Picture-Play Magazine (Sep 1928 - Feb 1929)

V 68 The Screen in ReViev? "Alias Jimmy Valentine." "Dry Martini But Mr. Ralli makes his own individuality more important than the amusing composite he portrays. See ''Show People" yourself. This is a time when a review of it should be accompanied by an apology for trying to do " it justice. An Audible Cross-examination. As might be gleaned from the title, 'On philanderer, who had reappeared in the life of Strickland's wife, and had sought to take advantage of an early indiscretion of hers. It requires little or no prophetic instinct to know, as the story is unreeled, that Robert Strickland will be acquitted. If this had been one of the earliest talking pictures it would have been a riotous success. It is decidedly routine now, recalling a stock company performance more than anything else. But even so, it reveals voices new to the fans, some of them extremely effective. Pauline Frederick, though starred, has the subordinate role of the widow. The part is neither dominant nor colorful enough for her debut in this medium. Nor is she photographed well. Her voice is sepulchral l'ather than vibrant, as it is on the stage, and is therefore disappointing. Bert Lytell, as Strickland, is adequate, and Lois Wilson, who is becoming quite a pioneer in the talkies, is distinct and pleasing. Richard Tucker, Jason Robards, and Edmund Breese are excellent, together with Johnny Arthur ; and a child, V ondell Darr, strikes a pathetic note that is quite moving. Look Out, Look Out for Jimmy Valentine! Another triumph for William Haines ! This is certainly Billy's big month, and "Alias Jimmy Valentine" is another entertaining picture. There can't be enough of them. No matter how many silver linings this critic may discover, there seems always to be a dark cloud of mediocrity hanging over the majority of films. But enough of drear maunderings. "Alias Jimmy Valentine" is bright with thrills and laughter and a rattling good dialogue sequence which, properly enough, starts as the dramatic climax begins to take form, and is at its best in the big scene of Jimmy Valentine's life. Though fairly familiar by now, this episode has lost none of its old-time punch. As you may remember, it occurs when the notorious Jimmy V alentinc, reformed and about to wed, fights off triumphantly the efforts of the detective to break down his alibi, and then tosses aside his claim to innocence by employing his skill to open the safe in which a child is smothering to death. This is sure-fire melodrama and very effective. With William' Haines the star, comedy is uppermost. In fact, the entire picture is played for laughs until the safe-cracking episode. This absolves it from the charge of being just another crook film, and lifts it to heights it never would have succeeded in reaching had it dealt seriously with what is Trial" is a courtroom melodrama. What is more important, is that it is played entirely in Vitaphone dialogue, and last but not least, from the fans' standpoint, it brings Pauline Frederick back to the screen after a long absence. All this is entertaining, without being distinguished or artistic. But it is significant of the rapid march to perfection that talking pictures are taking. On the stage, many years ago, "On Trial" was revolutionary, because it borrowed the cut-back from the movies. As each witness took the stand his testimony was visualized by shifting the action to the scene he described. Thus the audience saw the events leading up to and following the murder of Gerald Trask. The same method is used in the screen version, but the novelty comes from another source — the. spoken dialogue. It has the \ steady interest of a cross-examination, as well as the excitement of the melodramatic incidents which caused the trial of Robert Strickland for the murder of his friend, Trask, a crime which he has freely confessed. The flashbacks reveal that Gerald Trask was a The Cop; 'Varsity."