Motion Picture Herald (Nov-Dec 1936)

54 MOTION PICTURE HERALD December 19, 1936 SHOWMEN'S REVIEWS This department deals with new product from the point of view of the exhibitor who is to purvey it to his own public Beloved Enemy (United Artists Goldwyn) Romantic Drama Against the seething dramatic background of the 1921 Irish uprising in Dublin, with all its forceful atmosphere of desperate, daring, personal hatred and national enmity, "Beloved Enemy" tells a heart touching love story. As both qualities finely counterbalance the film is a man's picture with potent appeal for womanhood. In a strict sense, its power amplified by high caliber acting, direction and production support, "Beloved Enemy" is a touching exposition of the sacrifices women make and the prices they pay as the men they love fight and die for a noble ideal. Drama in which there is considerable comedy content accentuates the first sequences of the story. Dennis Riordan, idealistic leader of the desperate rebels, so brazenly admits his identity to Britain when captured that they refuse to believe him. It's eruptive drama when O'Brien sacrifices his life to prevent the capture of Riordan, which would mean death to the leader of the Cause. To Dublin comes Lord Athleigh, accompanied by his daughter Helen, an English emissary charged with the responsibility of ascertaining how a centuries long conflict, that has cost two nations millions in treasure and countless lives, can be successfully terminated. The first meeting of Dennis and Helen sews the threads of the appealing love story that is to follow. Admiring this reckless man, her sympathies for Irish womanhood are aroused upon the occasion of her meeting with O'Brien's widow and child. Admiration for Dennis ripening into affection, Helen's hope is to do something to bring the bloody wars to an end. In that intent she almost betrays the man she has grown to love. Repenting her treachery, and as Riordan's life is again in danger, she pleads with her father, who is convinced that only through the fury of intensive war can peace be attained, to invite Riordan and his compatriots to a round table discussion with the British government, and begs Dennis to accept the invitation. Over the strong objection of his council, headed by dangerous Burke, Dennis leads a delegation into London. At a reception tendered by Athleigh, the troubled but happy love interest between Helen and Dennis dominates, and that the Irish visitors view with alarm. About the council table both sides make concessions. The British are willing to grant anything but absolute independence. That, the dream of the obdurate Irish for centuries, is what the emissaries hold out for. It is the influence of Helen that causes Dennis to cast his vote that establishes the Irish Free State, a dominion under the English Flag. As he signs the treaty, he announces he is signing his own death warrant. Back in Dublin, as the English invaders move out, Dennis pleads with the people to accept the new status. In a cellar council chamber, the diehard rebels, succumbing to the forceful power of Burke, decree that Dennis is a traitor to the cause for which thousands of lads gave their lives, and must die. To Cowan, Dennis' companion in many a daring adventure, is assigned the duty of killing him. Even the dramatic plea of Helen, who has learned that her man is doomed, cannot stay their hand. As Dennis ad dresses the citizenry, a shot rings out and he crumples in a car. His dream of love and happiness with Helen blasted, he dies in Helen's arms. A powerful and appealing picture, it is acted, directed and produced with sincerity and understanding. Worthy of a prominent place in the list of Samuel Goldwyn pictures, it is desirable entertainment for any kind of audience and a showmanship attraction that exhibitors should heartily welcome. Previewed in the Warner .Hollywood Theatre. Its presentation held the attention of the audience continually. The burst of applause which swept the house upon the film's conclusion is basis for the opinion that "Beloved Enemy" will have no difficulty in making the big profit making picture class. — Gus McCarthy. A Samuel Goldwyn production. Distributed by United Artists. Original story by John Balderston. Screen play by John Balderston, Rose Franken, William Brown Meloney. Additional dialogue by David Hertz. Directed by H. C. Potter. Associate producer, George Haight. Cameraman, Gregg Toland. Musical director, Alfred Newman. Costumes by Omar Kiam. Sound technician, Oscar Lagerstrom. Art director, Richard Day. Set decorator, Julia Heron. Film editor, Sherman Todd. Location director, Harry Perry. Assistant director, Eddie Bernoudy. P. C. A. Certificate No. 2902. Running time, when seen in Hollywood, 