Motion Picture News (Oct-Dec 1930)

46 .1/ o tion Picture N e tv s N o v e m h e r S , 19 30 Opinions on Pictures Kismet (First National) It All Depends (Reviewed by Red hann i HARD to spot "Kismet." If you approach it from the angle of that it is "different," it will click. Certainly the picture has considerable merit, revolving almost entirely around the magnetism and the skilled performance of Otis Skinner, who starred in the stage version and who also appeared in a silent version of the picture some years ago for Robertson-Cole. The dialogue is steeped in poetic "thees" and "thous." Whether the fast-moving present generation will go for it remains to be seen. The picture is in costume, often effective in pageantry and splendid in production values. Likewise, it is theatrical and occasionally unwieldy, but through it all Skinner's performance is unquestionably the beacon light. It may be that the type of audience that goes for pictures like those which George Arliss has made for the Warners may be counted upon to patronize "Kismet," but decision along those lines is one that must be reached by the individual showman, familiar as lie is with the gang that patronizes his theatre or theatres. While Skinner dominates the picture in every wise, the cast which has been assembled for his support is way under par. Loretta Young has practically nothing to do as Marsinah. Sidney Blackmer, as the Wazir Mansur, plays the heavy in the good old-fashioned way, which means he inclines to overacting. David Manners, as the caliph, elicits no cheers and, as far as Mary Duncan is concerned, you get the impression the director must have been looking more at the display of figure which her abbreviated costume reveals than her histrionics. Edmund Breese, as Jawan, has little to do. but that little is excellent. As a matter of fact, he rates second to Skinner. The yarn transpires in one day and revolves around the rascality of Hajj, beggar and thief. Briefly, he steals robes from the bazaars, _ is arrested and brought before the chief of police who promises to spare his arm if Hajj will murder the caliph. The crime is planned to save the chief of police from being branded an absconder. Hajj promises and, posing as a Moorish magician, is brought before the caliph who wards off the blow via a coat of mail he happens to be wearing at the time. The beggar is imprisoned, but escapes. Elsewhere, his daughter, Marsinah, is being prepared for entrance into the chief of police's harem. Hajj kills the villain, is again nabbed by the caliph's guards and banished as the daughter learns the simple gardener with whom she had fallen in love is really the ruler of Baddad. Operatic number will lend proper dignity as supporting short. Produced and distributed by First National. From plaj by Edward Knoblock. Directed by John Francis Dillnn. Adaptation and dialogue by Howard Estabrook. Edited by Al Hall. Photographed by John Seitz. Length. 8,253 feet. Running time, 92 mins. Release date, Jan. IS. THE CAST Hajj Otis Skinner Marsinah Loretta Young Caliph Abdallah David Manners Wazir Mansur Sidney Blackmer Zeleekha Mary Duncan Jailer Montagu Love Amru Ford Sterling The Guide Nazir Theodore von Eltz Tmam Mahmud John St. Polls Jawan Edmund Breese Suspense (British International Pictures) A Powerful War Drama (Reviewed by J. P. Cunningham) A HIGHLY intelligent and powerfully gripping dramatization of Patrick MacGill's war story has found its way from the studios of England, where only too seldom does a talker emanate with such splendid production qualities, mechanically and otherwise, as are found in "Suspense." American distributors will certainly have plenty to worry about in foreign-market competition if British producers continue the high production mark which is reached in this one. From the angle of American exhibitors and their box-offices, there looms but a single hitch to prevent substantial grosses, and that rests in its war-story classification. Not that the dramatization is unauthentic, or unconvincing, but because predecessors in the field have nicked the edge on this type of material. Audience reaction usually handicaps those which bring up the rear in cycles. However, whether or not this situation develops with "Suspense" remains to be seen. The picture certainly deserves as much of a play as has been accorded previous war dramas, on the basis of comparative production values. By selling in true showmanship style, a national distributor might easily displace the handicap. For stark drama, it is a pip. You are made to feel, way down in the depths of your boots, the same nerve-racking tenseness which gripped the heart-strings of most participants in that great struggle. We wager the most enthusiastic advocate of war will more than once consider conversion to pacifism when he feels the depressing reaction to the miserable and mind-wrecking phases of life in a mud-filled dugout. Entirely a man's picture, for it is practically without the slightest trace of feminism, in cast or in action, a more truthful portrayal of the horrors of war has yet to be filmed. From the moment of the first shot, down to finis, there can be easily observed an unquestionable touch of realness. Sound contributes