Picture Play Magazine (Mar-Jul 1929)

Advertising Section 119 A Confidential Guide to Current Releases Continued from page 104 his act a success. Mildly interesting, with little suspense and poor dialogue sequences. Eddie Quillan, Lina Basquette, and Robert Armstrong. "Manhattan Cocktail" — Paramount. This is warranted nonalcoholic. There isn't a kick in it, but it is pleasant to take because "of Richard Arlen, Nancy Carroll, Paul Lukas and Lilyan Tashman. The machinations of a hateful theatrical producer to get a young fellow out of the way, so that producer may have a free rein with young fellow's girl, a chorine. "Napoleon's Barber" — Fox. A solemn talking picture, mercifully short. An antiroyalist barber vows he would slit Napoleon's throat if he were shaving him. Napoleon, on one of his marches, pauses for a shave anl confesses his identity, whereupon the barber is transformed into a cringing coward. Much, much talk. Otto Matiesen, Frank Reicher, Helen Ware, Philippe de Lacy. "Some One to Love" — Paramount. An heiress to twenty millions suspects that her poor sweetheart is a fortune hunter, so he proves his worth as a business man by putting a languishing girls' school on its feet, and the two make up. Innocuous, kindergarten stuff. Charles Rogers, Mary Brian, William Austin, and Jack Oakie. "Power"— Pathe. William Boyd in another roughneck role, this time working on the construction of a dam. He and his pal are fleeced by an adventuress, but show lively interest in the next girl who comes along. A feeble excuse for wise-cracking. Alan Hale is, as usual, Boyd's partner in ineptitude. "Caught in the Fog" — Warner. Snatches of dialogue help this mediocre picture not at all. A girl crook and her pal invade a houseboat and are apprehended by a young man, who is the son of the owners. He falls in love with the girl, who promises to reform. Conrad Nagel, May McAvoy, and Charles Gerard will blush for this a year hence. They may do so now. "Outcast"— First National. Brightly done story of streetwalker befriended by whimsical society man, whose sweetheart has jilted him for a richer catch. When married sweetheart tries to resume liaison, the ex-streetwalker shows her where she gets off and grabs the man for herself. Shallow, but not annoying. Corinne Griffith, Edmund Lowe, and Kathryn Carver. "Viking, The"— Metro-Goldwyn. Ponderous, prolonged pageant in what is called natural color, showing discovery of America by Leif Ericson, with trimmings of typical Hollywood sentimentality. Every one terribly in earnest, and rather tiresome. Pauline Starke, LeRoy Mason, Anders Randolf, and Donald Crisp. "Revenge" — United Artists. Florid, unconvincing tale of a Rumanian bear tamer's daughter, tempestuous, untrammeled, who is abducted by a gypsy brigand and tamed to melting sweetness by hard-boiled tactics. Beautiful backgrounds and indifferent acting by Dolores del Rio, LeRoy Mason, Rita Carewe, and Jose Crespo. "Red Mark, The"— Pathe. Old-fashioned melodrama of French penal colony in South Seas, and discovery by bloodthirsty governor that young man about to be executed is own son. Nevertheless it is interesting; expertly acted in robust fashion by Gaston Glass, Rose Dione, Gustav von Seyffertitz. Nina Quartaro exquisite heroine. "Melody of Love, The"— Universal. Walter Pidgeon audible to his fans, in dialogue and song, with excellent registration. Story of a piano player who loses an arm in the war, is deserted by his faithless sweetheart, and is followed to America by a French lassie. Mildred Harris and Jane Winton. Over the T< 'er tne I eacups Continued from page 31 other close-up as beautiful as one in that picture. When you've seen the film you won't have to be told which close-up it is. No wonder it made Lord Nelson's head reel. "Corinne is going abroad for two months when she finishes 'Prisoners.' She always manages to get away and forget pictures for a while. I think that is why she never looks dull, or faded, or disinterested." "You promised me a surprise if I would meet you to-day," I suddenly reminded Fanny. "Yes, and we'll have to hurry," she urged me quite as though it were my fault that we had lingered over luncheon for hours. "We're going to motor to an outof-the-way town that you've never even heard of. But it will be worth while. Molly O'Day has taken her sister Sally's place in a Fanchon and Marco revue, and we're going to see her. There's a sister act for you ! "Sally was on the stage in an act playing the picture houses, and when Warners sent for her to play in 'Shoestrings' Molly rehearsed day and night so that she could take Sally's place in the act and release her for the picture. Those Fanchon and Marco acts are a blessing to a lot of girls. You know, Bessie Love was playing in one when she was rediscovered for pictures. So we'd better hurry and see Molly to-day before some producer decides to bring her back to the movies." 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