85 minutes. Release date, December 25, 1936. General audience classification. Helen Drummond Merle Oberon Dennis Riordan Brian Aherne Cathleen O'Brien Karen Morley Lord Athleigh Henry Stephenson O'Rourke Jerome Cowan Gerald Preston David Niven Burke Donald Crisp Jerry Ra Hould Ryan Granville Bates Rooney P. J. Kelly Connor Leo McCabe Callahan Pat O'Malley Casey Jack Mulhall Colonel Loder Claude King O'Brien Theodore Von Eltz Thornton Wyndham Standing Perrins Robert Strange Crump Lionel Pape Hall John Burton Hawkins Leyland Hodgson Alroyd David Torrence Camille (MGM) Romantic Drama In the manner in which individuals accept things today, "Camille" is both a dramatic romance and a dramatic tragedy. In both phases, whether the action and dialogue happen to be dealing with its intimate love story or the dramatic disappointment of heartbreak, the film is what is known as a tear jerker. Like "Romeo and Juliet" and "East Lynne" and similar vehicles that have stood the test of time, as well as the changing fancies of successive generations, "Camille" tells a story that continually seeks to touch the deepest emotions. Essentially the show is a woman's picture. Also it is one that with their interests properly aroused should engage the attention of general audiences. "Camille" is localed in Paris and the French countryside. The time is 1846. Costumes and settings are of the period. Substantiating production detail reflects the habits, characters and modes of life of the social strata with which the story deals. Yet under skillful treatment, direct ing and acting, the significance of the subject matter in the motivation does not savor of being dated. A fragile butterfly of the era, antecedent of today's golddiggers, lures an innocent lovesick boy. There is another man, one who bought and paid for his love. Beset by the financial problems that are the lot of all golddiggers, the woman succumbs to the devotion of the boy, accepts his invitation to a rendevous in the peaceful countryside. There their romantic life is lived, beyond the pale. Eventually the relationship becomes known to the boy's father. He pleads with the woman and succeeds in convincing her that she should give him up. The manner in which she elects to do this is one calculated to kill any remaining spark of affection the boy may have for her. It precipitates a duel between the rivals for the woman's love, which causes the boy to flee the country. He returns to find her living the old gay life, but one in which the spark of inspired love is not entirely dead. As the boy returns to her, he finds her suffering from a fatal illness. Begging her to live for him and love, the woman dies in his arms. As Marguerite, Greta Garbo gives an impressive performance. Robert Taylor is convincingly effective. Yet it takes the best work of which both are capable to prevent Henry Daniell, the other man (Baron de Varville) from stealing the picture. Though the general tone of the picture is serious, it is not without a full quota of comedy relief, a quality which is pleasingly taken care of by Lenore Ulric and Laura Hope Crews, the first a rival of Garbo, the second a passe irascible old dame who can't forget she no longer is young. Lionel Barrymore, Rex O'Malley and Russell Hardie contribute measurably to the film's quality, and the work of the support is high caliber. The picture is presented in an atmosphere of dignity and good taste. In interpreting the spirit of the Alexandre Dumas novel and play on which it is based, it does so with intelligence and understanding. Primarily the film is an adult attraction. Its topic is too complex for juvenile understanding. Previewed to press audience. — G. M. Produced and distributed by Metro-Goldwyn-Mayer. Associate producer, David Lewis. Directed by George Cukor. Screen play by Zoe Akins, Frances Marion and James Hilton. From the play and novel by Alexandre Dumas. Musical score by Herbert Stothart. Dances staged by Val Raset. Recording director, Douglas Shearer. Art director, Cedric Gibbons. Associates, Frederic Hope, Edwin B. Willis. Gowns by Adrian. Photographed by William Daniels and Karl Freund. Film editor, Margaret Booth. P. C. A. Certificate No. 2828. Running time, when seen in Hollywood, 105 minutes. Release date, January 1, 1937. Adult audience classification. CAST Marguerite Greta Garbo Armand Robert Taylor Monsieur Duval Lionel Barrymore Nichette Elizabeth Allan Nanine Jessie Ralph Baron de Varville Henry Daniell Olympe Lenore Ulric Prudence Laura Hope Crews Gaston Rex O'Malley Gustave Russell Hardie Saint Gaudens E. E. Clive Henri Douglas Walton Corinne Marian Ballou Marie Jeannette Joan Brodel Louise June Wilkins Valentin Fritz Leiber, Jr. Mme. Duval Elsie Esmonds {Continued on page 56)