Screenland (Nov 1935-Apr 1936)

for April 19 36 55 Modern Times—United Artists Rose Marie — M-G-M TIMES may change, but Chaplin is still supreme ! 1hs||) Eternal symbol of The Little Fellow against the World, Charlie, jn his first film in five years, defies fate and new economic programs, machinery and— always — policemen, with all of his old magnificent hilarity and an added depth and insight. Chaplin the great showman has merged with Chaplin the philosopher without losing his comic shrewdness. "Modern Times" has important implications if you care to claim them, but it is never uncomfortably "significant" and can be watched as entertainment alone. The sublime little clown is seen successively as a factory worker, a night watchman, a waiter, a cafe singer — and Charlie breaks his long silence with a curious "song" which must be heard to be appreciated. "Modern Times" is not a "silent," neither is it a talkie. An ingenious musical score solves the sound problem, with occasional outbursts of appropriate noise. Chaplin rounding corners, Chaplin on roller-skates, a figure of inimitable grace, suggesting that he could play Nijinsky to perfection; Chaplin the suitor, with charming Paulette Goddard — and mad, irresistible moments of the grand old Chaplin ribaldry. Cheers for Chester Conklin, too. A JOY, that's all ! From first scene to last, "Rose Marie" is marvellous entertainment for eyes, ears, and , ribs. You'll be thrilled by the Eddy-MacDonald singing ; you'll be enthralled by the many "Most Beautiful Stills of the Month" which make a gorgeous background for the elegant co-stars ; and you'll be teased and tickled by the grand burlesque of all temperamental prima donnas to which Jeanette MacDonald treats you in the opening scenes. And speaking of Jeanette — in this picture she hits a new high, in voice, beauty, and acting. You may have liked her before ; now you'll rave. She plays a spoiled pet of opera who leaves it all to go dashing into the Canadian wilds to save her bad-boy brother, and encounters a Northwest Mountie also on brother's trail. Nelson Eddy as the handsomest policeman in the world eclipses his "Naughty Marietta" performance vocally and dramatically — ah, that uniform. Mr. Eddy is musical dynamite, and when he and Jeanette sing the Indian Love Call you will cheer. Miss MacDonald's two operatic numbers are sensational. "Rose Marie" is my pet picture of the month. The Lady Consents — RKO-Radio Anything Goes — Paramount THE New Wives' Tale ! Ann Harding's best picture in too long will appeal to every wife, ex-wife, and wife-tobe. It is definitely what is known as "a woman's picture," but because of Edward Ellis, men will manage to sit through it without too much muttering. Mr. Ellis, long one of the finest actors on the screen, here has his great chance, and how he takes it ! As Annie's father-in-law, a diamond in the rough, and a thoroughgoing grand guy, Mr. Ellis practically steals the picture. It's a heart-warming performance, and I wish I had an extra Honor Page to give him. Miss Harding plays a devoted wife whose routine is sadly interrupted when her husband, Herbert Marshall, is won from her by Margaret Lindsay. Gallantly Ann gives Marshall a divorce so that he may marry Margaret to the disgust of father-in-law Ellis who remains loyal to Ann, and who finally is the means of reconciling his son and his real wife. Sympathetically directed, exquisitely acted by Miss Harding, Mr. Marshall, Mr. Ellis, and Walter Abel as Ann's unlucky suitor, "The Lady Consents" is excellent civilized entertainment. AS gay and giddy as you could ask, this picturization of the record-breaking long-run musical comedy will serve to amuse you mildly and send you home humming. Don't, however, plan to make a family theatre party of it without your own sneak pre-view, for parts of "Anything Goes" are in pretty bad taste, and your Aunt Tillie's tolerance may be strained a bit by some scenes. Luckily the film has a breezy, wholesome cast of likeable performers, with Charles Ruggles bearing the brunt of the comedy, and Bing Crosby and Ethel Merman attending to the singing in their own inimitable fashion. You're the Top is still tops in song numbers, and you'll enjoy Bing's and Ethel's duetting of it. Lavishly mounted in the prodigal Paramount manner, and boasting the presence of Arthur Treacher, at his most hilariously solemn, and Ida Lupino for those who like her, "Anything Goes" gives you your money's worth, even if it does hold out its "big" chorus number until the very last — here I was hoping they had forgotten. Something seemed a little raucous in the sound department from where I sat. Otherwise, smooth.