plenty in this respect, faithfully recording the whizzing of shells and the slush of mud. This is the rainy, muddy side of war. more convincing, and surely more truthful than the flowery tints with which many have painted it. "Suspense" does prove that "war IS hell." Direction is superb, and, aided by splendid portrayals by the entire cast, intelligent camera angles and almost perfect sound, you can practically rest assured that an indelible impression will be made on the minds of theatregoers who appreciate good screen drama. Not a little of that popular brand of dry English humor trickles Hghtly through all of this sordidness ?.nd does much to lighten the spirits of observers. A real showmanship campaign is needed to put over this one. Tie-up with American Legions and other associations. Lighten your bill with slapstick comedies and cartoons. Produced at Elstree studio, London, by British International Pictures, Ltd. Directed by Walter Summers. Photography by T. Sparkhul and Hal Young-. Edited by Walter Sokvis and Emile de Reulle. THE CAST Sergeant McGlusky Cyril McLaglen Captain Wilson Jack Raine Corporal Brown Syd Crossley Private Pettigrew Mickey Brant ford Private Brett (Alleluia) Percy Parsons "Scruffy" D. Hay Petrie Private Lomax Fred Groves Headin' North (Tiffanv) Unusual Western ( Rez'iezved hv Charles F. Hynes) A LOT of comedy and some unusual twists make this western stand out. It contains an abundance of laughs and goes far from the beaten track of western pictures. In this, Bob Steele is out to expose the crooked gambler who had made his father 20 wrong. He teams tin with a rancher who becomes his pal after a fight. In escaping from the law. the two are forced to pose as English actors. A lot of fun results when the pair do their stuff as limey performers. Some of the saloon scenes are a treat, particularly when the hardboiled girl does her stuff as a cabaret entertainer. Bob Steele is an outstanding attraction, and in this he troups well. He is a good song and dance man in addition to his riding ability, and comes through okay in this. It's a different kind of western, loaded with laughs, with the hero called uoon to fake an actor's role in order to escape from the sheriff. With his pal, Bob puts on a vaudeville turn, which is a riot of comedy. No review of this picture would be complete without due emphasis placed on the fine photography which characterizes it. Some of the shots are exceptional for their beauty and effectiveness. Direction by J. P. McCarthy is very good, with all possibilities of the story having been taken advantage of. However, Steele is handicapped considerably bv a mediocre supporting cast, no member of which stands out. This picture will appeal strongly to western fans. It will get bv nicely as a better-thanaverage program picture. Steele is adding considerably to his popularity and this picture should help the work along. Comedy and musicals needed. Produced and distributed by Tirfany. Directed by J. P. McCarthy. Story and adaptation by J. P. McCarthy. Edited by Fred Allen. Length, 4,950 feet. Running time, 55 minutes. Release date, Nov. 1, 1930. THE CAST Bob Steele, Barbara Luddy, Perry Murdock, Walter Shumway, Eddie Dunn, Fred Burns, Gordon de Main, Harry Allen, Gunnis Davis, S. S. Simon, Jack Henderson and Jim Welsh. The Flame of Love (British International Pictures) Just Fair {Reviewed by Robert Hage) ANNA MAY WONG hardly rates stardom and in this picture she is not so hot. She has the role of a Chinese dancer, in love with the adjutant of a grand duke of imperial Russia. Although she exudes considerable sex appeal, her characterization leaves plenty to be desired. The picture lacks a hanny ending, and, while perfectly logical, the climax in all probability will be detrimental. Outstanding in the production is the performance of George Schnell as the grand duke. He is an accomplished actor who lends color and vigor to the role of the pseudo-villain. Although the part lacks conviction, Schnell makes it real and powerful. Anna May Wong gives a good performance, but the part assigned her isn't so favorable. There is nothing in it to warrant special attention, although she enacts her role well. The story is of an adjutant to a Russian grand duke, who falls in love with a Chinese dancer. The fraud duke falls for the dancer and orders her to attend a supper party with him. In the course of the evening he makes unwelcome advances and is shot by the girl's brother. The latter is sentenced to die, but is saved when the ^irl offers to sacrifice herself. The grand duke, however, permits her to make a getaway, on her promise to renounce the adjutant forever. Some of the scenes and dialogue are a bit risque. John Longden, the adjutant, resembles Frank Fay somewhat, and is not particularly keen in his part. The rest in the cast are satisfactory. Comedy and musicals needed. Produced and distributed by British International Pictures. Directed by Richard Eichberg. Scenario and dialogue by Moncton HofFe. Length, 6,600 feet. Running time, 74 minutes. Release date, Oct. 30. 1930. THE CAST Hai Tang Anna May Wong Lieutenant Boris John Longden Grand Duke George Schnell Colonel Moravjev Percy Standing Yvette Mona Goya Wang llu J. Leyon