Motion Picture Reviews (1938)

MOTION PICTURE REVIEWS Seven turing steel. Many of the scenes are in the Limehouse section of London where mystery is enshrouded in the heavy fog. The story is well-knit and plausible enough of its type; the murders are committed with neatness and dispatch. Peter Lorre continues his adept characterization of Mr. Moto with a commendable supporting cast. Good film of its kind. Adolescents, 12 to 16 Children, 8 to 1 2 Mature Exciting © PRIDE OF THE WEST O O William Boyd, George Hayes, Russell Hayden, Earle Hodgins, Charlotte Field, Billy King. Original by Clarence E. Mulford. Screen play by Nate Watt. Direction by Leslie Selander. Paramount. A fast-moving Hopalong Cassidy western with better than usual dialogue, some nice incidental singing and typical scenic backgrounds beautifully photographed. Hopalong Cassidy, summoned by the sheriff’s small son and daughter, aids in the recovery of bags of gold which have been stolen from a stage coach. Adolescents, 12 to 16 Children, 8 to 12 Excellent Depends on the individual © PRISON FARM O O Shirley Ross, Lloyd Nolan, John Howard, J. Carroll Naish, Esther Dale, May Boley. Direction by Louis King. Paramount. To play upon the sympathies of audiences and to shock them with scenes of amazing brutality seems to be the purpose of this prison melodrama. It tells the story of a girl who is innocently involved in a payroll robbery and is sent to a prison farm along with her sweetheart who actually committed the crime. At the prison farm, all the keepers are either villainous or unfit for their jobs, and the prisoners are subjected to such harsh brutality that sympathy is all on the side of the lawbreaker. The difficulties of the heroine are finally overcome when her lover, dying from injuries received in a horrible fight with a guard, confesses his crime and clears her name. She is last seen happily smiling as she drives away from the institution with the prison doctor whom she is soon to marry. Though adequately produced the film is by no means entertaining and offers nothing constructive. Adolescents, 12 to 16 Children, 8 to 12 Horrible Horrible THE RAGE OF PARIS O O Danielle Darrieux, Douglas Fairbanks, Jr., Mischa Auer, Louis Hayward, Helen Broderick. Original story and screen play by Bruce Manning and Felix Jackson. Direction by Henry Koster. Universal. A treat is in store for audiences who have not heretofore had the opportunity of seeing Danielle Darrieux on the screen. Her American debut in “The Rage of Paris” is a fortunate occasion for film patrons who enjoy frothy, sophisticated comedy. Miss Darrieux with her piquant accent and flair for wearing modish gowns is charming in her role of the little French model who comes to America to hunt a job, finds herself stranded, and, under the tutelage of an ex-chorus girl and financed by a head waiter, essays to win a rich husband. The story makes no claims to plausibility but is handled by Director Henry Koster with an appropriately light touch. The star is supported by an able cast who give uniformly excellent performances. Adolescents, 12 to 16 Children, 8 to 1 2 Sophisticated No © THE SHEIK O O Rudolph Valentino, Agnes Ayres, Adolphe Menjou. From the novel by Edith M. Hull. Direction by George Melford. Jesse L. Lasky. “The Sheik” of almost two decades ago has been revived and has proved so popular that the decision has been made to release it throughout the nation. The film is worth seeing if only for the purpose of contrasting the productions of that day with those of the present year; one could not believe that such crudities and imperfections existed in a picture which was considered high-grade at the time if one did not have this documentary evidence. There is little attention to lighting effects and compostion. The people move spasmodically. Because the film predates the talkies it is necessary to convey the meaning with gestures and facial expressions which register hate, love, fear, jealousy. “The Shiek” was considered wicked in its day, but the unreality of the film in the light of present standards renders it innocuous. The idea of feminine pulchritude of the early 1920’s is nothing short of remarkable; Agnes Ayres, with her well-cushioned figure, long crimped hair and dresses which would be difficult to imitate for sheer ugliness, is the target for many of the chortles of the audience. And yet there are not as many laughs as one might expect. There are certain qualities which make for successful pictures at any time: an exciting (if impossible) story, a swiftness of movement and, above all, a