We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Ill
An honest appraisal of new films and performances.
By Norbert Lusk
"S. O. S. Iceberg."
Rod La Rocque, Leni
Riefenstahl, G i b so ri
i lowland, Krnst Udct.
Director: Tay Garnett.
ARCTIC scenery of /~\ unparalleled beauty is the strongest feature of this unusual adventure film. Though romantic interest is almost entirely absent and the acting is nothing to get excited about, I found the picture more than ordinarily interesting because of the strangeness of the Far North and the magnificent camera work which records it. Unforgetable scenes include Major
Ernst I'det. the German aviator, piloting his rescue plane over endless crags of ice, the pursuit of a man by a polar bear through icy waters and the towering, menacing icebergs, while every lover of dogs will respond to the handsome, almost human animals in this picture.
'I he story is simple and concerns an expedition to the North to discover the remains of a dead explorer and the eventual rescue of the party by plane. The characters are not especially interesting, but the picture is unusual despite this deficiency.
"I Loved a Woman."
Edward G. I Kay Francis, Genevieve Tobin, Robert
Barrat, Murray Kinnell. Director: Alfred !•'.. Green.
A perfect reproduction of life in the '90s which surpasses in authenticity of spirit and detail anything previously seen on the screen, fails to atone for stodginess.
Edward G. Robinson, Kay Franci fail to strengthen "I
The most magnificent arctic scenes ever photographed are the strongest feature of "S. O. S. Iceberg."
It proves again that settings and costumes give no strength to a weak, faltering picture. Nor even do they help favorite actors to achieve interesting characterizations. It's genuinely a pit} here. Edward G. Robinson fails remotely to suggest the idealistic hero, son of a Chicago meat packer with no heart for the business until he meets a prima donna who inspires him to become a captain of industry. Though he makes fifty millions by selling embalmed beef to the government during the Spanish-American War, Mr. Robinson doesn't convince as a profiteer. Nor does he rouse pity when both his opera singer and his wife fail him. This hesitation on the part of Mr. Robinson forces me to admit that he is miscast. Kay Francis also gives an unstimulating performance, which indeed is sadly admitted, though she has never looked lovelier, and she wears the furbelows of the period with a captivating grace and ease untouched by any other actress. Genevieve Tobin, as the wife, fares better and her performance consequently gains. Hers actually is the best of the principals and lesser roles are splendidly accounted for.
"Berkeley Square." Leslie Howard, 1 leather Angel, Valerie Taylor, Irene Browne, Beryl Mercer, Colin Keith-Johnston, Betty Lawford, Juliette Compton. Director: Frank Lloyd.
Delicacy rather than dynamics is here for those who prefer a charming, imaginative picture to a sturdier one. And there an many who do, especially with Leslie Howard in a role he played with uncommon distinction on
s, and a marvelous production Loved a Woman."