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The Talkies
On The Latest Films
This is the picture Clara Bow T |_| r C C f D C T was just starting when she suf ' ^ '
fered the nervous breakdown that ^ a i I
ended in her parting with Para ^"
mount. Her place was taken by Peggy Shannon, who now is being ballyhooed as "the greatest find of the year." The reason for all the enthusiasm is not apparent in her first screen effort. The new star is a personable young lad}', more attractive than most, and immensely likable — but "The Secret Call" hardly gives her a chance to show great talent. The story — unintentionally amusing at times — revolves around a telephone operator, who overhears a call that gives her a chance to get even with the man who ruined her father. Richard Arlen, co-starred, also has small chance to glitter.
Again we have that ancient T|_|C fi^kylKjlOkJ poser: "When a lady kisses, ■ nL V-WlVIIViV-HN
should she tell?" And again we A\X/
have Constance Bennett as the *" **
lady with the slightly-soiled past. It is now a familiar role with Connie, so familiar that she can play it effortlessly, almost mechanically. And, moreover, does. As usual, the background is sophisticated. As usual, Connie is so glamourous that you get the distinct impression that her original indiscretion would have been all right if she hadn't been so indiscreet as to tell about it. However, to make things harder to believe than usual, the young man who objects to girlswith-pasts is an artist. Joel McCrea plays this role so sincerely that it's obvious he's on his way to bigger things.
Norman Taurog, who directed "Skippy," kl r w/ i y took a Sinclair Lewis satire of Hollywood, ' ^ t W L / called in three talented youngsters and two D I f |_l
capable comediennes, and mixed them well. I\ I V. PI
The resultant cinema cocktail is called "Newly Rich." Mitzi Green and Jackie Searl play the parts of two obnoxious child stars of the movies, whose mothers — Edna May Oliver and Louise Fazenda — spend most of their time battling over the kiddies. Toward the end, the fighting shifts to London, where each has taken her offspring to meet a child king (Bruce Line). The sequence where the three little idols escape and find out how other youngsters live is the high spot of the picture. The rest of the fun, particularly the farcical version of Hollywood, verges on slapstick.
William (Stage) Boyd is to escape being typed as a "hard guy" and is
MURDER BY
to be built into a star. "Murder by Tijr /" i f-\ f 1/ the Clock" is the picture that starts I PI C ^ L \^ V_ l\
him on his way. But behind the intriguing title lurks only a pale thriller. A cold-blooded, avaricious woman persuades her husband to murder his aunt for her money, and then induces her artist-lover to do away with her husband. The suspense of the picture lies in wondering if she will eventually be trapped. Boyd, of course, plays the detective and does it capably enough. But Lilyan Tashman, in the thankless role of the sinister wife, walks away with the individual honors. (Wonder when they'll begin to build Lilyan into a star?) You'll be surprised to see Sally O'Neil as the comedy relief.