The New Movie Magazine (Jan-Sep 1935)

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I — Powdered Saxolite — i I Reduces wrinkles and other age-sign3. Sim I I ply dissolve one ounce Saxolite in half-pint I | witch hazel and use daily as face lotion. | ^Madison en*QMiE JltiJUarefict f Jjistindioiv 37 MADISON AVE. new ydrk FACINB MADIJGN HJUARE PARK A DESIGN FOR event mode of LIVING 1 50 TRANSIENT PERMANENT double/ HOUSEKEEPING NQN-HOUJEKEEPINO -unfurnbhecL QUircWMAPOFCITY on request DIRECTION OF L MARSH/ILL THOMPSON On-the-Set Reviews "Let my father tell his story in his own way I" 'Don't yell at me or I'll slap your mouth!" Grady comes back. And right there Fields breaks loose and, taking off the Wild Bull of the Pampas, lays Grady low with a floral piece draped around his neck! Clyde Bruckman, the official director, being A.O.A.O.F. (absent on account of flu), Fields and Sam Hardy stepped into the breach and handled the direction with a modicum of difficulty and lots of fun. PETER IIIfllETSO.V • PARAMOUNT If you haven't seen the play, then most of you must surely have read • George Du Maurier's immortal classic in book form. Gary Cooper as Peter plays the young English architect who tosses a readymade fortune overboard in favor of a career. Meeting Ann Harding when he is called to her home on a job, Gary discovers that they are childhood sweethearts who, in the old days, called each other "Mimsy" and "Gogo." And without saying a word about it, they fall deeply in love. Misunderstanding their affection Ann's husband jealously confronts them with a gun, and to prevent a double murder, Gary unintentionally promotes a single one by hurling a lamp at Mister Halliday, causing his death. Beaten unmercifully by prison guards, Gary is near death when, as in a dream, Ann comes to him. As she leans over him he tells her that he is dying. "No, Peter," she whispers, "you're not going to die." "I'm dying — and I'm glad. I can't live — here. . . ." Ann leans closer. "Listen to me . . . listen! You're free — you're free, Peter—" " — Free?" he stares at her. "You mean . . . the king has freed me?" "No. / have!" she smiles at him and says slowly, "We — are — going — to escape!" "You're mad!" he speaks desperately. "There are chains . . . and bars . . . and walls!" "Take my hand!" she pulls him to his feet. "The key! Where is it?" "The key is in my brain — unlocking yours — " As Gary reaches the end of the chain that holds him, the shackles fall soundlessly to the floor. "Chains, are there?" Ann exults. They go through the barred door exactly as though it weren't there. "Bars, are there?" In the corridor she turns to him. "No, my love, and there are no walls!" To assure him of always being able to get in touch with her, Ann gives him a distinctive ring and when, on the point of death, Gary rallies and calls for it, it mysteriously comes to him. When quite old he suddenly fails to contact her. She vanishes, with the promise that they will meet in the hereafter. A flash to her quarters reveals that she has really died. And almost simultaneously, Peter too dies in his cell at the prison. It's a tricky subject, but with Henry (Continued from page 57) Hathaway at the directorial helm we feel certain that the presentation will reach its mark with the right amount of sincerity. THE RETURN OF PETER GRIMM 9 RKO In the past our movie moguls have scowled on the idea of spirit return, but, with the advent of "The Scoundrel," wherein Noel Coward (and we've torn up all our old love letters since getting a peek at that guy!) comes back from a watery grave to find one soul who will mourn his passing, producers have been grabbing every story that even smacks of "hants." Naturally this famous old Belasco play heads the list. Lionel Barrymore, as Peter, argues with his friend, Edward Ellis, that spiritualism is bunk, pure and simple. Interested in psychic phenomena, Ellis tries to make a bargain with Peter that the one who dies first shall try and communicate with the other, but Peter scoffs at the idea. Helen Mack, Peter's adopted daughter, is deeply in love with James Bush, but thinking it is for her own good, Peter insists upon her marriage to his nephew, Allen Vincent, who has previously "done in" the cook's daughter and left her illegitimate child, George Breakstone, in Peter's care (unknown to Peter, of course). On his death-bed Peter exacts Helen's promise that she will marry the nasty nephew and, satisfied that he's done the right thing, Peter does