The New Movie Magazine (Jan-Sep 1935)

PROTECT CUTS, SCRAPES AND LITTLE HURTS WITH WIN $25.00 Another S25.00 cash award will be given this month for the best letter, in the opinion of the judges, telling "Why I like NEW-SKIN." Send your letter with an empty NEW-SKIN carton or facsimile before September 5th, 1935 to Dept. A., Newskin Company, 882 Third Avenue, Brooklyn, N. Y. A case for carrying NEW-SKIN in hand-bag or vest pocket will be sent each contestant. ^ NEW-SKIN is sold at Druggists and Chain Stores— 15c. HUSH FOR BODY ODORS AT l[| STORES^^ 1 PAST 30? This should be— CAN be — the age of your most alluring charm. Few women have been really fascinat1*tmr £ ing before 30. Let us show you — FREE of cost— how over a MILLION WOMEN keep their youthful charm. To show you how they keep the skin and tissues of the face and neck firm and smooth. To show you how they keep that rich flush of youthful color and refreshed clearness of skin.) To show you how they remove and keep out age and worry lines and blemishes. A week's sincere use of BONCILLA BEAUTIFIER that does more, much more than you expect any cosmetic to do, will show a happv surprise to you and your friends. BONCILLA BEAUTIFIER is used In 52 countries. Used daily in the famous Bond Street Beauty Shops of LONDON that serve Royalty and the Nobility, and by Andrelys' Famous Salon in PARIS, and many others. Sold in tubes at toilet counters. Send name and full address with this offer to BONCILLA, INC., INDIANAPOLIS, IND., for one tube FREE to prove this to yourself. FACE POWDER Vft jiness for iiourJitmmerlime (omple. 'exion . Purse Size at all ^/Xf \ r'.W.WGDLWOKTHJrt«£.r | I IT •* . ■ Hleqular Size I 1 I I ONE DOLLAR. XV/ \ 'jfeV'" 3^ Jj0U-Ulfa*\_5OO-5THAVE.NYC. Your Curtains can now be made Spot and Rain Proof as well as Dust Resisting with KERTEN PROOF Make them beautiful and more lasting. Send 25 cents for a trial package enough for six pairs EASY TO USE HOLYOKE SALES PRODUCTS CO 380 High St. Holyoke, Mass. On-the-Set Reviews ANNAPOLIS The versatile di I AltlWIII reCtor. Al Hall. shakes the atmosPARAMOUNT phere of "How'm I Doin'?" from his shoulders and proves his capacity for producing bona fide pathos as well, in this Stephen Morehouse Avery story of a retired naval commander who lives in the era of the exciting days when he commanded the old Concord, during the Spanish War. Tom Brown is probably the only midshipman at the Academy who will listen to the old man (Guy Standing), who tries to instill some of the famous traditions of the navy into the boy. We stood by while they shot the scene where Tom and Standing meet for the first time. It is the interior of the midshipman's favorite hang-out, an ice cream parlor. The boys are arguing about this and that when Standing shuffles in. Jumping to his feet Tom salutes. Standing is obviously pleased. "Carry on, gentlemen," he says kindly. Then, to Tom: "What's your name, young man?" "Morton Haley, sir." "Haley, eh? There is a Haley in the upper class — " "My brother, Duncan, sir." "Well . . . I'm glad to know you, Haley. Your brother and I have had some very pleasant visits together." "Yes, Commander, he has told me about them." He glances side-wise at Dick Cromwell. "I'm glad you dropped in just now, sir. We were having a little argument I'm sure you can settle." Standing clears his throat. "M-mm-m . . . well, if it's something I know about — I'm always glad to be of service — " "It's about Manila Bay, sir." And with that Standing is off in a cloud of vivid memories, to the ill-concealed annoyance of the others. Awakening one morning during graduation week the old man sees his old ship in the harbor and is so elated that he has a rowboat take him out to it. Going to his old cabin he lies down for a nap and sleeps through until morning. He awakes to find the old ship being bombarded from all sides and, not realizing that the old hull is being used for target practice, believes he is once again in a major naval engagement and goes about the business of commanding imaginary officers and men until the ship is scuttled. Louise Beavers (of "Imitation of Life" fame) plays Standing's sympathetic housekeeper and cook. "From 0 to 99, they were JALNA a hardy group of bickering, • nagging, warring egotists — RKO fighting but adoring, loving but betraying, and forged inseparably together by bonds stronger than steel — the blood-tempered bonds of — JALNA." So begins this Mazo de la Roche novel of life on an old and rambling estate in the farm lands of southern Ontario, Canada, that holds members of three generations of the Whiteoaks family. Gran (Jessie Ralph) ninety-nine year old matriarch of the clan, and wife of the first owner, imagines that she still rules. Living with her are her two unmarried sons, both over seventy, and six grandchildren. Ian Hunter is the oldest grandchild and the real head of Jalna; Peggy Wood, the only girl, and older than Ian, manages the house; Theodore Newton is the farmer of the family; David Manners is {Continued from page 59) a poet, and not bad either; George Offerman, Jr., is an adolescent ugly duckling of the family and the butt for their humor; and the youngest, a spoiled youngster of nine, is Clifford Severn. Meeting Kay Johnson in the city where he has gone to peddle his book of poems, Manners falls for the girl, marries her and brings her back to the old homestead, where the rest of the