Picturegoer (Jan-Jun 1938)

1CTUREG0ER Weekly REVIEWS by Lionel Collier THE TOAST OF NEW YORK EDWARD ARNOLD seems destined to portray those "heroes" of American history who ' 'if stripped of their glamour" stand revealed as big scale financial crooks. In this picture he appears as Jim Fisk who starting as a pedlar, made a fortune in cotton during the Civil War, became more and more ambitious as he grew more successful and finally ruined himself trying to corner gold. The romantic part of the story is his love for a chorus girl on whom he lavished money and eventually married. In the end a man he had ruined shoots him which allows for a happy future for his wife who had married him. not for love but out of sheer gratitude for, all he had done for her. In spite of the familiarity of the situations it is very good entertainment, excellently staged and generally well acted. Its big drawback is that it runs to length and would benefit considerably by quite drastic cutting. Edward Arnold gives a strong character study of the pedlar who pitted his wits against such giants of the period as Cornelius Vanderbilt and was beaten. His slick business transactions are put over amusingly and there is real drama in his efforts to defy the Government and corner gold. As his partner Nick Boyd, who falls in love with his friend's wife, Cary Grant is quite good but apt to be somewhat stilted Frances Farmer registers a real hit as the chorus girl for whom Jim Fisk puts on a big musical show. She has sincerity and a nice understanding of the psychology of the role of a girl who is accepting everything and giving nothing in return until she sacrifices her love to marry her benefactor Donald Meek is excellent as a sanctimonious humbug who is bluffed into taking Fisk into partnership and Jack Oakie provides good human comedy as another of Fisk's partners. SCHOOL FOR HUSBANDS • A witty and piquant comedy adapted from the play by Frederick Jackson and produced by Richard Wainwright. It does not break away to any great extent from stage traditions but the dialogue is amusing, the situations well timed and the acting good Rex Harrison, who is one of the best bets for the coming year, gives a polished and intelligent portrayal of a philandering novelist who specialises in other men's wives. He thoroughly upsets the domestic bliss of two households but in the end leaves the respective heads of the families wiser in the matter of retaining the love of their wives. A well balanced and provocative study is given by Diana Churchill as Marion Carter whose husband, quite well played by Henry Kendall, is inclined to take her for granted. 22 The other husband is Romney Brent and once again he provides a very human and natural characterisation. His wife is played by June Clyde who provides an excellent contrast to Diana Churchill. She is depicted as somewhat scatter-brained and ready to elope with almost anyone to escape the humdrum existence she leads with her husband. The picture is well set and the action is brisk. As a whole it is one of the best British comedies we have had for some time. WELLS FARGO # In attempting to depict the growth of methods of transportation in America from the early gold rush days to the coming of the telegraph, this picture fails to grip the imagination. It is all too vague and drawn out to hold the attention and it is difficult to fathom where and whence the road transport founded by Wells Fargo is going Characterisation is good but when all is said and done the picture resolves itself into a sort of elaborated Western but lacking the necessary punch for that type of entertainment. Joel McCrea is virile and romantic as the hero who carries out the transport plans devised by the express company and Frances Dee makes an attractive heroine. She marries him against her mother's wishes and during the Civil War is unwittingly responsible for the attempted ambushing by Confederates, of a wagon of gold being conducted by her husband, she and her mother both being enthusiastic supporters of the South. Her husband's best friend is killed during the raid and this leads to a separation between husband and wife. Later, when peace is declared, a reconciliation is effected by the daughter. As the man who is killed Bob Burns is very good and whilst still retaining his own individual style of comedy manages to give also a sound piece of characterisation. Two business crooks are excellently played by Porter Hall and Lloyd Nolan while Henry O'Neill is dignified and sincere as Wells, one of the founders of the express company which, starting with post horses gradually develops the pony express and waggon trails to the remote parts of America where pioneers are opening up new ground. The settings are picturesque and the production planned on a lavish scale. THE RETURN OF THE SCARLET PIMPERNEL 0 There is something sadly lacking in this sequel to The Scarlet Pimpernel. It fails in its efforts both to thrill and surprise and one cannot believe wholeheartedly in the characters. It is a pity that the original screen Sir Percy, Leslie Howard, was not available to appear in the lead; his characterisation might have done much towards pulling the somewhat diffuse and scattered threads of the story together. The plot deals with Chauvelin's attempts to trap Sir Percy by kidnapping his wife, transporting her to Paris and having her condemned to death. He succeeds in this but Sir Percy, by subtly inflaming the people against Robespierre whose orgy of killing has become nauseating, outwits him and is able to save both his own and his wife's life. Barry Barnes is not well cast as Sir Percy ; he fails to convince as the fop and somehow seems rather out of period as the adventurer. He is not given a great deal of help by the situations he is called upon to appear in nor by the extravagance of his disguises which call mostly for a nose which even Tom Kennedy could tell