Picture Play Magazine (Mar-Jul 1929)

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104 , , „_ A Confidential Guide to Current Releases Continued from page 67 * Purports to show the corrupting influ "Dream of Love" — Metro-Goldwyn. Elaborate, overdressed story of myth ence of white men among the islanders Monte Blue is capable in the lead, and Raquel Torres makes the native girl, "Fayaway," vital, naive and charming. FOR SECOND CHOICE "Case of Lena Smith, The"— Paramount. Esther Ralston splendid as tragic heroine of "the biography of a woman," an artistic success for the minority. Story of an humble mother's frantic struggle to keep her child despite humiliation and persecution, and her eventual sacrifice, of him to his country. James Hall and Fred Kohler. "River, The" — Fox. Romantic, poetic and slow picture of siren's untiring effort to win an innocent country boy, who doesn't know what it's all about. Magnificent backgrounds of forest and stream and best acting of Charles Farrell's career. Mary Duncan unusual as persevering siren finally sublimated by love. "Prep and Pep" — Fox. Amusing, engaging picture on the order of "The High-school Hero," with a number of delightful young people and the background of a military training school. Must be seen to be appreciated. David Rollins, Frank Albertson, John Darrow, and Nancy Drexel. "Last Warning, The" — Universal. Distinguished production of mystery thriller; unusual story, but only fairly interesting, because slow. Actor-manager mysteriously murdered on stage; theater reopened five years later with same play in hope guilty man will betray himself; he does. Laura La Plante, John Boles, Roy d'Arcy, Montagu Love, Bert Roach, Margaret Livingston, and others. "Romance of the Underworld" — Fox. Ordinary crook story embellished with shrewd, ironic touches and carried along by admirable acting, especially Robert Elliott as nonchalant detective who befriends girl of underworld. Married to rich man ignorant of her past, she is blackmailed by former partner until detective extricates her. Mary Astor, Ben Bard, and John Boles. "Rescue, The"— United Artists. Brilliantly produced version of Joseph Conrad novel does not make brilliantly successful picture, though extreme intelligence characterizes whole. Story of English adventurer in South Seas, who falls in love with wife of another, his mental struggle and their final parting. Picturesque backgrounds, unmistakable literary quality, but not interesting. Ronald Colman and Lily Damita. "Captain Swagger" — Pathe. Trivial, but rather charming because of Rod La Rocque's debonair elegance and Sue Carol's delicious femininity. Story of gentleman adventurer who holds up automobile, thereby rescuing girl from villain, and their subsequent romance. "West of Zanzibar" — Metro-Goldwyn. Not as interesting as usually expected of Lon Chaney, but unusual atmosphere and voodooism of jungle natives helpful. An ivory trader plans elaborate revenge through supposed daughter of enemy, only to discover that girl is his own, and sacrifices his life to save hers. Mary Nolan, Lionel Barrymore, and Warner Baxter. ical kingdom, with important cast. Crown prince falls in love with gypsy, who later becomes great actress after he has cast her aside. Rest of story given over to court intrigues and efforts of prince to win girl back. Nils Asther, Joan Crawford, Aileen Pringle, Carmel Myers, Warner Oland, and Harry Myers "Synthetic Sin" — First National. Rather amusing version of Colleen Moore's usual Cinderella theme. Prankish girl, failing as actress, leaves home for Broadway to experience life and "sin," subsequent adventures with crooks, and rescue by man who marries her. Antonio Moreno, Montagu Love, Kathryn McGuire, and Edythe Chapman. "Lady of Chance, A"— Metro-Goldwyn. Elegant lady crook marries man, supposing him rich and expecting to fleece him. But he is poor, so she falls in love with him, confesses, is sent to jail, but is paroled at request of husband. Amusing moments, but pretty trite stuff. Norma Shearer, John Mack Brown, Lowell Sherman, Gwen Lee, and the invaluable Polly Moran. "Masks of the Devil"— Metro-Goldwyn. John Gilbert at his best as pseudo-villain whose handsome face conceals hideous soul, thus making profligacy attractive and easy to accomplish. He betrays his best friend in fascinating the friend's promised bride, but retribution comes when he sees in a mirror a reflection of himself as he really is. Unhappy