Screenland (Nov 1935-Apr 1936)

for January 1936 5 3 Hands Across the Table — Paramount THE gayest picture of the month ! Light, frankly frivolous and frothy — and the first opportunity in too long for Carole Lombard to prove that she can be one of the most ingratiating charmers on celluloid. Maybe this isn't ah "important" picture, but you will have more fun watching it than most of the weightier numbers.' It's a minor triumph for any picture to make you think, when leaving the theatre, that the director, the stars, and the cast had a perfectly grand time making it — no work at all, just play. Vina Delmar's story makes Carole a manicurist whose mind is made up to marry for money. Fred MacMurray, poor in worldly goods but equally rich as Carole in charm, is engaged to marry money. Then — they meet. Well, maybe if any other two screen people met it wouldn't be good news. But with Fred and Carole, it's perfect. You will find you have their happiness very much at heart, and because Ralph Bellamy is cast as the wealthy "other man," there is just enough suspense to keep you interested, even though you really know perfectly well there can only be one ending — happy. I don't know when I've enjoyed a screen team as much. Rendezvous — M-G-M YOU may complain all you please about Hollywood cycles, but I have no objection to them if they are "Thin Man" cycles. Ever since that elegant cinema, William Powell has been playing the same man, with variations ; and somehow it's perfectly satisfactory, and I wait for the latest edition with the same avidity as I used to look forward to the endless "Five Little Peppers" series. Now, now, Bill — I'm not calling you a "Little Pepper," merely implying that like the series of juvenile books you can go right on forever as far as I'm concerned. That is, if you keep up the high standard of "Rendezvous." The title doesn't mean what you think, at all — the "rendezvous" is in World War-time, where some troopships meet in the Atlantic. Thanks to the enamored Rosalind Russell our Thin Man is chained to a desk in Washington working out codes, to keep him "safe." But Rosalind guessed wrong — there is all the excitement anybody could ask, what with enemy spies and their chicanery. Powell is, as usual, wittily equal to all emergencies. This Russell gal is deliciously clever as the Thin Man's new woman. She has gaiety and a gallant beauty — and a voice ! The Three Musketeers — RKO-Radio HERE'S a rousing, realistic presentation of the beloved Dumas characters which makes splendid entertainment . for every film-going family. It is perhaps the most vivid version the screen has seen of a costume piece — for only the costumes seem to date ; the people in them are as spirited, as "modern," as moving as today's heroes and heroines. I had no fond memories of the senior Fairbanks' filming of this classic, so the comparisons which have been made to the detriment of the new version, are more odious even than usual. I don't see how the present picturization could be bettered. True, Walter Abel is a more human, less swashbuckling D'Artagnan, but that's how Dumas wrote him, I believe; and the small boy doesn't live who won't adore the Abel portrayal. No chance for punning at this actor's expense — he is obviously so much more than able, adequate, or competent. Paul Lukas, Moroni Olsen, and Onslow Stevens are capital as Athos, Porthos, and Aramis. Margot Grahame is a gorgeous Milady, Rosamund Pinchot a perfect picture of the Queen of France, for whose fair sake the intrepid Musketeers fought so gallantly. Never a dull moment when these Dumas boys are battling. You'll enjoy every bit of it, I hope, as I did. Thanks A Million — 20th Century-Fox A MUSICAL picture — with a difference ! No operatic s arias ; no colossal choruses — instead, a Bright Idea by author Nunnally Johnson, who quaintly believes that The Story is Important, and so far has been right. This time, the Idea concerns a stranded musical show mixed up with a political campaign. It sounds pretty crazy, and that's the way it turns out. You'll love it. Fortunately, Mr. Johnson's dialogue and situations have a grand cast to help put them across. For instance, Fred Allen, from radio, who is even funnier in films than you'd expect. More of Mr. Allen, please. His droll humor is something the screen needs regularly. Radio doesn't do him full justice. Then there's Dick Powell, back on the job as the screen's best light comedian after his enforced Shakespearean interlude, singing and romancing with Ann Dvorak. High spots are the Yacht Club Boys' alphabet song; Patsy Kelly's comedy; Rubinoff and his violin — without Eddie Cantor. Raymond Walburn, who is making quite a nice reputation for himself as our most amusing" inebriate — remember his butler in "She Married Her Boss"? — scores again; and Margaret Irving from the stage is a handsome addition to the resplendent ensemble. See it !