Motion Picture Herald (Nov-Dec 1936)

56 MOTION PICTURE HERALD December 19, 1936 Mind Your Own Business ( Paramount Emanuel Cohen) Comedy Wholesome, amusing, this is not only a substantial attraction for grownups, but of the kind that comes in for more than usual attention from the juveniles. As it heroizes a Boy Scout Troop in a way that undoubtedly will be acceptable to patrons and members of that organization, it is wide open for healthful cooperative contacts. While there is a lot of youthful atmosphere attached to the film, it is by no means a kid show. The individuals whose troubles precipitate all the fun are grownups. With Charlie Ruggles giving his usual pleasing performance and such players as Lyle Talbot, Alice Brady, Benny Baker, Jack LaRue, Frankie Darro, Lloyd Crane, William Demarest, Gene Lockhart, Charles Wilson, William Davidson and Theodore Von Eltz as well as the Scouts helping him nicely, the comedy of the show is the result of clever story writing and smartly contrived situations. It's all about a willy nilly newspaper columnist who writes about birds and bees and whose chief hobby is being a Scout leader. Under fire from his boss and ordered to pep up his copy, he takes his problems to his wife, who gives him the idea of writing his material in the most approved keyhole columnist style. The stunt gets him into hot water with gangsters and crooked politicians who kidnap him. But just when it looks as if he's going to get the works, the Scouts come to the rescue. The chase is a wildly hectic affair that can be depended upon to have audiences in stitches. Previewed in the Alexander theatre, Glendale. The audience was not a bit disappointed in its expectancy of what would happen when Ruggles headed the billing. — G. M. Produced and distributed by Paramount. An Emanuel Cohen production. Directed by Norman McLeod. Screen play and dialogue, Dore Senary. Original story, John Francis Larkin. Assistant director, Earl Rettig. Photographed by Robert Pittack. Sound, William Fox. Film editor, George McGuire. Art director, Wiard Ihnen. Costumes by Basia Bassett. Musical direction, George Stoll. P. C. A. Certificate No. 2911. Running time, when seen in Hollywood, 75 minutes. Release date, December 18, 1936. General audience classification. CAST Orville Charlie Ruggles Melba Alice Brady Crane Lyle Talbot Sparrow Benny Baker Cruger jack LaRue fob Frankie Darro Jeeper Robert Baldwin Mr. Davis Lloyd Crane Nicodemus Horace Stewart Droopy Bill Demarest Bottles Gene Lockhart Johnson Charles Wilson Garrett Wm. Davidson Branagan paul Harvey M.ason Duke York District Attorney Theodore Von Eltz Flnch David Sharp and Los Angeles Troop No. 107 of Boy Scouts of America Sinner Take All (MGM) Mystery Drama Story content, characterizations of the players, quality of directorial technique and application of production detail, plus the manner in which musical accompaniment functions, combine to make this an out-and-out multiple murder mystery drama. Heavily accenting suspense, with a thread of romantic love interest woven in, but without much comedy, the film is pointed directly at the crime solution devotees. Four members of a wealthy family receive death threats simultaneously. The fears of father Aaron Lampier and those of his two sons, David and Stephen, and his daughter Lorraine bring reporter-lawyer Ernie Hyams into the case. As the mysterious figure of Ernie's editorial boss, MacKelvey, lurks in the background, one by one the three male members of the family are killed. With traces of romantic love interest influencing the activities of Ernie and the surviving Lorraine, the hero, working in conjunction with police investigator Royce, is getting no place fast in solving the identity and motive of the killer. At the same time it doesn't seem that much can be done to save Lorraine from being a victim. Nevertheless in collusion with the sinister night club gambler Penny, who most of the way is looked upon as the principal suspect, Ernie and Royce take up a trail suggested by him that leads to the culprit. His identity (MacKelvey) and the reason for his criminal activities established, he kills himself, and though everything that previously has happened to Ernie and Lorraine is pretty terrible, they happily contemplate marriage. Acceptable to those who appreciate the chill and thrill brand of entertainment, the film nevertheless is hardly of the amusement quality that can aspire to arouse spontaneous enthusiasm on the part of general audiences. Previezved in the Uptown Theatre, Los Angeles. A typical neighborhood audience which reacted favorably to the efforts of the players didn't seem to be much interested in the theme. — G. M. Produced and distributed by Metro-Goldwyn-Mayer. Produced by Lucien Hubbard and Samuel Marx. Directed by Errol Taggart. Screen play by Leonard Lee and Walter Wise. From a novel by Whitman Chambers. Musical score by Edward Ward. Song, "I'd Be Lost Without You," music by Walter Donaldson, lyrics by Chet Forrest and Bob Wright. Recording director, Douglas Shearer. Art director, Cedric Gibbons. Associates, Eddie Imazu and Edwin B. Willis. Wardrobe by Dolly Tree. Photographed by Leonard Smith. Film editor, William S. Gray. Assistant director, Dolph Zimmer. Previewed before Production Code Certificate number. Running time, when seen in Hollywood, 78 minutes (to be cut). Release date, December 18, 1936. Adult audience classification. CAST Ernie Bruce Cabot Lorraine Margaret Lindsay Penny Joseph Calleia MacKelvey Stanley Ridges Alicia Vivian Osborne Aaron Charley Grapewin Royce Edward Pawley Stephen George Lynn David