Picture Play Magazine (Jul - Dec 1929)

90 Continued from page 67 The action shifts to Nicaragua, where Panama, on discovering that liliuor loves Lefty and not himself, refuses to go to the rescue of his rival s doomed plane, though he is one of the greatest flyers. Of course lie relents in the nick of time, spectacular airplane flights follow, and he conquers his jealousy in acknowledging the love of Lefty and Elinor. The picture is ambitious in its scope and much of it is impressive, hut the two men, though theatrically effective, are not exactly calculated to qualify as one's favorite realists. Life As It Isn't. All the king's horses and all the king's men, meaning the Metro-Goldwyn studio, haven't been able to inject into "Our Modern Maidens" ingredients as strong as those which made "Our Dancing Daughters" a popular success. And, as if to delude themselves, they call it a sequel, without, apparently, looking up the meaning of the word in the dictionary. But the only relation the later film bears to the earlier one is the presence of Joan Crawford and Anita Page in the cast and the fact that Miss Page again gives the outstanding performance, though it includes nothing so sensational as her plunge down a flight of stairs. However, the picture deals with young people in the throes of sex, the backgrounds are incredibly luxurious, there's much dancing and petting — all without dialogue, a further handicap. Miss Crawford, the star, is Billie, daughter of B. Bickering Brown, a motor magnate as rich as Croesus. In love with Gil, she defers announcement of their engagement until she can vamp Rod La Rocque, as Glenn Abbott, a very youthful diplomat, out of an emhassy post for the still more youthful Gil. Thus Miss Crawford, as a very modern maiden, resorts to' an expedient as ancient as a Sardou heroine. In cajoling Glenn, she receives a kiss which brings to the surface a great show of Victorian prudery and strengthens my distaste for this sort of picture, because the "Modern Maidens" aren't good sports. They flaunt their independence, hut when a man takes advantage of it they bridle and shudder like old maid schoolmarms. Meanwhile Miss Page, as Kentucky, an ingenue, pursues Gil until she too is caught in what used to be called an indiscretion and there's a great lot of moping. Finally a big, ostentatious wedding unites Miss Crawford and Mr. Fairbanks, but Miss Page is late in appearing as maid of honor hecause she has been visiting an ohstetrician ! After the Tke Screen in ReViev? ceremony Miss Crawford decides nobly that she won't take Gil away from Kentucky, so there's a lot of hocus-pocus about being so modern a bride that she prefers to honeymoon alone. Suddenly she is seen in a foreign setting, whence Mr. La Rocque comes from nowhere to offer her further insults — and is joyfully welcomed. Just as the picture probably will be by thoughtless young people of all ages. Besides the players already mentioned, the cast comprises Eddie Nugent, Josephine Dunn, and Albert Gran. There's Many a Slip. Curiously "Womantrap" fails in effectiveness, though it has much at the outset to insure a successful picture. For one thing, such players as Evelyn Brent, Chester Morris, and Hal Skelly who, if you saw him in "The Dance of Life," must rank with your favorites. Yet even he is not altogether at his best, nor is Miss Brent, though Mr. Morris approaches his performance in "Alibi." Their combined efforts yield a fairly good story of a detective who discovers that the murderer he has come to arrest is his own brother. Good situation though this is, it is approached in such a confused manner that the spectator doesn't quite "get" the intent of the proceedings. For a time mother love is dominant, then fraternal devotion is uppermost, and later the evils of the liquor traffic are denounced. Even the role played by Evelyn Brent, usually the most direct of actresses, is a sort of halfand-half mixture of heroine and villainess. To this day I can't recall which was which, except that she was awfully cutting in some of her remarks. Leslie Fenton has a small role, as usual, and — also — as usual is outstanding. A Smooth Farce. If your familiarity with the movies goes back eight years you will remember "The Hottentot," a farce played by Douglas MacLean and Madge Bellamy. And if you are interested in still more biographical data, perhaps it will mean something to know that Willie Collier, stepfather of Buster, originated the role of Sam Harrington in the stage version. The third incarnation of the piece is now on view by means of the audible screen, and I believe it is the best of all. Certainly the role of the timid man who hates horses and is forced by the girl he loves to ride the fiery "Hottentot," has never been played more adroitly than by Edward Everett Horton. His knowledge of the implications of the spoken word holds a lesson for younger and less experienced players. That is, those who have time between trips to Europe and week-ends at their beach houses to take heed. Nor is Patsy Ruth Miller far behind Mr. Horton as the girl who loves horses and insists that Sam is " the gentleman jockey of her dreams. The picture is tastefully produced, with many clever touches of direction and photography to drive home the farcical intent, and Douglas Gerrard is highly effective as a knowing butler, while the late Gladys Brockwell is sadly visible. A Girl Detective. "The Girl From Havana" is just one of those things, but it contrives to be lightly entertaining*. This is because it doesn't take itself too seriously, though it is all about jewel thieves and a girl detective who finds herself falling in love with one of them. Surely you recognize the formula. However, much of the action takes place on shipboard during a voyage through the Panama Canal, with authentic views of Havana as well, and this feature of the entertainment considerably enhances the value of the film. It begins with a rather novel jewel robbery in a big shop, with Kenneth Thomson and Natalie Moorhead as swell crooks apparently in collusion with Paul Page, as a clerk. The three embark on the Havana-bound steamer, with Warren Hymer, as a roughneck thug who supplies comic relief. Masquerading as a member of a theatrical troupe, Lola Lane joins the passengers for the purpose of gaining the confidence of the thieves. Of course she succeeds, for apparently there never exists on the screen a crook minus a strain of stupidity. Suddenly it develops that Paul Page isn't a confederate at all, but a noble youth bent on avenging the murder of his father. Talk about dramatic construction ! However, as most people don't give a hoot about the niceties of plotting just so long as movies open an avenue of escape from realities, who am I to say that "The Girl From Havana" doesn't fulfill its mission ? But why the harsh, unpleasant voices I cannot say. But perhaps that doesn't matter, either. Get the Hook. Amateur talent has its fling in "Why Leave Home?" a new version of "Cradle Snatchers," with dialogue and music. The result is innocuous comedy from which the rowdy humor of the original has been extracted. Who can tell why? As the piece now stands, it is a feeble story of three college boys hired by as many middleContinued on page 98