Screenland (May-Oct 1930)

86 SCREENLAND Critical Comment Roadhouse Nights THIS picture had a narrow escape from being included on our list of the six best. It didn't get in because Scree nland is pretty fussy about its six best, believing it should include if possible only those films which the whole family may see — in a body. Speaking of bodies, there are so many in "Roadhouse Nights" that Aunt Ella and Grandma might become confused. And the fair lady of the film, played by the glamorous Helen Morgan, wins back her boyhood sweetheart even though she has been a roadhouse hostess. So you can see the position Screenland is in! Enjoying "Roadhouse Nights" as we did, and admiring Miss Morgan and her co-star Mr. Charles Ruggles as we do, all we can advise you is, see it by all means but don't say we didn't warn you it is just a slice of life in the rough. It's exciting, funny — Jimmy Durante is in it — and sophisticated. Puttin* On the Ritz HARRY RICHMAN'S screen debut, which you will want to attend if for no other reason than to see the man who made a hit with our Clara. Mr. Richman is well known in New York, where he appears as a musical comedy and night club star. It remains for him to make a hit with other audiences, and if an ingratiating voice will do the trick, Harry is already an established film star. His singing is a good reason for his appearance on the screen. Harry is no mean vocalizer. Every chance is given him to make good in his screen debut. His leading lady is Joan Bennett. Lilyan Tashman and Jimmy Gleason are present. Settings by W. C. Menzies. Music by Irving Berlin. Puttin' on the Ritz and There's Danger in Your Eyes are good tunes. An "Alice in Wonderland" number is exquisite. Good entertainment, whether you're just wild about Harry or not. A Lady to Love She Couldn't Say No SHE'S Vilma Banky, playing her first all-talking role. I wish they had selected a more glamorous part for Miss Banky's audible debut. I always think of her as the fair, proud princess in the tower. Here she comes down to earth as a lonely little waitress. Well, it's a good acting part, and the star gives a fine performance; but she should have made a more auspicious entrance into the exacting realm of the microphone. Victor Seastrom's direction of this speaking screen version of "They Knew What They Wanted" is intelligent, with Edward Robinson and Robert Ames supplying more than adequate support. Vilma's accent is no handicap; her voice is quite all right. But she is no longer the remote lady of mystery; she is robbed of all her props of gorgeous gowns and stunning settings. She makes the most of a difficult assignment and deserves a better part next time. DO you like Winnie Lightner? If you don't like Winnie Lightner, then I advise you not to read this review but to skip on to the next one. Because "She Couldn't Say No" is all Miss Lightner. You remember her in "The Gold-Diggers of Broadway," of course: her mean-mama voice, her comedy falls, and her generally raucous behavior. You have to like Winnie a lot to like this, her first starring film. It's another racketeer plot, with occasional sobs by the star, assisted by Chester Morris in another one of his familar characterizations. When Winnie sticks to her expert clowning, the picture is amusing, although not as frisque as its title insinuates. Winnie is never as gay and abandoned as in the memorable supper party scene in "The Gold-Diggers of Broadway" in which she falls into Albert Gran's lap; but then, ho-hum, life's great moments don't happen every day.