Screenland (May-Oct 1937)

THE LIFE OF EMILE ZOLA — Warners BY FAR the most distinguished production on current screens, this dignified dramatization of the career of France's great literary crusader is something to be seen, cherished, and long remembered. Certainly it is Muni's finest contribution to screen portraiture — a supreme example of a great actor's complete submergence in his role. Muni's is a magnificent characterization of Emile Zola, who believed in the brotherhood of man and, when the time came to defend Dreyfus and confound his accusers, practiced what he wrote. A superb, full-length portrait, this .of Zola— painted in bold and brilliant strokes as his true friend 'Cezanne might have painted it. The story, after a slow start, holds your interest to the end. The ■ Dreyfus Case, of course, provides the stirring climax, with Zola's great speech in court the high spot of the film. No mawkish sentiment or manufactured romance is intruded upon the sublime human drama. The Nana episode is sincerely and sympathetically treated; scenes of Zola's early struggles, his later successes and prosperity, and always his burning zeal for reform and above all, his utter conviction of Dreyfus' innocence — are never in doubt. Joseph Schildkraut as Dreyfus is a revelation in fine acting. TOPPER — Hal Rc thins -M-G-M NOVELTY of the month ! Here's piquant entertainment for all of you who have been crying — yes, I could hear your pitiful sobs above all the noise the Ritz Brothers have to make to be funny in 'You Can't Have Every-for more real sophistication in your cinemas. "Topper" is by, of, for, to, etc., sophisticates; so if you're one, or even two, you can see if you can take it by tripping out to. "Topper." But don't take the children. They'd understand it, all right— all too well; but it just might give them the idea that drunken driving is very, very funny, and then where would you, and the family car, be? But for those who can take it, and not too hard, arid appreciate it, "Topper" is truly tops. Thorne Smith's mad, bad tale of two charming corpses who appear and disappear in and out of their usual earthly haunts to taunt a tired banker into becoming a wicked man of the world, has been deliciously done, with all sorts of camera tricks to delight you. The enchanting ectoplasmic couple, played by Connie Bennett in her merriest, most mocking mood, and Cary Grant, float about in gay abandon until their "good deed," demoralizing Mr. Topper, is done. Roland Young in the title role is the real star, stealing scenes right and left. Reviews of the best Pictures by CONFESSION — Warners HAVING laughed until we cried at several of the movies this month I suppose it is only fair that we should have at least one film to make us cry until we laughed. The new Kay Francis picture is something like that. It's a maudlin melodrama of mother love, but more in the "Madame X" manner than the "Stella Dallas." What, are we in for a sob cycle? Fortunately for the Francis film, it is a movie from first to last — Joe May, famous European director, guides its dubious destinies with such pictorial piquancy that "Confession" is always absorbing to the eye even when it is busy insulting the higher intelligence. It has, at least, a flourish and a flavor that distinguish it from the Hollywood dramas of its genre; and it affords its star an opportunity to emote with fine fervor, and offers a big chance to little Jane Bryan — and if you recall her from "Kid Galahad" you won't be surprised to hear that she jumps at that chance by turning in a splendidly sensitive performance of a young girl in the throes of infatuation for a fascinating older man — and perhaps you won't even be surprised when I tell you that she is saved from worse-than-that by Miss Francis, just in the nick of time, too. Basil Rathbone is the very sinister' satan. 52