ending, but glamorous picture. Eva von Berne, Alma Rubens, Ralph Forbes, Theodore Roberts, and Ethel Wales capital. "Three Week=ends" — Paramount. Lively, amusing story, typical of Clara Bow, as a chorus girl who eludes the traps of a rich man, to fall in love with a youth she supposed to be rich. On learning the truth she indignantly repulses him, only to swing a big business deal that brings him back to her. Miss Bow delightful, Neil Hamilton and Harrison Ford deftly amusing. "Home=coming" — Paramount. Somber German picture, with foreign cast, but decidedly meritorious because of fine acting and distinguished direction. Two soldier comrades are separated, one thinking the other dead. He goes to the latter's wife and, against his will, falls in love, return of the husband bringing about striking, unusually intelligent climax. Lars Hanson, Gustav Froelich, and Dita Parlo. "Woman of Affairs, A" — MetroGoldwyn. Elaborate picturization of Michael Arlen's "The Green Hat," skillfully equivocating censorable incidents and achieving moderate interest. Story of a promiscuous heroine, her flagrant affairs, and the one true love of her life — another version of "Camille." Greta Garbo finely effective, John Gilbert sacrificed to her; Douglas Fairbanks, Jr., Lewis Stone, Hobart Bosworth, Dorothy Sebastian, and John Mack Brown support them. "Wind, _ The"'— Metro-Goldwyn. Lillian Gish in somber drama of devastating effects of climate on character, morale. Innocent Virginia girl goes to Texas cyclone belt to visit cousin's ranch, only to be swept into sinister and tragic undertow. Not a film for those in need of cheer, but superbly acted, intelligent picture for serious minority. Lars Hanson, Montagu Love, Dorothy Cumming, Edward Earle. "Home-towners, The" — Warner. Continuous dialogue, expertly delivered by Richard Bennett, Robert McWade, and Gladys Brockwell, with interruptions by Doris Kenyon and Robert Edeson, tells laughable story of small-town man who tries to break up romance of rich, city friend and fails. Fine performances, many laughs, but story weak. "Woman Disputed, The" — United Artists. Elaborately produced story of a streetwalker who, reformed by love during the war, i-s asked to give herself to a Russian officer as his price for sparing the lives of her Austrian countrymen. She does so with saintly reluctance, and a whole army kneels to her in gratitude. Fairly entertaining, but silly. Norma Talmadge, Gilbert Roland, and Arnold Kent. "On Trial" — Warner. Heavy melodrama of a husband accused of murdering his man friend, and his justification shown by means of cut-backs, though he is saved from conviction by a last-minute courtroom confession. Entirely in dialogue, some of it very good, the picture is entertaining without being anything to rave over. Pauline Frederick, in subordinate role, Bert Lytell, Lois Wilson, Jason Robards, Richard Tucker, Johnny Arthur, and an appealing child, Vondell Darr. "Excess Baggage" — Metro-Goldwyn. William Haines at his best, in a role which demands more than jolly tomfoolery. The story of a small-time juggler, whose wife goes into the movies. Capital performances also by Josephine Dunn, Ricardo Cortez, and Neely Edwards. "Our Dancing Daughters" — MetroGoldwyn. Fluffy, lively tale of that imaginary wildness of the younger set, but safely mid-Victorian withal. Joan Crawford, John Mack Brown, Dorothy Sebastian, Nils Asther, Edward Nugent, and Anita Page, the hit of the show. "Terror, The" — Warner Brothers. A mystery movie, entirely in dialogue. Is too slow to make the most of thrilling situations and a murder plot. Louise Fazenda has an unusual role. The rest, all of whom have lots to talk about, are : May McAvoy, Edward Everett Horton, Alec Francis, Mathew Betz, Holmes Herbert, John Miljan, Otto Hoffman, Joseph Girard, and Frank Austin. "Lilac Time"— First National. A little bit of everything you've seen in all the other war pictures, but done on a big scale, with sound effects and an effective airplane sequence. Colleen Moore's capers dominate the first part and her emotional acting the second, so you can take your choice. Gary Cooper. RECOMMENDED — WITH RESERVATIONS "Show Folks" — Pathe. Backstage vaudeville life a la mode, reminiscent of "Excess Baggage" and similar pictures. A hoofer trains girl to team with him, but when she succeeds he becomes jealous and fires her. His Broadway debut a failure, she leaves her rehearsal and joins him to make Continued on page 119