Screenland (May-Oct 1934)

for August 19 34 57 Reviews without Prejudice, Fear or Favor! Good Pictures! Good Acting! FUNNIEST: "The Affairs of Cellini" CLEVEREST: "Twentieth Century" MOST LAVISH: "Murder at the Vanities" MOST APPEALING: "Little Miss Marker" MOST ADULT: "The Thin Man" Best Supporting Players: Jean Muir, Colin Clive, Walter Connolly, Roscoe Karns, Jean Dixon, Helen Lowell, Kitty Carlisle, Dorothy Stickney. Dr. Monica Warners Put three of Hollywood's most stunning women in one picture — Kay Francis, Verree Teasdale, and Jean Muir — and what have you? You have "Doctor Monica," a motion picture to appeal to most women and some men. It's a story based on the delicate subject of motherhood, intelligently told. Kay Francis plays a brilliant woman doctor who specializes in bringing babies into the world. Now, now, wait a minute! Kay is not going to tell you about her operation. This is no grisly drama of the hospital, but a very human drama of the problems of modern womanhood. Warren William, as Doctor Monica's author husband, indulges in what he believes to be a casual enough love affair with Jean Muir, and never discovers the outcome, though it nearly wrecks the life of his wife. There are moments of heartbreaking realism between Miss Francis as the wife and Miss Muir as the "other woman," in which the latter finally strikes her stride as a dramatic actress, and very nearly takes the picture from the lovely star. But La Francis, as you know, always holds her own, and this film is no exception, even though extra competition is provided by Verree Teasdale. The Affairs of Cellini Twentieth Century My personal pet of the pictures of the month! If you're expecting a sane and sober review, you'll be disappointed. This is going to be a rave. For one thing, it is the smoothest screenplay in seasons: technically flawless, superbly directed, wittily written, and exquisitely played. For another, it is the only picture save "Twentieth Century" that I've seen in many weeks that seemed all too short. Just as I was really settling down to enjoy myself — zip, it was over! Now you know as well as I do how rare that is. These cinematic adventures of the great goldsmith of sixteen-century Italy, Benvenuto Cellini, are deliciously set forth with Fredric March as the oh-so-dashing Sen, Constance Bennett as the alluring Duchess and patroness of the arts — and of the artist; Frank Morgan as the philandering Duke, and Fay Wray revealing an unsuspected gift for comedy as Cellini's moronic model who much prefers a ducal palace to an artist's studio — all superlative, with Mr. Morgan in the lead. Meaning that Morgan is practically magnificent — for every member of the stellar quartet sparkles like mad. It's a grand show! Sadie McKee M-G-M This is a Joan Crawford picture — with a difference. The difference is that Joan does not dominate the film. Instead, her three leading men are the real stars. First, Edward Arnold; as the generous millionaire who marries Sadie, ex-waitress and night-club gal, he is amazingly good and completely unhammy. Second Gene Raymond, who displays a new maturity in his role of Sadie's first sweetheart who leaves her flat for a vaudeville singer. Third, Franchot Tone as the very priggish aristocrat who "stands by" and whose patience is at last rewarded when Sadie eventually turns to him. All three actors, especially Arnold, are truly excellent. Miss Crawford gives a conscientious performance as the little waitress who marries wealth but fails to find happiness; but she somehow lacks conviction, and certainly she lacks fire. She seems more highly stylized than ever before. Careful, Joan — or you'll turn into a veritable Erte lady right before our eyes, instead of developing as a warm and human actress. The Vina Delmar story should have made smashing popular cinema stuff, but the screen translation often misses, notably in the scene in which Sadie wins over her servants. Let Them Guide You to the Good Films