fosdycks agree to pool their prize money and buy a steam trawler and the old man is made captain and withdraws his opposition to the love match. The sea scenes are magnificently done, with the relief of the stranded steamer a high spot, and throughout there is an authenticity of atmosphere which is facinating if one is content to accept a cross-section of life in a primitive community as substitute for more conventional plot values. — Allan, London. Produced by British National Films. American distribution not determined. Directed by Norman Walker. From the novel "Three Fevers," by Leo Walmsley. Running time, 80 minutes. General audience suitability. CAST Isaac Fosdyck J. Fisher White Tindal Fosdyck Moore Marriott Luke Fosdyck Wilfred Lawson Ruth Fosdyck Geraldine Fitzgerald John Lunn Naill Macginnis Marney Lunn John Garrick Henry Lunn Sam Livesey Amy Lunn Joan Maude Paddy O'Day (20th Century -Fox) Comedy Drama Clean and attention holding, this music tinged comedy drama stacks up as a pleasing entertainment and showmanship feature. It's the story of a little girl, played by a little girl, in which the comedy is always light and gay, the drama just dramatic enough in its power to stimulate suspense and the interluding music and dancing just effective enough to assure proper balance. Well written, capably directed, with all the players, particularly the star, contributing convincing performances, the show moves evenly and spots its various punches just where they will do most good. Traveling alone to America, little Irish colleen Jane Withers makes friends with a group of Russians, Tamara, Popuska and Momuska, during an entertainment in the ship's steerage. Landing, the child is heartbroken to find that her mother is not there to meet her and that something has happened to prevent her leaving the ship. A comedy situation contrived to effect her escape from Ellis Island, the child encounters various entertaining adventures in making her way to the house in which her mother was employed. Despite the warnings of the icy maiden ladies, Flora and Emma Ford, and the fears of butler Benton, Dora takes the child in and tells her that her mother is dead. More comedy, including a wild chase featuring the Ford cat and Jane's dog, finally lands the child in Ray Ford's room. Taking her to heart at once, he issues instructions that the little lady is to be treated as one of the family. Come Mischa and Tamara, seeking news of the child, only to have Mischa in a sparkling com edy sequence make a different man of mossbacked Ray. Moving into the Cafe Petrovitch, in which Ray has become a very modern-minded partner, Jane is the featured member of a group of Russian entertainers as the immigration officers finally catch up with her to deport her. But Officer McGuire has a heart big enough to overcome his sense of duty and when he suggests that if someone adopts the child she can stay, Ray and Tamara reveal that they have been married and that they will make the child theirs. Not only does the production make available the worth of a good and interesting story for showmanship purposes, but it features little Miss Withers in several singing and dancing numbers ; Rita Cansino is similarly presented, and Pinky Tomlin in a specialty song number, while a surprisingly pleasing comedian is uncovered in George Givot. Given the benefit of an aggressive campaign, the show has attractive qualities to offer. — McCarthy, Hollywood. Produced by Fox Film. Distributed by Twentieth Century-Fox. Executive producer, Sol M. Wurtzel. Directed by Lewis Seller. Screen play by Lou Breslow and Edward Eliscu. Music by Harry Akst and Troy Sanders. Lyrics by Sidney Clare and Edward Eliscu. Song, "Cbanging My Ambitions," by Pinky Tomlin. Photographed by Arthur Miller. Art director, Duncan Cramer and Lewis Creber. Dances staged by Fanchon. Film editor, Al De Gaetano. Costumes, Helen Myron. Sound recorder, Al Bruzlin. Musical director, Samuel Kaylin. P. C. A. Certificate No. 1665. Running time, when seen in Hollywood, 73 minutes. Release date, January 21, 1936. General audience classification. CAST Paddy O'Day Jane Withers Ray Ford Pinky Tomlin Tamara Petrovitch Rita Cansino Dora Jane Darwell Mischa George Givot Immigration Officer McGuire Francis Ford Aunt Flora Ford Vera Lewis Aunt Jane Ford Louise Carter Benton Russell Simpson Popushka Petrovitch Michael Visaroff Momushka Petrovitch Nina Visaroff Born to Gamble (Majestic) Drama The effect of an inherited gambling taint on four grandsons of a western gambler is the provocative theme of this picture, which may be used for exploitation purposes. The gambler is killed in a duel as the result of his last bet. His daughter marries and has four sons who inherited the gambling urge with disastrous consequences. One of the sons is lost with the Lusitania, after taking passage on the doomed liner on a bet. Another is murdered by a bootlegger's gang. The third commits suicide after losses in the stock market, and the fourth, in avenging the death of