Motion Picture News (Oct-Dec 1930)

November 2 9 , 19 3 0 M o t i o n Picture News 39 Opinions on Pictures The Great Meadow (M-G-M) Spectacle; Story Weak I Reviewed by Jack Grant) NOTABLE as a spectacle of great scenic beauty, the story values of "The Great Meadow" sutler accordingly. Basically the picture is just another drama of the conquest of the West merged with a variation of the Enoch Arden theme. Seldom does the story take precedent over the scenic effects. Particularly is this true in the M-G-M large screen process, "Realife." The wisdom of having Johnny Mack Brown follow his "Billy, the Kid" with "The Great Meadow" is debatable. Comp. risons are invited and "Meadow" must perforce come out second best. It lacks the action, suspense and consequent audience appeal of "Billy." Berk Jarvis is a more sincere characterization, but decidedly less colorful. The best-selling novel by Elizabeth Madox Roberts offered plot incident of a minor nature for film transcription. Under the direction of Charles Brabin, never noted for humorous touches, comedy relief is practically overlooked. The beauty of its photography is "The Great Meadow's" strongest bid for fame. Opening in an American settlement in the past — revolutionary days, Johnny Mack Brown is introduced as a boy incited by the tales of Daniel Boone of the little known region of Kentucky. He forms a band of pioneers to enter the territory and takes Eleanor Boardman as his bride to homestead the land. The trek across the country depicts all the hardships of the times. Barefoot and weary the tiny band at last reach Boone's fort on the Kentucky river. Nor do the hardships end there. The women's work has just begun. This, if any, is the story's preachment. Brown's mother, splendidly realized by Lucille La Verne, is killed by an Indian and scalped. The boy vows vengeance and leaves his wife to seek his mother's redskin murderer. He is gone a year when Eleanor Boardman hears of his death. The struggle for existence with her little boy proves more than she can bear alone. When Brown returns, he finds his wife married to Gavin Gordon and a second child in the household. The wife is asked to choose, both men agreeing to abide by her decision. She explains to Brown why he must go but Gordon, knowing the choice is dictated by loyalty, refused to allow her to make the sacrifice. The story is at times a bit incoherent and dialogue with frequent "thars" and similar colloquialisms does not help to easy understanding. Eleanor Boardman's performance as the pioneer wife is surely her finest since the memorable "Crowd." John Mack Brown makes the most of somewhat limited opportunities and Gavin Gordon is admirable in a repressed portrayal. The rest of the cast rate superlatives with Lucille La Verne and Russell Simpson particularly outstanding. "The Great Meadow" needs careful attention in exploiting and advertising. Stress the women's angle. Comedy shorts definitely necessary. Produced and distributed by M-G-M. Directed by Charles Brabin. From the novel by Elizabeth Madox Roberts. Adapted by Charles Brabin and Edith Ellis. Dialogue by Edith Ellis. Photographd hy Wil'iam Daniels and Clyde Devinna. Edited by George Hively. Length, not set . Release date. Jan. 3, 1931. THE CAST Berk Jarvis John Mack Brown Diony Hall Eleanor Boardman Elvira Tarvis Lucille La Verne Betty Hall Anita Louise Evan Muir Gavin Gordon Reuben Hall Guinn Williams Thomas Hall Russell Simpson Mistress Hall Sarah Padden Sally Tolliver Helen Jerome Eddy Truth About Youth (First National) Average Programmer (Reviewed by Bill Crouch) THIS is a story of youth based upon the stage play, "When We Were Twenty-one." It has been capably directed by William Seiter, but the story, while unusual, fails to click as it should and the talker rates about average. Should prove okay for the seven-day spots and subsequent bookings if given good support and the names in the cast exploited heavily. Conway Tearle, as the guardian of David Manners, plans to have him marry Loretta Young, the daughter of Tearle's housekeeper. The youth, however, falls for a night club entertainer, Myrna Loy, and spends his time courting her. Tearle and Miss Young plan to save Manners from the whopee gal, but are unsuccessful. Miss Loy falls for Manners, but comes to find out that he is not the unsophisticated lad she thought he was. In the meantime, Tearle and Young, having been together trying to aid Manners, gradually fall in love and the final fadeout comes with them in each other's arms. Conway Tearle does some fine acting as the guardian and Loretta Young as the girl is very good at handling some dramatic moments. J. Farrell MacDonald and Harry Stubbs are well cast and David Manners as the youth plays his part capably. Miss Loy, however, does the outstanding work and plays her role of the entertainer in a spirited manner. Use strong shorts in this spot, musicals or comedy will fit best. Produced and distributed by First National. Di* rected by William A. Seiter. Based on play, "When We were Twenty-one," by H. V. Esmond. Adaptation and additional dialogue by \V. Harrison Orkow. Photographed hy Art Miller. Edited by Frederick Y. Smith. Length, 