Screenland (Nov 1935-Apr 1936)

for March 19 36 53 The Ghost Goes West — United Artists Such is the quiet charm of Robert Donat that practically everyone who has ever seen him looks forward to seeing him again— as soon as possible. And then Mr. Donat keeps us waiting ; and by the time he gets around to tossing off another little number, we're panting to be surprised and teased all over again by his mockingly melodious voice and Mona Lisa smile. He's the male Garbo; the movie Mystery Man — but wait, this is supposed to be a review, not a rave. All right — "The Ghost Goes West" promises far more than it ever perforins. A bright, new idea ; a screenplay by Robert E. Sherwood ; direction by the famous Rene Clair — and what have we? A melange of imaginative and amusing scenes, delicious dialogue, and grand performances by Mr. Donat — of course ; by Jean Parker, who has never seemed so fresh and flowerlike before — Mr. Donat's influence again? — by Eugene Pallette, funnier than usual ; and also — other performances of which the less said, the kinder ; dated and dirty digs at Americans and Americanisms ; and some Clair touches to make you moan for Lubitsch. But there's Donat. The Story of Louis Pasteur — Warners THE most dignified drama of the new season, and the most impressive biographical screenplay so far produced, , Paul Muni's new vehicle gives him his greatest opportunity in the role of Pasteur, eminent scientist whose life-long fight against disease forms the theme. To the credit of its producers be it said that here is a sensational picture without sensationalism. Always on a high plane, "The Story of Louis Pasteur" is also of continuously absorbing interest, as it records' the single-handed struggle of the French scientist against the careless medical methods of the day — the day of Napoleon the Third and the birth of the French Republic. We watch Pasteur's selfless struggles for sanitation; his tireless experiments in search of cures. Don't let this outline frighten you away from the theatre — the picture will enthrall you, and Muni's performance will remain in your memory for its burning sincerity and realism. Josephine Hutchinson is splendid as the self-sacrificing wife. Fritz Leiber as a doubting physician is excellent. Anita Louise and Donald Woods supply the love interest in charming fashion. Captain Blood — Warners HERE'S the answer to your question : "What's a picture to see that's exciting enough to entertain adults — and clean enough to keep the kids contented?" This big swashbuckling number has about everything you want in the way of rousing entertainment, plus the dashing new potential idol, Errol Flynn. As Peter Blood, the Sabatini hero, he is always a colorful character : sold into slavery, then escaping with a motley crew, capturing a pirate ship, and becoming not only a pirate chief but the handsomest scourge of the seas you ever saw. Yes, it's that kind of costume melodrama — but you'll find yourself goggle-eyed with excitement despite any prejudice you may have against "that sort of thing." There are beautiful scenes of ships under full sail, better than in "Mutiny on the Bounty;" there is the most thrilling duel you've ever watched; and the climax shows you a genuinely gory sea fight when Captain Blood sails into a besieged harbor and blows the stuffings out of two ships. Flynn's portrayal of the title role, both for physique and intelligent acting, marks him as tops among the young leading men of the screen. Olivia de Havilland is a lovely heroine. A grand cast. Sylvia Scarlett — RKO-Radio HERE'S the dynamic Hepburn's most controversial picture. See it and start arguments ! The star's impersonation of the girl heroine masquerading as a boy is a ' fascinating study in the more flamboyant phases of acting technique. Whether it is ever for a moment believable is a matter of opinion — mine is" "No," but you may say, "O-Katie." Hepburn and director George Cukor work together again for the first time since "Little Women," but this rather brittle romantic comedy bears little relation to that tender classic. Does it tell you much that this strikes me as very probably Hepburn's own favorite of all her pictures? She has the time of her life playing the masquerading heroine, travelling the English countryside as a member of a band of roving players, until she meets and falls in love with an artist, Brian Aherne. Her efforts to win him provide the most appealing scenes of the picture. It is Cary Grant, surprisingly enough, who scores most strongly in the picturesque role of a cockney trickster ; he steals every scene in which he appears. Looks like a bright future for Mr. Grant, erstwhile glamor boy, as an Actor. Princess Natalie Paley impresses.