you was false. Sophie Stewart has quiet charm as his wife and Margaretta Scott is good as an actress whom Chauvelin used to trap the former. Francis Lister hardly suggests the cunning and oleaginous Chauvelin; he is too bluff and obvious. Hugh Miller who plays a small role as Robespierre's secretary would have been much more in character. Actually, the best scenes in the picture are those of the guillotine and the old hags knitting which appeared in the fore-runner to this picture. On the Screens Now •♦•EASY LIVING Paramount. American" A" certificate. Sophisticated farce. Runs 88 minutes. Jean Arthur Mary Smith Edward Arnold f. B. Ball Ray Milland John Ball, jun. Luis Alberni Louis Louis Mary Nash Mrs. Ball Franklin Pangborn Van Buren Barlowe Borland Mr. Gurney William Demarest Wallace Whistling Andrew Tombes E. F. Hulgar Esther Dale ..Lillian Harlan Briggs Office Manager William B. Davidson Mr. Hyde Nora Cecil Miss Swerf Robert Greig Butler Directed by Mitchell Leisen. Based on a story by Vera Casparry. Previewed August 21, 1937. Story freely based on the film by Marjory Williams appeared in our issue of October 2, 1937. One of the most hilarious and brightly entertaining pictures of the year. It is a combination of sophistication and slapstick, put over with a wealth of clever dialogue and exceedingly good characterisation. The plot shows how an improvident woman journalist gets mistaken for the mistress of an exceedingly rich banker. Complications pile up and the banker's home is nearly broken up before the girl realises what is happening. Romance between the banker's son, who has left home, and the journalist proves the solution of a very piquant mix-up. Jean Arthur gives a notable performance as the girl in the case, and Edward Arnold throws himself into a purely comedy role with as much enthusiasm and success as he puts into his more dramatic interpretations. Ray Milland is very good as the son, but one of the hits of the show is Luis Alberni's impersonation of an excitable and scheming hotel proprietor. Although there is quite a lot of slapstick action, it is kept credible by an ever present human touch. •••A STAR IS BORN United Artists. American. "A" certificate. Bach stage drama. Runs 111 minutes. Janet Gaynor. Esther Blodgett, Vicki Lester Fredric March Norman Maine Adolphe Menjou Oliver Niles May Robson Lettie Andy Devine Danny McGuire Lionel Stander Libby Elizabeth Jenns Anita Regis Edgar Kennedy Pop Randall Owen Moore Casey Burke J. C. Nugent Theodore Smythe Clara Blandick Aunt Mattie A. W. Sweatt Esther's brother Peggy Wood Miss Phillips Adrian Rosely Harris January 15, 1938 Arthur Hoyt Ward Guinn Williams Posture Coach Vince Barnett Otto Friedl Paul Stanton Academy Awards Speaker Franklin Pangborn Billy Moon Directed by William A. WeUman, from a story by the director and Robert Carson. Previewed September 25, 1937. Story freelv based on the film by Marjory Williams appeared in our issue of October 30, 1937 An exceedingly good inside story of Hollywood life which should not be tak • too literally, although basically it contains the true heartbreak and tragedy behind the glamour of the film capital. Director William A. Wellman has given the story — which if too closely analysed is definitely novelettish — conviction and human appeal. His detail work is excellent and his technique polished and fluent. Janet Gaynor is definitely goodas a little country girl who comes to the film capital, catches the eye of a famous screen actor and is made a star overnight. Up to this point the treatment is light, but, on the marriage of the star and his protegee, tragedy is introduced. The new find soon outshines her husband, who had led hitherto a debauched life, and he finds himself sinking into a secondary position. Finally, this riles him and he takes to drink again. The remainder of the plot is taken up with the efforts of his devoted wife to help him and his own gradual slide into degradation and final oblivion. Adolphe Menjou is excellent as a producer with a heart of (almost incredible) gold, and Lionel Stander is brilliant as a publicity man with no heart at all. There are several satirical touches and the minor roles are all well filled. The settings are varied and include many of Hollywood's more famous stellar resorts. ••THE HIT PARADE British Lion. American "U" certificate. Musical comedy. Runs 78 minutes. Frances Langford Ruth Allison Phil Regan ..Pete Garland Louise Henry Monica Barrett Pert Kelton Eadie White Edward Brophy Mulrooney Max Terhune Rusty Callahan Inez Courtney Tillie Monroe Owsley Teddy Leeds Pierre Watkin J. B. Hawley J. Farrell MacDonald... Sergeant O'Hara William Demarest Parole Officer George Givot Herman and Carl Hoff and the Hit Parade Orchestra, Duke Ellington and His Baud with Ivie Anderson, Eddy Duchin and His Orchestra, Molasses "n" January, Oscar and Elmer, Tic Toe Girls. Directed by Gus Meins. Light entertainment of a very varied character is introduced in this picture, which has the centre of America's radio entertainment as a background. The star, Frances Langford, is a real discovery and not only sings well, but acts with conviction as an ex-convict who is built up into a radio star. Phil Regan is youthful and personable as a talent scout who discovers her and Louise Henry scores as a vindictive star. Max Terhune is a clever mimic and ventriloquist and registers full marks in a leading comedy role. Presentation is good and, as a whole, the production is a sound example of screen musicals. ••SUNSET IN VIENNA Gen. F. D. British. " V" certificate. Romantic war-time drama. Runs 72 minutes. Tullio Carminati Toni Lilli Palmer Gelda John Garrick Adolph Geraldine Hislop Wanda Davina Craig Deaf Lady Hubert Harben Austrian General Edgar Driver Toni's Batman Alice O'Day Maddalena Eileen Munko Superintendent of V.A.D. Directed by Norman Walker, from a story by Florence Tranter. (Continued on page 24)