his murdered brother, is involved in the killing of a notorious gangster. The mother dies brokenhearted, and the father is haunted by the tragedies. Adapted from Edgar Wallace's "The Greek Poropulos," this picture has some very dramatic movements and the cast turn in some very meritorious performances. Emphasis on the name of Edgar Wallace is indicated in the selling campaign. And, as mentioned, there is the question, "Can a fondness for gambling be inherited?" The cast is headed by Onslow Stevens and includes such well known players as H. B. Warner, Maxine Doyle, Eric Linden, Lois Wilson, William Janney and Ben Alexander. Stevens plays a dual role, that of the western gambler and the fourth son, who finally succeeds in ridding himself of the betting habit, easing his aged father's last days. The direction keeps the picture moving at a lively pace and photography is good. H. B. Warner, wealthy clubman, in his contention that settling any controversy by gambling is futile, draws from the history of his family to prove his point. He describes the untimely death of his father-in-law as the result of a bet in Colorado in the 1860's. Warner tells of his marriage to Lois Wilson, the gambler's daughter, and their four sons. As youngsters his sons had been constantly in hot water, bet ting with the neighbors' children and even playing dice in the nursery. As they grow to manhood the gambling urge became stronger. Paul the first born (Ben Alexander) forges his father's name to checks. Fred (William Janney) is expelled from college for organizing a football betting pool. Shame and humiliation break the mother's heart, and a few years later she dies. Warner gathers the boys together once a year at a dinner to honor the anniversary of their mother's death. It is at one of these dinners that we find Alexander, an aviator, planning to sail on the Lusitania and enlist in the Lafayette Esquadrille. He chooses the Lusitania to win a bet with a friend. Janney is a broker in Wall Street specializing in shady deals. Earl (Eric Linden) has just obtained a loan of $5,000 as his contribution towards a bootlegging career. Henry (Onslow Stevens) is still at college. Stevens, the only one of the boys of more sober mien, changes completely after Linden is murdered. Frequenting the race track and drinking a good deal, he becomes a friend and partner of a notorious gangster. Fixing prize fights and wrestling matches, the partnership thrives financially. Betting all on one of the supposedly fixed fights, the gangster is cleaned out. He accuses Stevens of double cossing. Stevens retaliates by accusing the gangster of the death of Linden. The gangster is shot by an unknown person while arguing with Stevens. Stevens is accused but is acquitted. Stevens takes charge of his father's piano business and saves it from bankruptcy, after which he marries Maxine Doyle. — Mooney, New York. Produced and distributed by Liberty. Producer, M. _H. Hoffman. Directed by Phil Rosen. Story continuity and dialogue by E. Morton Hough. Suggested by "The Greek Poropulos" by Edgar Wallace, Associate producer, M. H. Hoflfraan, Jr. Photography by Gilbert. Warrenton. Production manager Rudolph Flcthhow. Film editor, Mildred Johnston Recorded by Harold Bumbaugh. P. C. A. Certificate No. 970. Running time, 65 minutes. Release date, July 10, 1935. Adult audience classification. CAST "Ace" Cartwright ) Onslow Stevens Henry Mathews ) Carter Mathews H. B. Warner Cora Strickland Maxine Doyle Earl Mathews Eric Linden Paula Mathews Lois Wilson Fred Mathews William Janney Paul Mathews Ben Alexander Al Schultz Lucien Prival His Night Out (Universal) Comedy Hokum comedy, featuring a player whose forte is this brand of entertainment, "His Night Out" is promising as both an engaging audience attraction and an interesting showmanship feature as well. With the widely known name of Edward Everett Horton as its keystone, a campaign assuring patrons that the picture should afford them some of the merriest moments ever enjoyed can easily be adapted. Material for this is found in significance of the title, entertainment worth of story content, prestige of supporting players and merit of supplementing production values. Horton's role is characteristic. He is a jittery purchasing agent deathly afraid of his boss, Robert McWade, and timidly in love with office girl Irene Hervey. Also he has an imaginary illness which leads him to sample all cure-all pills and become easy meat for quack doctors. Simultaneously with McWade's preparing for a merger and having a fortune in the safe with which to put the deal through, Horton is victimized into believing that he has only a few months to live. His troubles fade, however, when he learns that his sweetheart's little brother needs an expensive operation, which Horton, secretly heroizing himself, guarantees. Then, believing his days are numbered, he embarks on a grand spree with Irene that amazes even his frugal heart. In the meantime, McWade's bonds are stolen. Irene things that's