Picturegoer (Jul-Dec 1937)

PICTUREGOER Weekly REVIEWS by Lionel Collier I HAVE not included Saratoga in the list of releases because it seems to me to come in a section by itself. It is the last picture made by Jean Harlow and it was being produced when that fine artiste was suffering from the illness from which she eventually died, and a substitute had to be employed to complete several vital scenes. In these circumstances one must look at it as a memorial to her and not as a film to be criticised in the ordinary way. This week, in response to numerous requests from readers, we are publishing a sixteen-page supplement on Saratoga and in it you will find all the details of the production and many stills of the star whose screen career was cut short in such a tragic and untimely manner. THE LIFE OF EMILE ZOLA 9 It was inevitable that the sensational Dreyfus spy case should be the most prominent and outstanding feature in any life of Zola and so it is in this instance. The opening, dealing with the famous publicist's and novelist's early struggles, are presented in a telescopic manner, but they do establish, what is a very important point, the fact that all his life Zola had a passion for truth and a will to champion causes of injustice and abuse. Thus we are shown how his early outspoken articles got him into trouble with the censor and how "Nana," the story of a prostitute, laid bare the whole pitiful underworld and, incidentally, brought its author fame and, for the first time in his life, money. From then on Zola grew more and more successful until finally he achieved the honour of being nominated for the French Academy. Both he and his wife felt that now was the time for him to rest on his laurels. But it was not to be so. Dreyfus had been condemned to Devils' Island on a charge of treason which had actually been committed by Major Esterhazy. His widow came as a last resource to Zola with proofs of his innocence which no one would take up for her and the publicist wrote his famous " J 'Accuse " article which indited the Army chiefs and insisted on Dreyfus' innocence. He was taken to court on a libel action which, owing to the influence of the authorities, he lost and was condemned to a year in prison and a fine. Fleeing to England, he continued to write and expose the fact that Esterhazy was guilty, but that his guilt had been denied in order to avoid any semblance of blundering and intrigue on the part of the high army authorities. Finally, when a new regime came into power, he was vindicated for the Dreyfus case was brought up again and the unfortunate man reinstated in his position and honoured. The opening tends to be a little ?4 tedious, but directly the Dreyfus case is introduced the attention is firmly gripped and held right through the magnificently acted and staged court scene to the final curtain. In fact, the picture would be worth seeing if only for that one great scene in which Paul Muni once again proves that he is one of, if not the finest, actor on the screen to-day. His delivery both of his "J'Accuse" article and the speech to the jury are masterpieces of elocution and histrionic force. But while Muni dominates the picture the cast generally gives brilliant support. As Dreyfus, Joseph Schildkraut is extremely good. Incidentally it is of interest to compare his performance with that given by Cedric Hardwicke in the English film Dreyfus, which was a masterly characterisation and, indeed, a picture which dealt with the trial exceptionally well. Gale Sondegaard is good as Dreyfus' wife, as is Gloria Holden as Alexandrine Zola, while the prostitute who inspired "Nana" is ably portrayed by Erin O'Brien Moore. There is a long cast and it must be said that generally the characterisations of the French officers and men of letters such as Anatole France, who appears as Zola's friend, are convincing, as is the atmosphere. Just one thing militates against the latter, and that is the voices of the American children who are introduced. I have found their rather devastating accents crash the atmosphere in most films with a foreign setting in which they appear. William Dieterle's direction is distinctly clever and he has introduced time lapses effectively so that, in spite of the brevity of the introduction, one does get a sense of sustained continuity. Taken as a whole, the picture is one of the most notable of the year and should put Paul Muni well in the running for the Academy award. MADAME X The picture in which Pauline Frederick and Ruth Chatterton both scored big successes has now been made for about the fourth or fifth time with Gladys George in the role of the mother, who, turned out of her home by a stern husband and finally sunk in degradation, shoots a man in order to save her son's name from being besmirched. It is all well done in the best tradition of melodrama with the sentiment laid on with a trowel, but I do feel that it has become a trifle outmoded and too familiar in content to be wildly entertaining. Gladys George tends to be theatrical but Warren William is good as her husband who is too late to make amends for his hasty action in denying his house to his wife. As the son who becomes a barrister and by coincidence defends his mother, without knowing her identity, on the murder charge, John Beal is too fervently emotional to be convincing. Henry Daniell is excellent as the blackmailer who is shot by Madame X and good types of the men who come into her life as she gradually becomes more and more degraded, are presented by Luis Alberni and Adia Kuznetzoff. On the Screens Now * * *FAREWELL AGAIN United Artists. British. "U" certificate. Drama and comedy on board a troopship. Runs 84 minutes. Leslie Banks Colonel Blair Flora Robson Mrs. Blair Sebastian Shaw Captain Reed Patricia Hilliard .Ann Harrison J. H. Roberts Doctor Pearson Eliot Makeham Major Swayle Martita Hunt Mrs. Swayle Leonora