Motion Picture News (Oct-Dec 1930)

N ovc m bet 8 . 2 93 0 M o t i o n P i c tare N e ?v s 47 Opinions on Pictures Oh, For a Man (Fox) Full of Giggles i Reviewed by Red Kami) A LOAD of laughs in this. Which makes it well worth a boost. "Oh, For a Man" is not big, but is amusing and sexy in a manner which can prove offensive to nobody. The story, in brief, concerns the foibles of a grand opera star who falls for a burglar, makes him, marries him and the situations which develop between them before the final and inevitable happy fade-out. The story had an idea, even if slightly farfetched, but the charm which Hamilton MacKadden injected into his direction and his always deft touch in guiding the characters through their paces more than surmounts the fundamental stretching of coherence which marks the story's conception. In other words, it's a bit difficult to figure that normally an opera star, feted by the world as Jeannette MacDonald is in the picture, either could or would so for a second-story man even if he happens to be as prepossessing in looks as Reginald Denny. On the other hand, audiences undoubtedly won't concern themselves with that. Here you have Miss MacDonald, temperamental and impetuous, declaring the life of a grand dame of the opera is the bunk. You know right along, of course, that she doesn't mean a word of it and that the last decision she might be expected to make would be to ditch her career. Into her room one night comes Denny who is the Barney McGann of the opus. She falls for him. He thinks he has possibilities as a singer and the singer decides to give him a chance. She uses her wiles and her prestige with her impresario to get him a contact. Then in comes her teacher to whip the impossible into line. Of course, it's no go. Denny exhibits more of a bellow than a voice and that's that. He's about to wash up on his venture in the realms of opera, when MacDonald confesses she loves him. He decides to marry her and off to Italv they go. The singer offers him a villa in the mountains overlooking a lovely lake. He's thinking of Third Avenue and the pals he used to know. The situation develops inevitably as you expect it must. Eventually, Denny has enough, leaves for New York, while Miss MacDonald sees suicide, the convent or her public as alternatives to placate her great sorn w. So back to the opera she goes, has an auspicious opening once again to be visited that night by her husband via the porch route. He lavs her out cold tor a bad third act; she tells him it was because her heart wasn't in the performance and asks him to stay for a little bit anyway. He does — for longer than that — as the picture fades out. The ending is a bit weak and not un to the excellence of that which precedes it. Miss MacDonald exhibits a versatility that has not appeared in her earlier work. She gives an extremely good performance. Denny, too, comes through in splendid style as the Irish husband. Alison Skip worth, as Laura the maid, is extremely good. Ditto for the rest of the cast. Cartoons suggested with this. Produced and distributed by Fox. From "Stolen Thunder," Saturday Evening Post story by Mary F. Watkins. Directed by Hamilton MacFadden. Seen a rm by Philip Klein. Dialogue by Lynn Starling. EditC I by At De GaetaRO. Photographed by Charles Clarke. Length, 7.800 feet. Running time, 87 minutes. Release date, Dec. 14. THE CAST Carlotta Man son Jeannette MacDonald Barney McGann Reginald Denny "Pug" Morini Warren Hymer "Totsy" Franklin Marjorie White Laura Alison Skipworth Peck Albert Conti Frescatti Bela Lugosi Costello Andre Cheron Kerry Stokes William Davidson Conspiracy (Radio) Mystery Stuff Entertains (Reviewed by Bill Crouch) A NOVEL story adapted from the stage play, plus some excellent acting by Ned Sparks makes this talker rather entertaining. The piece is rather crudely put together and would have been much better with more attention given to details and softening of the more dramatic moments. The story revolves around Bessie Love's endeavor to protect her brother, the district attorney, from a band of dope peddlers. In order to protect herself she is forced to kill the head of the narcotic ring, and when Sparks, an eccentric writer and amateur detective, writes the story of the murder as it appears to him, Miss Love is disclosed as the murderess. However, Hugh Trevor as the truth-seeking reporter saves her from being tried for the murder and she is exonerated. The part of the cantankerous writer is very well played by Sparks and it is his work that carries the piece over many rough spots in the story. A love interest between Miss Love and Trevor is woven into the yarn and given relief to the heavier moments. There are many plots and counterplots in the talker and at times the story becomes very confusing. Christy Cabanne directed and, in several instances, failed to get the most out of some of the dramatic situations. Smaller roles are capably played by Ivan Lebedeff, Rita La Roy and Otto Matieson. Trevor is especially good as the reporter and Miss Love does fair in a part not especially suited to her talents. Use strong comedy support here. Produced and distributed by RKO. Directed by Christ v Cabanne. Story by Robert Bake-" and John Emerson. Continuity by Beulah Marie Dix. Edited bv Artie Roberts and Sam White. Photographed by Nick Musvaco. Length. 