Theodore Von Eltz Shirley Eadie Adams Bascomb George Zucco Reporter Dorothy Kilgallen That Girl from Paris (RKO Radio) Musical Romance This musical romance, presented in the atmosphere of slapstick comedy, offers much for enthusiastic support of public and exhibitor. In all phases the film has but one objective: to provide the maximum amount of good music, airy romance and wholesome fun. Judging from the reactions of the preview audience, which at first seemed to think that it was in for just one more exhibition of a cultured voice but quickly succumbed to the spell of the show's comic mood, "That Girl from Paris" points toward a whetting of interest by initial publicity and by wordof-mouth advertising. The plot is simple and surprisingly human. Yet it's what is done to it, and how it is done, with smart directorial technique and clever acting, that endows the picture with its unusual entertainment and commercial quality. In the yarn Lily Pons deserts Gregory Gaye at the altar and becomes attached to Gene Raymond, Jack Oakie, Mischa Auer and Frank Jenks, members of a jazz band skylarking in Paris. Stowing away on a boat bearing the troubadors to America, she gets them in dutch with ship's officers, and in further trouble with immigration officials, by hiding out in their apartment. Singing, music and comedy intermingling Miss Pons becomes romantically interested in Raymond, but not in such a manner as to discourage lady's man Oakie. Eventually through the fast working influence of Lucille Ball, who also has an eye for Raymond, the band gets a job in Herman Bing's roadhouse. When Lily puts the skids under Lucille by soaping her shoes to make her dancing specialty a travesty of slapstick, she replaces her rival as the band's singing star. To save her from the clutches of immigration folk the boys cut cards to see who shall marry her and thus prevent deportation. Oakie wins, as he wins every other cut, but Raymond talks him into letting him sacrifice himself to the girl. As the cops grab her and the boys, she learns about the slick trick, and denounces the lot. Gaye appears on the scene to bail her out and she in turn, secretly, bails out her benefactors. About to be launched on a Metropolitan Opera career, Oakie, Jenks and Auer plot to wreck her debut. Learning of the dastardly plan from Bing, Raymond rushes to the rescue, arriving in time to see his pals surrender to the charms of Lily's voice. This time it's Oakie who hatches up a hilarious plan to swipe Lily from Gaye and marry her to Raymond. A combination of fun and music for both the classes and masses, "That Girl from Paris" places something substantial in the hands of exhibitors to sell. The kind of attraction that will not belie one's personal recommendation, the more effort that is put into calling it to public attention the greater the payoff should be. Previewed in the Village theatre, Westwood. — G. M. Produced and distributed by RKO Radio. A. Pandro S. Berman production. Directed by Leigh Jason. Screen play by P. J. Wolfson and Dorothy Yost. Adaptation by Joseph A. Fields. Based on a story by Jane Murfin. Suggested by a story published in Young's Magazine by J. Carey Wonderly. Music by Arthur Schwartz. Lyrics by Edward Heyman. Musical director, Nathaniel Shilkret. "Una Voce Poco Fa" from the opera "Barber of Seville" by Rossini; "Tarantella" by Panofka. Conducted by Andre Kostelanetz. Photographed by J. Roy Hunt. Art director, Van Nest Polglase. Associate, Carroll Clark. Gowns by Edward Stevenson. Set dressing by Darrell Silvera. Recorded by Hugh McDowell, Jr. Edited by William Morgan, P.C.A. Certificate No. 2686. Running time, when seen in Hollywood, 105 minutes. Release date, January 22, 1937. General audience classification. CAST Nikki Lily Pons Whammo Jack Oakie Windy Gene Raymond Hammacher Herman Bing Butch Mischa Auer Laughing Boy Frank Jenks Claire Lucille Ball Coat-Room Girl Patricia Wilder Reporter Vinton Haworth Paul DeVry ..Gregory Gaye Immigration Officer Willard Robertson Marie Rafaela Ottiano Uncle Ferdinand Gottschalk Pennies from Heaven (Columbia) Comedy, Romance Entertainment values are plentiful in this latest of Bing Crosby's starring roles. It is easily the best material he has had to work with to date. Whether in the fields of comedy and romance or in his favored role of crooner, Crosby here provides an enjoyable production. As is usually the case Crosby dominates the picture, but there is ample opportunity for little Edith Fellows to come close to winning equal attention. The music of Arthur Johnson and the lyrics by John Burke constitute two of the really catchy numbers of the season in the title song "Pennies from Heaven" and "One, Two, Button Your Shoe." Another song, a romantic ballad, "So Do I," is tuneful. Louis Armstrong sings and plays the trumpet in a novelty number, "Skeleton in the Closet." It is a well balanced selection of songs and musical arrangement. A human interest story woven around Edith Fellowes as a parentless girl who is dead set against going to an orphan asylum, doesn't neglect the romantic factor as Madge Evans, a social worker, and Crosby fall in love. Donald Meek as Miss Fellowes' grandfather turns in his usual commendable performance of the "Caspar Milquetoast" type. Crosby, a vagabond with a lute, after completing a questionable prison sentence, travels to a small New Jersey town to deliver a letter from a condemned prisoner to the family of the murderer's victim. The family, composed of Miss Fellowes and Meek, are in difficult straits financially and also with the town's social welfare (Covtinued on page 58)