Photoplay (Jul - Dec 1936)

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The Shadow Stage [ CONTINUED FROM PAGE 55 ] SING ME A LOVE SONG— Warners DUILT on a story you've seen often before "-^but injected with pleasant fun, this will amuse you for an evening. James Melton is heir to a nearly bankrupt department store, becomes a music clerk in it, falls in love 'with Patricia Ellis, and sings a lot. Music is tuneful and "That's the Least You Can Do for a Lady" and "The Little House That Love Built" are swell. Hugh Herbert is grand. You'll probably like it. THE MAN I MARRY— Universal I IGHT, frothy, witty but overhung at times Lwith unnecessary baggage, this story of a girl who runs away from marriage into the arms of a grouchy young playwright, Michael Whalen, is highlighted with the antics of Chic Sale, Cliff Edwards and Skeets Gallagher. Marjorie Gateson is lovely and helpful. Doris Nolan, a newcomer, promises to be screen material. Gay. THE MAN WHO CHANGED HIS MIND— G-B IN a picture which is neither entertaining nor 'educational, Boris Karloff again plays a fanatical scientist. This time he's obsessed by the sinister potentialities of the transference of human brain power from one person to another. Naturally he uses this power for his own frenzied ends. Karloff is heavy, Anna Lee blondly unreal as his assistant, and only Frank Cellier who is splendid as Karloff's millionaire backer is worth seeing. Better stay away. WEDDING PRESENT— Paramount A NOTHER victim of the lunacy epidemic ' Mn pictures is this daffy farce of two gagloving reporters, Joan Bennett and Cary Grant, who clown their way out of love but, with the aid of gangster William Demarest, practical joke their way to marriage. George Bancroft goes mildly mad while Gene Lockhart and Conrad Nagel add to the confusion. Plain goofy. ROSE BOWL — Paramount MITTING just about the middle of the foot' 'ball season, this pleasant little picture about grid heroes and their loves passes back and forth between a Midwest University campus and Pasadena's famous Stadium, gains romantic yardage in the love scenes between Eleanor Whitney and Tom Brown, and really goes for a touchdown with the swell comedy antics of Benny Baker. Maybe not the best, but it's gay and youthful. EMPTY SADDLES— Universal THIS superior type Western, with favorite ' cowboy Buck Jones, will please those who like plenty of fast action and shooting. The picturesque scenery and enjoyable love story add greatly to the film's success. Buck, a wandering cowboy of means, buys a cattle ranch and turns it into a dude ranch. The old feud between cattlemen and sheepmen furnish the plot excitement. * THE CHARGE OF THE LIGHT BRIGADE— Warners This review was received just as we went to press, hence its position in the back of the book. But Photoplay herewith endorses it as the most exciting picture of the season. D ESTRAIXED and without sentimentality, ^but filled with all the pageantry of empire, uniforms and marching columns. Errol Flynn's second starring picture is a magnificent tribute to nobility and courage. Evolved from Tennyson's epic poem, it carries power and imaginative romance into every sequence. The story, a sincere and beautifully constructed portrayal of British army life in India under the reign of Queen Victoria, is built mainly on the circumstance of intrigue between one Surat Khan Emir of Tribal regions and the empire. Flynn, handsome captain of the 27th brigade, leads his courageous men through dangerous attacks on many missions and is betrothed to entrancing Olivia de Havilland, daughter of the commandant. Against her will, however, she falls in love with Patric Knowles, Flynn's brother, who suggests they tell Errol and make sure of their own happiness. Meantime the brigade is ordered to maneuvers, while Flynn and Olivia remain behind and the Emir attacks. Even though the two escape, Surat Khan massacres the garrison with its women and children, originating in the brigade a desire for vengeance which culminates in the famous charge. Flynn justifies every hope of his studio and his public, portraying simply the heroic soldier. He brings the qualities of virility and reserve to his screen shadow. Patric Knowles, offered a substantial role, is so excellent you will automatically grant his star rating. And against the thankless portion allotted her, Olivia de Havilland throws the weight of her charm and superior acting ability. This could well be the best picture of the year, combining colorful adventure, the fervor of genuine patriotism, unremitting action and the tenderness of a beautiful love story. It holds everything a modern audience could wish for superb entertainment. If you value motion pictures as progressive art and as an excuse for sheer pleasure, see this. LUCKIEST GIRL IN THE WORLD— Universal This is an amusing little romantic story, cleanly adept in humor and well paced. Socialite Jane Wyatt and British Louis Hayward bring to their first starring roles a refreshing sense of youth and great charm. Mi>> Wyatt is castas a millionaire's daughter who wants to marry a tennis player and live on his salary of $150 a month. Her father offers his blessing if she will live on that sum in New York for thirty days, and thenceforth the picture is concerned with her tribulations in a small flat, her gay love affair with Louis Hayward who believes she is really poor, and with her struggles to elude Nat Pendleton, a uard her father has hired. Hayward, always a good actor, displays an unsuspected ability in this, and Mi-> Wyatt's capable work will delight and amuse you. A well dressed cast, including Eugene Pallette, add to the general gaiety. You'll be immensely entertained.