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Taking
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Larry Reid's Slant
II I I C LI For an underworld picture of a familiar pattern, n U O rl "Hush Money" is surprisingly good entertainki/^\wipw ment. This may be traced to the fact that you •▼■v^l^'tp/ see practically no murder done, and are spared all but the briefest scenes of prison life. Or, again, it may be traced to the excellent performance -of Joan Bennett — easily the best she has given to date. The story deals with the trad tional innocent young thing who finally discovers that her companions are crooks, tries to get away from them, and is blackmailed. Except for Hardie Albright as leading man, the entire cast — which includes Myrna Loy and Owen Moore — does wonders with the well-worn plot and dialogue. And one scene — in which the inspector tips off the gangster — packs a real punch.
FIVE
Marion Davies deserts comedy for Fannie Hurst melodrama, and the result is not
AMP) TFKI na^ so entertaining as tr>e usual Davies /xML-' I CM picture. This is chiefly the fault of the story. Stripped of Fannie Hurst 's literary style, it is revealed as one of the oldest plots in existence. The big business man is too busy with his investments (a chain system, in this case) to pay much attention to his family. His wife amuses herself with a gigolo, his daughter falls in love with a sophisticated architect, his son takes up with the servants — and all three get into such trouble that father finally sees the light. The excellent cast includes Irene Rich and Richard Bennett (father of Connie and Joan), but only Marion and the always-capable Leslie Howard rise above their material.
k| ir mt Here is a picture to keep you on the edge of ^ n ' your seat from the first scene to the fade-out. Kl I I P Q P Here is something new. Here is the tense M U l\ J l drama of life and death, set in a natural stage — a huge hospital. The chief character is a nurse, trapped in a net of intrigue on her first private case — and so cleverly is the picture put together that you seem to see events through her eyes. Barbara Stanwyck carves a niche for herself among the movie great in the role of the nurse. Ben Lyon is the hero — a good-natured bootlegger. And just for good measure, Clark Gable — who is beginning to rouse women as Valentino once did — is the "heavy" of the piece. What if it does have a tendency to be melodramatic? It also has suspense and some intense acting. Don 't you dare miss it!
P O I I T I C Q With political scandals flowing ■ ^ *" ' ' ' ^ •? over the front pages in a steady stream, the newest Dressler-Moran comedy-drama is timely. Moreover, it suggests an amusing remedy for municipal corruption. Embattled suffragettes is what they are this time, with Marie leading a revolt of women voters against the politicians and racketeers who rule their fair city. Needless to say, the men all bow to warlike Marie, who gets results by persuading housewives to strike until conditions are bettered. She is as amusing as ever, but many will miss the little moments of heartache that Mane can portray so aptly. Polly clowns satisfactorily, though her new teeth change her appearance. The romance — supplied by Karen Morley and William Bakewell — is cleverly managed.