a Little Eva into the Great Beyond. But no sooner has he landed on the other side than he discovers what a sculldugger Vincent is. Frantically he tries to make his presence known and undo the great wrong against his beloved Helen ... no one will recognize his super-imposed presence. No one but his faithful old dog, Toby. As usual poor Georgie Breakstone is destined to a short life and, as he is slowly succumbing to heart trouble, the kid receives Peter's short-wave message to the effect that Vincent is the child's father and will he please do something about it? Shown up for what he is, Vincent nevertheless goes ahead with his scoundrelly plans to sell the old homestead. But after opening the family Bible to the spot where he indicated that all his property was to go to Helen and her husband, whoever he might be, Peter leads Georgie and old Toby to a choice spot on a silverlined cloud. And all's well that ends well. Director George Nichols, Jr., regretted that Mister Barrymore would rather not have visitors on the set, so, trying to look as if we didn't care, we climbed into our car and scuttled back to Paramount. THE LAST OUTPOST • PARAMOUNT Director Charles Barton has practically promised that this F. Britten Austin story will be another "Bengal Lancer"; and we practically promise to slip arsenic in his morning coffee if he's fooling us! Intelligence officer in the African jungles, Claude Rains rescues Cary Grant from a band of unintelligent Turks (African Turks) who are all set to kill him to pieces. Back in the base hospital Cary falls in love with his nurse, Gertrude Michael, who sadly reports that she is married to a man she hasn't seen in three years. And when she gets home from work that night, who d'you suppose is waiting for her but her missing husband, Claude Rains, no less! She's so dazed that Rains helps her into the living-room and seats her on the divan. "Tell me you're better," he begs. "Then I can stop reproaching myself." Gertrude sits upright with an effort. "I'm sorry," she says dully. "Where have you brought me?" "Home. . . ." "Home? I don't understand — " "This is our house . . ." his eyes worship her, ". . . that I got for you before I'd let myself see you; the house where we're going to forget we've been apart!" "But . . . but. . . ." "I've got to leave, my darling! Leave! Six whole, ecstatic months of it!" He fixes his eyes on her. "Do you know what Hell is? Do you? ... It isn't a place where you sit on red fire while devils torture you! It isn't being cold, or starving, or afraid; or dying from want of water. It isn't watching death creep up a mountain side. It isn't any of these things! . . . It's just being without you." So fearing for Cary's safety should Rains find out the state of affairs, Gertrude goes to the man she loves and tells him it's all over and he mustn't do anything about it. Walking home she is hit and killed by an automobile and when her dying words are for Cary, Rains swears vendetta and gets himself assigned to the Soudan (sort of biting off his nose to spite his face, or something). Beating off a native attack Cary is seriously injured and, seeing his chance, Rains goes away from there, leaving Cary to die on the desert. Out of the hereafter ("The Scoundrel" certainly started something!) his wife begs him to go back and rescue the doomed man. So, back he trots and the final scene shows the two men sharing water together as the regiment dashes to their rescue! Ta-aa-a-aaa-a . . . ! THE GIRL FRIEND • COLUMBIA Roger Pryor and Ann Sothern aren't real sweethearts any more but they manage to give a swell imitation in this musical "funny," written by Gene Towne and Graham Baker, those two old maestros of the typewriter. In rejecting a musical satire on Napoleon, producer Thurston Hall accidentally sticks the wrong manuscript into the return envelope. Enclosed there is an invitation from the author of the wrong manuscript inviting the producer to spend a week or two at the farm in order to discuss another play. Pryor has written the satire and when he gets Hall's rejection containing the invitation, he and his two down-and-out buddies decide to impersonate the producer so as to have a place to eat and sleep until they can think up something else. Of course, the author of the note (Jack Haley) has a beautiful sister who is a sight for Roger's sore eyes until she starts insisting that the pseudo-producer get down to facts and let them in on the 5S The New Movie Magazine, September, 1935