Picturegoer (Jan-Apr 1935)

PICTUREGOER Weekly March 23, 1935 On the Screens Now by Lionel Collier The PICTUREGOER'S quick reference index to films just released •••OF HUMAN BONDAGE •NOW AND FOREVER •••EVELYN PRENTICE •MONEY MEANS NOTHING ••CARAVAN •THAT'S GRATITUDE ••THE KEY LEAVE IT TO BLANCHE •WAKE UP AND DREAM OUANGA What the asterisks mean — An outstanding feature. ••• Very good. ** Good. * Average entertainment. c Also suitable for children. JecM Parker makes an attractive SyPV gifl «« " Caravan." 1ESLIE HOWARD'S claim to a position right in the forefront of the ■ screen's leading men is further strengthened by his performance in Of Human Bondage, a study of a man who is bound by a love which ruins his happiness. He is perhaps the most sensitive artiste in films to-day, as witness his fine characterisation in Berkeley Square, but that he is equally versatile is proved by his acting in The Scarlet Pimpernel. Of Human Bondage also gives Bette Davis a chance to show that she can act a character role as well as be just glamorous. The Cockney accent demanded by her part in the picture may not always be wholly convincing, but generally she manages to suggest the coarse, London waitress she is supposed to be with conviction. •••OF HUMAN BONDAGE Radio. American. "A." Psychological Drama Runs 78 minults. Leslie Howard Philip Carey BcTTE Davis Mildred Francis Dei Sally Kay Johnson Nora RiciNALD Denny Griffiths Alan Hale Miller Reginald Owbn Athelny Reginald Sheftield DunsHeld Desmond Roberts Dr. Jacobs Directed by John Cromwell from Somerset Maugham's novel. Previewed December 1, 1934 There is no actor who could have been more happily chosen for the part of the artist of Somerset Maugham's novel who is chained by love to a woman who is incapable of requiting it, than Leslie Howard. He brings out the sensitivity of the man — he has a club foot which heightens his super-sensitiveness — and also invests him with a most appealing sympathy. As the coarse, coquettish Cockney waitress on whom he lavishes his love and who leaves him only to reappear from time to time to spoil his happines.s, Bette Davis proves that she is not ju.st a "glamour" actress. Hers is a finely characterised performance which is thoroughly convincing and finely detailed. The story is smoothly constructed, although somewhat slowly developed and the main theme of the picture, the helplessness of the man in bondage to a worthless love, is most poignantly brought out. As the woman of his own rank who eventually brings him happiness 26 with the love and sympathy he has always craved, Frances Dee presents a straight, competent ingenue role, while minor parts are well etched in by Reginald Owen, as the artist's eccentric but good-hearted friend, Reginald Denny and Alan Hale. Particularly noteworthy is the way in which the director has subtly suggested the gradual transformation of the artist's love into a loathing for its object and a contempt of himself. It {is a most effective piece of sex psychology. •••EVELYN PRENTICE M.-G.-M. American. "A." Marital drama. Runs 78 minutes. William Powell John Prentice Mvrna Loy Evelyn Prentice Una Merkel Amy Drexel Rosalind Russell Mrs. Harrison Harvey Stephens Lawrence Kennard Isabel Jewell Judith Wilson Edward Bropry Delaney Henry Wadsworth Chester Wylie Cora Sue Collins Dorothy Prentice Jessie Ralph Mrs. Blake Directed by Wiliiam K. Howard from the novel by W. £. Woodward. Previewed February 23, 1935. It is purely on the brilliant acting of Myma Loy and William Powell that I have included this picture in the three-star class. I feel that you cannot help but be thoroughly well entertained by them in spite of the hackneyed and obvious nature of the novelettish story in which they appear; they manage by their exceediikgly well-drawn characterisa tions to cloak the familiar plot's intrinsic artificiality. Myma Loy makes Evelyn, the neglected wife of John Prentice, a lawyer, who thinks she has killed a man who is attempting to blackmail her, vital and sympathetic. As her husband, who defends a woman for the murder of which his wife believes herself guilty and who eventually — Evelyn having made t. confession in court — turns prosecutor and proves that the defendant is the real murderess, William Powell is at his best. He even manages to make the theatrically conceived court scenes convincing and makes the marital love interest sincere and natural. The direction generally is very good, and William K. Howard has made the most of his conventional material. Light relief is provided effectively by Una Merkel as Evelyn's wisecracking friend, while a child interest— dragged in by the heels for the sake of sentiment — is adequately supplied by Cora Sue Collins. ••CARAVAN Fox. American. " U." Musical romance. Rum 102 minutes. Charles Boyer Laai Lobitta Vounc Countess Wilma Jean Parker Tinka Philups Holmes Lieutenant von Tokay Louise Faunda Miss Optix Eugene Pallettb Gipsy Chief Bette Davis gives a finely characterised performance as the Cockney toaitress in "Of Human Bondage." C. Aubrey Smith Baron von Tokay Charles Grapewin Notary Noah Beery Innkeeper Dudley Digges Administrator Richard Carle Major-domo Lionel Belmore Station Master BiLLV Be VAN Police Sergeant Armand Kaliz Captain of Hussars Harry C. Bradley Priest Directed by Erik Charell from a story by Melchior Lengyel, adapted by Samson Raphael son. Previewed Novetnber 17, 1934. Conventional story of an heiress who will inherit a fortune if she marries before she is twenty-one. The picture opens on the eve of her birthday, her uncle having kept the clause of the will secret because he has a son who will benefit. The heiress, to spite her uncle, marries a gypsy \'iolinist out of hand and then proceeds to fall in love with a handsome young lieutenant. Complications and a happy ending. All this is dressed in a lavish manner, but it smacks strongly of the stage and is intrinsically theatrical. Erik Charell has {latently not yet acquired screen technique nor forgotten his theatre. Musical numbers, while tuneful, are overworked and he indulges in definitely stage "curtains." Loretta Young as the heiress has little to do but look attractive, a thing she finds no difficulty in doing. Charles Boyer, who gave such a memorable performance in The Battle, does well as the gypsy, but he is handicapped severely by the script. Phillips Holmes is sound as the dashing young lieutenant, and a strong cast is entrusted with the minor roles, but they have little chance to shine in such overpoweringly lavish surroundings. In spite of its shortcomings, there is much to please the eye in the settings, and the music by Werner Richard Heyman is distinctly tuneful and appealing. ••THE KEY Warner. .4merican. "U." Romantic drams. Runs 83 minutes. Edna Best Norah William Powbix Captain Tennant Colin Clive .Andrew Kerr MakineDoyli Pauline Donald Crisp Conlaa J. M. Kerk'Can O'DuS} Philip Regan Kirbjr Henry 0'Ne:ll Dn Gertrude Short Bamuid Hrr««T Cavanauoh Homer ARrmi-t Tri acher Lieutenant Merriam Ha<j.iwell Hobbes The General Directed by Michael Curtis. Previewti Sovembtr 24. 1934. Sound triangle melodram.t which is played against a background of the Irish troubles of 1920. It is not too convincing, but is rendered entertaining by good acting, bright dialogue and a popular thrill or two. (Continued on page 28)