Picture-Play Magazine (Jan - Jun 1930)

A Confidential Guide To Current Releases Continued from page 63 FOR SECOND CHOICE. "Kiss, The" — Metro-Goldwyn. Silent. Commonplace story made glamorous by Greta Garbo, beautifully produced and directed. It is about Irene, married to a business man, but in love with another, Conrad Nagel. Lew Ayres is the youth who thinks he is the other man, Anders Randolf the husband. "Romance of Rio Grande" — Fox. All dialogue. Warner Baxter in glamorous but not gripping story, yet capably acted. Has earmarks of old-time Western, in railroad-building yarn. And there's Mona Maris, besides Mary Duncan and Antonio Moreno. "Love Parade, The" — Paramount. Dialogue, singing. Maurice Chevalier's second film, story of long-drawn-out duel of the sexes, a romance in song. Music not quite haunting, but bright touches in narrative, in spite of much repetition of main note in love scale. Jeanette MacDonald, Lupino Lane, Lillian Roth. "Condemned" — United Artists. All dialogue. A convict's lark on Devil's Island, with Ronald Colman as prisoner loved by Ann Harding, as the warden's wife. Meant to be melodrama, and has tense moments, if taken seriously. Principals excellent. Louis Wolheim, Noah Beery. "Seven Faces" — Fox. All dialogue. Paul Muni's versatility as character actor exploited by playing septet of characters. Grease paint smothers inspiration found in "The Valiant." Aged caretaker of museum dreams his wax figures come to life. Marguerite Churchill warmly natural. Russell Gleason. "Footlights and Fools"— First National. All dialogue. Colleen Moore surprises with musical-comedy film with unhappy ending, in role of French singer whose love affairs and marriage become so difficult she heartbrokenly steps aside from the whole business. Fredric March, Raymond Hackett fine support. "Saturday Night Kid, The" — Paramount. All dialogue. Clara Bow gives expressive, at times moving, study of ups and downs of shopgirl who is buffeted around from boss to unstable beau and to a sneaking sister. James Hall her "fella," Jean Arthur the sister. "Paris Bound" — Pathe. All dialogue. Wife who fears she is losing husband's love finely played by Ann Harding, in screen debut. Praiseworthy picture. Leslie Fenton is Miss Harding's disappointed suitor, Fredric March the husband. Pretty turns and twists, good acting. "Why Bring That Up?"— Paramount. All dialogue. Moran and Mack bring their lazy nonsense to the screen in a fairly good back-stage story, in which Evelyn Brent is gold-digging menace. Finely recorded, full of laughs. "Big News" — Pathe. All dialogue. Story of reporter accused of murdering editor, but real criminal is exposed. Good until dictaphone is introduced. Robert Armstrong, Sam Hardy, Carol Lombard in fine characterizations. "Marianne" — Metro-Goldwyn. All song and dialogue. 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