Motion Picture Review Digest (Jan-Dec 1936)

MOTION PICTURE REVIEW DIGEST 103 "The film, which has been produced with considerable vigor and gusto for a foreign offering, is so well managed technically and artistically that it bears favorable comparison with the best of the Hollywood and London historical offerings. It is in its point of view that this department quarrels with it. . . In its acting, in its use of mass movement and in its photography, 'One Hundred Days of Napoleon' ranks among the best of the Italian language films that have been shown in New York. Played in a subdued manner, it has none of the wild histrionics usually associated with these films, [since] its story is told forcefully and effectively and the direction is strong and sure." William Boehnel + NY World-Telegram p25 S 15 '36 Trade Paper Revieivs "Excellent historical picture produced with German-Italian cooperation ranks with leading pictures of its kind." Film Daily p8 S 15 '36 + Motion Pict Daily p8 O 27 '36 "Vague as the real impression of Napoleon may be with most, this Italian actor's [Corrado Racca] characterization of that historical figure has not been equaled in Anglo-Saxon films. . . The Italian film world can well be proud of it. English titles aid in understanding the film, and the historical significance of the picture should fetch more than merely Italian-speaking trade." + Variety pl7 S 16 '36 OUR BOY. See Vaaran pojke OUR RELATIONS. Roach-MGM 70min O 30 '36 Cast: Stan Laurel. Oliver Hardy. Alan Hale Director: Harry Lachman See issue of September 28, 1936 for other reviews of this film Audience Suitability Ratings 'A: perhaps; Y & C: probably quite amus ing.' Christian Century pl639 D 2 '36 "Mediocre. Mature-family." DAR "[It] offers Laurel and Hardy good opportunity for their special type of humor. Uniformly hilarious, with an occasional lapse from good taste." E Coast Preview Committee Fox W Coast Bui O 24 '36 Newspaper and Magazine Reviews "Laurel and Hardy, like most other specialty comedians, are a matter of individual opinion. If your taste runs in the direction of their brand of zany, this new concoction of slapstick gags will probably have you pretty well in the aisles. Family." Christian Science Monitor pl3 N 21 '36 "The entertainment is complicated . . . and you will be so mixed up by the time the two Hardys (Hardy is the fat one) step off the wharf in the fadeout that you will probably wander about in a daze when you get into the street. In spite of its enormous hilarity, some new gags and our own increasing conviction that this team has a great comic talent, the new picture is not up to two earlier ones these clowns made — 'The Bohemian Girl' and 'The Devil's Brother.' " Marguerite Tazelaar H NY Herald Tribune p24 N 12 '36 "A knock-about comedy in which an acute case of confused identities is permitted to develop into galloping bedlam, it restates most of the old slapstick arguments and offers a few new ones. Although it is fast and undeniably furious, we reached the saturation point when the picture touched the half-way mark. Custard pies can be funny, but only in limited amounts. . . Still, the hearty gentleman at our right enjoyed it. . . We did not begrudge him his belly laughs; we stifled a few ourselves, for Laurel and Hardy are a funny pair; but they should know when to stop — and that is after the third reel." F. S. Nugent ■\ NY Times p55 N 11 '36 "In case you are in search of some good, lusty slapstick that will tickle your funnybone with its knockabout highjinks, then the Rialto ... is the place to visit. . . Indeed, here is a recommended photoplay for low comedy enthusiasts and others who would relish some robust, fundamental comedy as a relief from the more sophisticated, satirical type of fun that the movies have been offering lately. . . Not that 'Our Relations' is a masterpiece of its kind. Far from it. But it is better than just standard goods in the field, and I'll warrant that you'll have a good time at it from beginning to end and that on several occasions you'll laugh your head off at the antics of its two principals." "William Boehnel + NY World-Telegram p27 N 11 '36 "This new Laurel and Hardy comedy is a thoroughly dizzy picture. . . The story is little more than a series of gags. . . The material is handled in the old two-reeler technique, laugh piling upon laugh, with no concession to narrative thread, love interest or other newfangled problems which most modern comedies try to work in. Harry Lachman, a director whose name is not usually associated with farce, masters his idiom as if to the manner born. . . Preview audience tossed their caps in admiration." Molly Lewin -1 Script pll N 28 '36 Trade Paper Reviews "Stan Laurel has done himself proud on his first fling as a producer. So much so that Metro gives him liberal credit as such with this latest try of the Laurel-Hardy comedy combination. Looks like easily their best allround laugh-evoker to date, and a certain bet as a double program strengthener, with the time consumed on screen helping in this respect. It may hold its own alone in localities where the fun combination are favorites." + Variety pl3 N 18 '36 PENNIES FROM HEAVEN. Columbia 90min N 25 '36 Cast: Bing Crosby. Madge Evans. Edith Fellows. Louis Armstrong Director: Norman McLeod Music: Arthur Johnson Music director: George Stoll Based on novel The Peacock Feather by Katharine Leslie Moore. "Bing is a carefree troubadour who tries to save 10-year-old Edith Fellows from being sent to a charity institution, and attempts to raise money by various methods— singing in the street, promoting a roadhouse, and working with a carnival." (Box Office) Audience Suitability Ratings "General patronage." Nat Legion of Decency D 3 '36 "A nicely balanced production with the right proportion of comedy, music and human interest to hold attention throughout. . . Family." + Sel Motion Pict plO D 1 '36 "Family." Wkly Guide N 28 '36 + + Exceptionally Good; + Good; -\ Fair; \ Mediocre; — Poor; Exceptionally Poor