Motion Picture Reviews (1934)

Motion Picture Reviews Nine misjudged victims of circumstances, cruelly treated by a hardened superintendent. The beautiful heroine, innocently associating with a thief, is sent to the State School where, after incredible experiences, she is paroled and married to the rich play-boy member of the Board. It is unrelieved, mawkish sentimentality, glorifying the unfortunate victims of social maladjustment. Adolescents, 12 to 16 Children, 8 to 12 No No •w 365 NIGHTS IN HOLLYWOOD » » James Dunn, Alice Faye, Frank Mitchell, Jack Durant, Grant Mitchell. From a short story by James Starr. Direction by George Marshall. Fox. This comedy concerning film folk is rather like ginger ale which has stood too long. One expects fizz and sparkle in a play which presents the comeback of a once-famous director through the vicissitudes of a dramatic school and the rise of the newest blond star in musical cinema, but somehow it is all rather flat. The film is harmless enough morally. Alice Faye is pretty and attractive and James Dunn consistently good, but there is nothing out of the ordinary to recommend it. Adolescents, 12 to 16 Children, 8 to 12 Waste of time No WAGON WHEELS » » Randolph Scott, Gail Patrick, Billy Lee, Monte Blue. From the Zane Grey novel, “Fighting Caravans.” Direction by Charles Barton. Paramount. A “Western” with a slight historical background of the trek of covered wagons over the Oregon Trail in 18+0. The hero is all that one should be, the girl so pretty that her acting is unimportant, and little Billie Lee is cunning and precocious. The scenery is interesting, songs around the campfires excellent, and the action is stirring and exciting. It is fair entertainment of its type but not outstanding. Adolescents, 12 to 16 Children, 8 to 12 Matter of taste Exciting WEDNESDAY’S CHILD » » Karen Morley, Edward Arnold, Frankie Thomas, Frank Conroy. From the play by Leopold Atlas, adapted by Willis Colbeck. Photography by Harold Wenstrom. Direction by John Robertson. R-K-O. The subject of divorce is not new as film material, but here more emphasis is placed on the problem of the child of a broken home than is usual. The sensitive boy, torn be tween his love for both parents, but steeling himself to his unhappy, lonely life, is splendidly played by Frankie Thomas — new to us — and it is a happy solution when his jovial, bourgeois father sacrifices his own plans to make a home for his son. It is a human story but serious and tragic in its implications. Adolescents, 12 to 16 Children, 8 to 12 Unnecessary Unsuitable •w WHAT EVERY WOMAN KNOWS » » Helen Hayes, Brian Aherne, Madge Evans, Lucile Watson, Dudley Diggs, David Torrence, Donald Crisp, Henry Stephenson. From a play by Sir James Barrie. Adaptation by Monckton Hoffee, John Meehan, James J. McGinness. Photography by Charles Risher. Direction by Gregory La Cava. M-G-M. Why has this delightful, witty and penetrating comedy been so long in coming to the screen? It seems perfectly adapted to the medium. It has drama, suspense, conflict, even “another woman” to harrass our heroine. But if you do not know the story, we will not spoil it for you. It is delicious. The cast seems to have stepped out of Scotland. Even Helen Flays has that faint little “bu#r” in her accent, and who could more perfectly personify the little lady whose charm is under such pertinent discussion? Brian Aherne is John Shand, and Lucile Watson is the most delightful, wise and sympathetic Countess one could wish. Do not miss this “four star,” green light “go” contribution to our movie entertainment. Adolescents, 12 to 16 Children, 8 to 12 Excellent Mature but good ■v THE WHITE PARADE » » Loretta Young, John Boles, Jane Darewell, Sara Haden, Frank Conroy, Joyce Compton, June Cittleson, Astrid Allwyn. From a novel by Ryan James. Screen play by Sonya Levien and Ernest Pascal. Jessie Lasky Production. Direction by Irving Cummings. Fox. We understand that only white, unemployed Americans are really safe villains for most picture producers to use now. Otherwise nations, professions and trades rise up in protest. But it seems to us that doctors and nurses have been long suffering and least complaining. However, as if in extenuation, here is grand reparation. “The White Parade” is a real achievement, great entertainment, and at the same time never losing sincerity or honesty. It tells of the training of a nurse from her probation period to graduation, the interpretation of the ideals of Florence Nightingale, and the girl’s indecision between personal love and that of her work. It is genuinely emotional at times,