6.480 feet. Running time, 72 minutes. Release date, August 5th. THE CAST Margaret Holt Bessie Love Winthrop Clavering Ned Sparks John Howell Hugh Trevor Nita Strong Rita LaRoy Butch Miller Ivan Lebedeff Martha Gertrude Howard Tame Morton ( "'" Matiesen Weinberg Walter Long I !-wne Jane Keckley i ■■,,! WcLeod Donald Mackenzie Mark Hull George Irving Victor Holt Bert Moorhouse The Third Alarm (Tiffany) Sure-Fire Hoke {Reviewed bv Charles F. Ilyncs) IN silent form, "The Third Alarm" was one of the biggest money-makers turned out by FBO. The talker version should be a moneymaker, as well, because it is loaded with exploitation angles. It's not outstanding as a production, but the sure-fire hoke is there, so it will please pretty generally. Emory Johnson has wisely steered clear of the original story, so that, except for the title, this is in no sense a remake, a point which should be stressed in all advertising. He has written an entirely new story around the title. and while some of it is mushy, it gets over well. Anita Louise and James Hall have big opportunities in this and come through nicely. Miss Louise is a beautiful girl with ability, and should become a bet. Hall probably does the best work of his career in this. Paul Hurst supplies a generous amount of laughs, in a part that fits him to a T. Little Georgie Billings is a talented kid, and helps the sob stuff. Hobart Bosworth, always a topnotcher, is fine as the fire captain, and Jean Hersholt is effective in an all-too-brief part. The picture is well directed and dressed up nicely. The main action centers around the efforts of Hall to adopt Anita Louise and her little brothers, after they have been placed in an orphanage. Their father, a fireman, had lost his life at a blaze. The kids run away from the orphanage, and Hall and Hurst learn that they can adopt the kids, provided either Hall or Hurst are married. Then they try to land a wife, with Hall finally waking up to the fact he is in love with Anita. Hurst's up-to-the-minute date book, containing pictures of his various girls, is a laugh. The climax is a fire at the orphanage. It's out and out hoke, but carries wallop. Musicals will go well with this. Produced and distributed by Tiffany. Directed byEmory Johnson. Story by Emilie Johnson. Continuity by Frances Hyland and Jack Natteford. Photographed by Max Dupor.t. Length, 6,300 feet. Running time, 70 minutes. Release date, not set. THE CAST Milly Morton Anita Louise Dan James Halt Beautv Paul Hurst Dad Morton Jean Hersholt Captain Hobart Bosworth Neeta Mary Doran Woman barber Dot Farley Mamie Nita Martan Jimmy Georgie Billings L^ncle Walter Perry Matron Aileen Manning Cohens and Kellys in Africa i ( rniversal) Lots of Laughs (Reviewed by Dick Crenshaw) ALTHOUGH the Cohens and Kellys idea has been used plenty, this picture is probably the best that has been turned out by the well known comedy pair. There are plenty of laughs in the production, and it was well received at its first preview. It rates as a good programmer and is okay for first runs and split-week bookings. Africa proves an ideal background for the trouble-hunting partners, Cohen and Kelly. These parts are again taken by Charlie Murray and George Sidney, while Vera Gordon and Kate Price appear in their usual roles as the wives. Animal scenes add much to the picture and work in well with the dialogue and plot. The picture would prove entertaining if for nothing but its action, animal and native African scenes. Cohen and Kelly go to Africa with their wives in search of ivory keys to aid their piano business. Alter a number of comical experiences in an African city, they start the long hike into ivory territory. Here the native black men desert them and they arc captured by cannibals. They escape from the man-eaters through a ruse and are caught by another tribe, which is ruled over by a former friend of Cohen's. This friend guarantees to furnish them with the ivory needed, and a game of African miniature golf over a novel course is played to settle a few business details. In the meantime Mrs. Cohen and Mrs. Kelly are captured by a desert sheik and held for ransom. Not being beauties, their abductor decides to set them free without payment from their husbands. The life in the sheik's harem has proven so tasteful to the two, however, that they decline to leave until their husbands re