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60
SCREENLAND
Reviews
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Six Best Films of the Month:
CITY LIGHTS EAST LYNNE DANCE, FOOLS, DANCE
RANGO DISHONORED TRADER HORN
Virginia Cherrill as the blind flower girl and Charlie Chaplin as her admirer in "City Lights."
Joan Crawford is splendid in "Dance, Fools, Dance." Lester Vail is her leading man.
City Lights
United Artists
HE'S back! Go to see "City Lights" with perfect confidence — Chaplin won't let you down. He reserves those tricks for his cast, not his audience. His new picture which took so much time and money to make may not be his best — I don't know. And I don't care. I know only that I laughed a lot at practically everything Charlie did, including all his old tricks and a few new ones. His comic device of the rich stew who loves him when he's in his cups and boots him when he's sober is a grand chance for complications. There's even a prize-fight. Romance — a little blind flower girl nicely played by Virginia Cherrill. And lots of Chaplin — all of Chaplin back again. Don't let it be so long next time, Charlie, we need your kind of comedy.
Dance, Fools, Dance
Metro Goldwyn-Mayer
IN which Joan Crawford proves that her performance in "Paid" was no accident. Now, I didn't say I ever thought it was, did I? I mean that this picture fails to give the star the dramatic opportunities of her first serious film; so I applaud her splendid work all the more. She has a pretty unbelievable role in this one — a pampered darling who is forced to make her own way in the world, goes to work on a newspaper, and gets involved in gangster doings; but Joan flashes through it all with brains and brilliance. But isn't she getting too thin? Go out and celebrate your success with a nice, thick, juicy steak, girl! Like Lester Vail? He's Joan's able leading man, and you'll be seeing more of him.
Clive Brook, Ann Harding, and Conrad Nagel in "East Lynne," all giving fine performances.
East Lynne
E
ox
THIS picture has a rather rare quality — charm. And that saves it! Given this good old tear-jerking melodrama to direct, Frank Lloyd turned aside from the obvious treatment and endowed it with some of his own poetic feeling, thereby lifting it out of bathos. Lloyd manages to make the wooden puppets of the tale appealing and sometimes human. In Ann Harding he has the perfect heroine — lovely in coiffure and costume, competent in performance, and poignant in those scenes with her baby which still have power to make strong women filmgoers weep. Clive Brook is splendid in a grand and nasty role; with Conrad Nagel, Cissie Loftus and Beryl Mercer all fine.