family proceed to go for her in a big way. They aren't so tickled, however, when Newton comes home dragging a new bride, Molly Lamont, wild daughter of a reprobate neighbor. Miss Wood is particularly furious, because the reason for her wrecked romance is this very harumscarum child, who, eighteen years before, had been found on Nigel Bruce's doorstep with a note to the effect that he (Peggy's fiance at the time) was the child's father. Just about the time that Kay and Ian discover their love for one another, David, laid up with a broken leg, is making passes at Molly, who likes the idea no end. Newton, discovering his wife's infidelity, chases the chiseling David right over a convenient cliff, thereby clearing the way for Ian and Kay, even as John Cromwell, Kay's very own husband, watches and directs the shenanigans! BROADWAY JOE • WARNERS Maybe Lois Leeson wrote "Burlesque," too, but if she didn't, we must say that her story so parallels the other that we could almost see Hal Skelly's ghost standing in the wings, watching wistfully while Joe E. Brown clowned through the role that made Hal famous. Hoofer and comic in a small-time burlesque road show, Joe and his wife Ann Dvorak are happy but ambitious. Into their design for living romps Patricia Ellis, a madcap heiress, tired of it all and looking for anything in the way of a new thrill. Joining up with the show, Pat does her stuff, such as it is, and all might still have been well if Bill Gargan, advance man for a Broadway musical show, hadn't conceived the smart idea of teaming the clown and the heiress, and for a salary that even we couldn't have turned down ! Standing in the wings, Ann sees her husband heading for what looks like a triple somersault over the hoity-toity Ellis gal and rather than be left holding Joe's baggy pants, she sadly returns to her old spot in the road show. Joe really is off the deep end, too, and writes Ann a letter, telling her that he's sorry-but there it is-and-what-are-yougonna-do-about-it? Five minutes after he's dropped it in the mail box, what does he run into but "love in bloom" with Pat and Bill doing the cooing! If you saw "Burlesque." then you know how it ends; and if you didn't, well — Director Busby Berkeley joins me (unbeknown to himself) in leering: "Wait and find out — Ya — aa-a-aaa-ah!" Improbable and impractical as this tale may be, still it's a new twist and should be good for a lot of those laughs that have been out of circulation since before the depression. OLD MAN RHYTHM • RKO Because his son, Buddy Rogers, seems to be going hay-wire hand in hand with the wrong girl, George Barbier joins up with the freshman class of the college where son Buddy has got along as far as the sophomore half! Furthermore, Poppa has a nice little girl (Barbara Kent) who agrees with him that Buddy could do much better for himself if he'd direct his romantic gestures in her direction and toss Grace Bradley, the erstwhile object of his affections, to the campus lions. What time Barbier can take off from pushing peanuts with his nose, he applies to making life a quartet for Grace and Buddy by dragging the willing Barbara and crashing every one of the love boids' two-somes. The scene is in Ye College Sweete Shoppe, and Poppa, with Barbara in tow, has just run interference on another rendezvous. Spotting Grace, who is about to leave the joint in a huff, Buddy runs over to stop her. "Marian!" Grace stops. "I'm terribly sorry I was late, dear, but — " "I know," Grace retorts. "You were helping your father with his home work!" "Well, uh ... as a matter of fact, that's exactly what I was doing!" "All right," impatiently, "if you've got all the chores done, let's get out of here!" But, before they can move, George and Barbara dash up. "Hello, Marian," says Barbier. And then, to Buddy, "That reminds me . . . Marian phoned that she was tired of waiting for you!" He chuckles and turns to Barbara. "I'm getting as careless as the other college kids!" Grace is getting pretty perturbed. "Come on, Johnny," she says. "Let's take that ride. . . ." "A ride, eh?" George beams. "Swell — swell! Come on, Edith!" Grace and Buddy exchange helpless glances as George continues, "Just the four of us, eh? One big, happy family." "Of panthers!" Grace murmurs as they start for the door. So, by hooke and crooke (darn that sweete shoppe!) Poppa discourages the gold-digging Grace, and the thing winds up as we knew it would, with Buddy and Barbara gazing soulfully at each other and Barbier gloating in the background. Lewis Gensler, Sig Herzig and Don Hartman must have had a lot of fun throwing the story together, and we know for sure that Edward Ludwig had a grand time directing it. MAD LOVE M-G-M If you've missed Peter Lorre up 'til now, let this be a lesson to you, because we'd missed him, too, and not until we walked on the set did we realize what comes of temporary hibernation. Lorre plays a famous surgeon, brilliant to the point of being almost mentally unbalanced, and it is in his office that Colin Give sits, waiting for his mutilated hands to be unbandaged. Perhaps we should tell you that prior to this Clive, who had been a worldfamous pianist, has lost his hands in a train wreck and, while still unconscious, Lorre has performed the amazing feat of grafting the hands of a guillotined murderer, a knife-thrower, onto Clive's wrists. 60 The New Movie Magazine, September, 1935