6,235 feet. Running time, 68 minutes. Release date, Nov. 3. THE CAST Phyllis Ericson Loretta Young Richard Horace J. Dane David Manners Richard Carewe Conway Tearle Colonel Graham J. Farrell MacDonald Horace Palmer Harry Stubbs Mrs. Ericson Myrtle Stedman Kara Myrna Loy Two Worlds (British International Pictures) Fair Program (Revieived hy Robert Hage) THIS boasts a good story with some unusual situations. It drags somewhat in the typical British manner and is devoid of comedy. The producer certainly missed a bet when he didn't get players without English accents for the principal roles. Some of the lingo of the Austrian soldiers, for instance, certainly would have landed them in an internment camp, with Austria-Hungary at war with Great Britain. The story is laid along the Austro-Russian front during the war. where the particular town concerned changes hands frequently. The son of a Jewish clock-maker is killed by the Austrians and the father is broken-hearted. In a frenzy he strikes the Austrian officer and is sentenced to jail, denied the opportunity to watch over his son's remains. The officer is enamoured of a dancer and spends the night at a hotel, only to awaken and find the Russians have entered the town. Pretty far-fetched, particularly when the officer is the son of the Russian commander. He tries to escape and is shot by the Russians, with the Jewish clock-maker's daughter taking him into her home, over the protestations of her father. The Russians accept the old man's word that the youth is his son, and so he is unmolested. When the girl falls in love with the officer the father, frantic over the prospects of losing her, sends a letter to the Russian commandant offering to reveal the Austrian's whereabouts if given immunity. The Austrians recapture the town and the youth's father find the letter, using it as a threat against the clock-maker's life, to force his son to renounce the girl. The ending is carried out logically. As a result, it is abrupt, lacking the happy finish. While this reviewer prefers to see a story carried lo its logical conclusion — and no further — audiences generally do not, which probably will hurt this financially. Needs comedy relief. Produced by Ellstree Prod. Distributed by British International. Directed by E. A. Dupont. Story by Dupont. Dialogue by Miles Malleson. Length, 8.000 feet. Running time, 82 minutes. Release date, Nov. 21, 1930. THE CAST Esther Norah Baring Lieutenant John Longden Simon Goldscheider Randle Ayrton Colonel C. M. Hallard M izzi Constance Carpenter Mendel Donald Calthrop Singer Miriam Elias Ex-Flame (Liberty) Not So Hot (Reviewed by Jack Grant) SHADES of our old friend, "East Lynne," all dressed up in modern clothes. Good for the smaller runs and split weekers. The sexy monicker of "Ex-Flame" will help and the production, sets and photography are far above the average established by independent producers. Modernizing "East Lynne" was in itself no mean task. Yet, you who remember your barnstorming favorite will probably get a chuckle or two from the literal adaptation given it here. It is still a tear jerker, but so much water has run under the bridge since they first went at "East Lynne" that the situations no longer bring a flood. The comedy, with Snub Pollard dragged in as a stooge servant, doesn't click. Story opens with the return of Neil Hamilton and Marian Nixon from their honeymoon. The couple take up residence at the Hamilton family estate and Marian immediately manifests jealousy at the sight of a photo of her husband with a former sweetheart — the "Ex-Flame" of the title. In the abruptness of the introduction of her jealousy some sympathy is lost. Four years pass and the ex returns to becorjie a neighbor. She definitely sets her cap for Hamilton and Marian turns a brilliant green. When she catches her husband kissing the girl she packs up, takes her baby and leaves. Her devoted admirer, Norman Kerry, also an "ex," calls at her apartment. His doctor has given him but a few months to live, so he has called to say good-bye. He says it and dies immediately. It's 4 A.M. Scandal. Husband sues for divorce. Takes baby from mother publicly judged improper person. Mother goes "Madame X," jumping around country with first one man, then another. Finally hears of husband's engagement to the "Ex-Flame." Returns to England bent on kidnaping child. Discovering her hiding in closet, husband realizes his love. Reconciliation. Fade out. This is "Ex-Flame," nee "East Lynne." Strong comedy support in shorts suggested. Produced and distributed by Liberty Productions. Story and direction by Victor Halperin. Modernized version of "East Lynne." Adaptation and dialogue bv George Draney. Dialogue direction by Herbert Ferjeon. Photographed by Ernie Miller. Edited by Donn Hales. Running time. 72 minutes. Length, 6,480 feet. THE CAST Sir Carlisle Austin Neil Hamilton Lady Catherine Marian Nixon Beaumont Winthrop Norman Kerry Barbara Lacey Judith Barrie Umber to Roland Drew Ki'mer Joan Standing Boggins Snub Pollard Ladv Harriett May Beatty Colonel Lacey Lorimer Johnson Argentinian Tose Bohr Keith Cornelius Keefe Wilkins Joseph Nnrth Parson Charles Crockett