Corbett Lady Joan Anthony Bushell Roddy Hammond Robert Newton ... Carter Rene Ray Elsie Robert Cochran Smith Edward Lexy Sergeant Brough Maire O'Neill Mrs. Brough Wally Patch Sergeant-Major Billings Margaret Moffatt Mrs. Billings Gertrude Musgrove Lily Toft Billy Shine Corporal Edrich Alf Goddard Bulger Edie Martin Mrs. Bulger Edmund Willard Withers Phil Ray Moore Janet Burnell Mrs. Moore Jerry Verno Judd John Laurie McAllister Directed by Tim Whelan, from an original story by Wolfgang Wilhetm. Previewed May 22, 1937. Story of the film by Marjory Williams appeared in our issue of June 12, 1937. Originally called Troopship — a much better designation, to my mind — this picture gives a crosssectional view of the lives of the men and women on a troopship returning from Gibraltar which suddenly receives orders to proceed to the Near East, where trouble is brewing. The comedies, romances, and dramas that enter into the lives of officers and men owing to this unexpected order are brilliantly etched in and form as human a picture as I have seen for a considerable time. The film also seeks to show what service to one's country really means, and it does it without a single false note of sentiment or any blatant flag-wagging. Leslie Banks gives an outstanding performance as Colonel Blair, whose wife is dying of an incurable disease, and to whom the order to sail means a poignant and final parting. It is a finely sensitive piece of acting. As his lady, Flora Robson, too, is brilliant. She strikes exactly the right note of pathos. Sebastian Shaw is extremely good as a captain and acting adjutant who is engaged to a girl in England, but who falls in love with a nurse on board. The two women are well characterised by Leonora Corbett and Patricia Hilliard. As a bluff sergeant-major, Wally Patch is in his element, while Edward Lexy is amusing as a sergeant whose wife — contrary to military order and discipline — has a child during the trip. Maire O'Neill is delightful as the wife. Other clever cameo studies are given by Robert Newton as a jealous orderly, who comes near to murdering his girl friend, played by Rene Ray ; Billy Shine as an amorous corporal; Robert Cochran as a wealthy youth whom scandal has forced to seek refuge in the ranks; and Alf Goddard as a very muchmarried trooper who is tracked down by his neglected spouse. The camera work is excellent and the atmosphere particularly convincing. The scenes where trouble occurs amongst the men, because their leave is being cut down to six hours, at Southampton, are noticeably well handled. Tim Whelan deserves credit for his polished direction, and Erich Pommer for his imaginative production work. November 6, 1937 ***I MET HIM IN PARIS Paramount. American. "A" certificate. Romantic comedy. Runs 85 minutes. Claudette Colbert Kay Denham Melvyn Doughs •"<*vj»k t Robert Young . n s Mona Barrie Helen Anuers Lee Bowman berk Sutter George Davis Sleigh Driver Fritz Field Hotel Clerk Alexander Cross riadley Rudolph Amendt Romantic Waiter Directed by Wesley Ruggles, based on a story by Helen Weinardi. Previewed June 26, 1937. Story freely based on the film by Marjory Williams appeared in our issue of July 17, 1937 Although slight in plot, this romantic comedy is full of original touches and strikes a really human note beneath all its fooling. The dialogue is exceedingly bright. I'm inclined to award the acting honours to Melvyn Douglas, who is first-rate as a cynical playwright who falls in love with Kay, an American dress designer, in Paris. When she is persuaded by a novelist to go with him to Switzerland, the playwright goes, too, because he knows his rival is married. All sorts of complications arise, including the novelist's wife and . Kay's fianc6 from America, but finally Kay makes her choice, which 1 think you will igree is a wise one. Claudette Colbert is delightful as Kay, and Robert Young is in great form as the philandering novelist. Swiss backgrounds are picturesque and afford scope for comedy on skisi, and out on the rink, as well as an outstanding thrill on a toboggan run. **THE OUTCASTS OF POKER FLAT Radio. American. "A" certificate. Gold Rush melodrama. Runs 67 minutes. Preston Foster Oakhurst Jean Muir Helen Van Heflin Rev. Samuel Woods Virginia Weidler Luck Margaret Irving The Duchess Frank M. Thomas Bedford Si Jenks Kentuck Dick Elliot Stumpy Al St. John Uncle Billv Bradley Page Sonoma Richard Lane High-Grade Monte Blue Indian Jim Billy Gilbert Charley Dudley Clements Wilkes Directed by Christy Cabanne, from a story by Bret HarU. Bret Harte's story, which gives a colourful picture of the goldrush days of the nineteenth century in the Middle West, has been quite well pictured. It is not pretentious, but is human and sincere in its depiction of the period. Preston Foster is virile as a professional gambler who adopts a baby as a lucky mascot, but is eventually driven from the town by the Vigilantes, and, in spite of the devotion of a young schoolmistress, decides to take the easiest way out to spare her trouble. Jean Muir is attractive and convincing as the schoolmistress, and Virginia Weidler scores a personal success as the adopted child. ♦♦MARKED WOMAN First National. American. "A" certificate. Racheteer drama. Runs 96 minuter Bette Davis Mary Humphrey Bogart David Graham Isabel Jewell Emmy Lou Eduardo Ciannelli Johnny Vanning Rosalind Marquis Florrie Lola Lane Gabby Jane Bryan Betty Mayo Methot I -wile John Litel Gordon Ben Weldcn Charlie Damian O'Flynn Ralph Krawford Henry O'Neill Sheldon Allen Jenkins Loue Raymond Hatton Lawyer at Jail Carlos San Martin Head Waiter William B. Davidson Crandall Kenneth Harlan Eddie Robert Strange George Beler James Robbins Bell Captain Arthur Aylesworth Mr. Truble John Sheehan Vincent Sam \\ki s Mac Edwin Stanley t Ferguson Alan Davis Henchman Allen Matthews Henchman Guy Usher Detective Directed bv Lloyd Bacon. (Ccnttnufd on page 26)