Photoplay (Jan-Jun 1938)

BEST PERFORMANCES OF THE MONTH Claudette Colbert in "Tovarich" Charles Boyer in "Tovarich" Carole Lombard in "Nothing Sacred" Fred Astaire in "Damsel in Distress" Lily Pons in "Hitting a New High" Frances Dee in "Wells Fargo" Joel McCrea in "Wells Fargo" • SNOW WHITE AND THE SEVEN DWARFS— Disney-RKO-Radio I I ERE. truly, is something absolutely new in the ' ' amusement world. That Walt Disney is a genius in fantasy and drawing needs no restatement here, but in "Snow White and the Seven Dwarfs" he has attempted his most ambitious achievement and succeeds as marvelously as he has in the past with Mickey Mouse and Donald Duck and all the Silly Symphonies. This is the first time that he has turned his great gift to the depiction of human characters. He gives us here Snow White, The Prince and the Queen Witch. ' He is still greatest when he deals with animals and dwarfs, yet never once does the happy make-believe mood of this seven-reel production fail to beguile you. Disney has been working on this film for three years. Mechanically it has many innovations. There is in it the first use of the multiplane camera, which gives the picture a third-dimensional quality unknown to films before. The color reproduction couldn't be lovelier and the symphonic score is truly distinguished. That story is very brief, the usual fairy-tale setup of beauty under a spell, the enamored prince and the wicked villainess. Disney has brought forth spectacular scenes like that of Snow White's frightful trip through the woods when she is pursued by weird growing images, and other Dhenomenal transformations. Go see "Snow White and the Seven Divarfs." Enchanting is the word for it. IWM ■ MHPMMI * TOVARICH— Warners * "NOTHING SACRED"— Selznick-United Artists * THE GOLDWYN FOLLIES— Goldwyn-U. A. DRILLIANTLY devised from the famous play, and ^ with many additions from the inventive Hollywood mind, this combines the suavest sort of dramatic story with comedy in the new padded-cell school. Claudette Colbert and Charles Boyer, appreciative of each other's talents and superbly matched, create together the characters of basically simple design, despite the direction of Anatole Litvak who often is inclined to the rococo. With a leisurely beginning but without a perceptible flaw, there is unrolled an incident in the lives of two happily married White Russians of royal birth, who now after the Revolution live in the poverty of a Paris garret. Boyer, the husband, is custodian of some forty billion francs entrusted to him by the Tsar, but idealistically saves the fortune. He and Claudette, to be able to eat, hire out as butler and maid to a wild family. Then ensues a merry and highly amusing interlude when the employer, a loony banker, his gabby wife and two youthful offspring all fall variously in love with the two new domestics. In the end both drama and buffoonery are climaxed at a dinner party at which Boyer and Miss Colbert are recognized by guests, and a Soviet Commissar makes a desperate plea for the imperial millions. Melville Cooper impresses solidly and Isabel Jeans does fine work. Basil Rathbone is morbid, with polish, as the Commissar. You must see it. A IDED by color, an extremely smart Ben Hecht ** script and the competent direction of William Wellman, Carole Lombard and Fredric March have turned in a wild comedy drama that for this reviewer tops "My Man Godfrey." It may seem unbelievable to say that a plot featuring Carole and Fred punching each other on the chin has a delicate theme, but it really has. Seriously dramatized, the plot might be grim indeed: but, satirized, it is packed with irrepressible laughter, novelty and strange tenderness. Unable to diagnose accurately Carole's temporary ailment, Doctor Charles Winninger tells the press she has incurable radium poisoning. Fredric March, a reporter temporarily in the "doghouse," promises his editor to develop the situation into the season's biggest sob story. Playing the benefactor, he brings Carole and the doctor to New York for a round of gay parties to tempt tears, public sympathy and increased circulation. Then he finds himself in love with the girl. When she plans a fake disappearance to end it all she merely pours rich oil on the comedy. Miss Lombard is at her most scintillating and her darkened hair becomes her. March has not been so delightfully cast since "The Royal Family." Winninger and Walter Connolly contribute much to the picture's importance and the wrestling match, the Frank Fay tableaux honoring heroines of history and the Sultan's dinner are brilliant nonsense. It's among the ranking laugh-films of all time. N( |OW comes "The Goldwyn Follies" to set a new high in cinematic, satirical extravaganza. Long known as the dream of sponsor Samuel Goldwyn. it now reaches you as a show within a show — a distinguished tapestry of beauty, color and comedy. Exquisite settings, gay situations share footage and appeal with the talents of an exceptional cast. The story has to do with Hollywood's original "no" girl (Andrea Leeds), and a producer whom nobody "noes" (Adolphe Menjou). Andi'ea Leeds has the picture's biggest role. She plays the youngster who dares to criticize Menjou's production, is overheard by him, and is suddenly vaulted to the position of his chief friend and mentor. Through her pertinent observations, she enables Menjou to produce a successful show. Romance reaches its peak when Andrea falls in love — not with Menjou, but with a hotdog salesman. Menjou, as the producer, is polished and perfect. Miss Leeds takes another big step towards certain stardom. Goldwyn's showmanship has further glorified his "Follies" by bringing to you, from the Metropolitan, Helen Jepson. Balanchine's American ballet, so beautiful in Technicolor, dances the famed Water Nymph Ballet sequence with Vera Zorina as premiere danseuse. Phil Baker races the Ritz Brothers for comedy honors to the tune of Charlie McCarthy's deadly sallies, the songs of radio's Ella Logan and Kenny Baker, and the poignant Gershwin music. A production you will never forget. 55