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Up-to-the-minute talkie critiques to insure well-spent
THE VIRGINIAN (paramovist)
N old story with new stars repeats its old success and gathers new laurels by being audible. Owen Wister's popular novel and stage play is followed faithfully, and the greatest possible value is wrung out of the comic and dramatic situations. Gary Cooper, who proves himself a capable actor in this, his first talkie, Richard Arlen as Steve, and Walter Huston as Tram pas divide the honors pretty evenly between them. Mary Brian is sweet and pretty. The story concerns a Southerner, come to the West in the old rough and ready days, who followed his code to the letter, even when it involved supervising the lynching of a pal for cattle stealing, and risking his own life on the eve of his honeymoon. A good, convincing picture.
THE SATURDAY NIGHT KID (paramouist)
CLARA BOW, the pep idol of the screen, scores another hit. Once again, our Clara comes through big in her newest all-talking picture.
Clara, her sister and James Hall are clerks at Ginsburg's store. Clara loves Jimmy, and, through praising him to Mr. Ginsburg, gets him promoted to floor-walker. But as soon as he has been promoted, Clara's sister begins to make a play for him.
So, Clara is not going to let someone else — even her sister — steal her man, and she gets busy right away. In the meantime, however, her sister has been betting with money stolen from the store. How Clara helps her and straightens out her own love life must be seen and heard to be appreciated. If you're a Bow fan you'll be crazy about this one.
OH, YEAH? (PATHE)
APID fire conversational slugging on the railroad by two high-powered sluggers. James Gleason and Robert Armstrong. Those two comic heroes are again in another American slanguage comedy. This time they are two wandering brakemen on jerkwater roads who hang their hats wherever they find a job. They fall in love with two waitresses, they fight anyone that happens along, and finally each other. And in the end they redeem themselves by capturing two railroad crooks in a runaway train chase that has plenty of thrills in it. Most of the humor of the story lies in the give-and-take conversation between the two brakemen, while the railroad sequences furnish the thrills. Zasu Pitts and Patricia Caron head the supporting cast, although Armstrong and Gleason get most or the laughts.
HARD TO GET (first national)
THE girl, the poor boy and the rich boy again — but with a new twist. It must be that wistful look of Dorothy Mackaill's that makes them always give her those almostCinderella roles about the young gal who turns down riches in favor of an honest but not too wealthy young suitor. This is another of them, but it has a lot of homely comedy in it that makes it easy to take. She meets her gentlemen friends by standing on the corner and hailing rides on her way to work in the mornings. One of them is the millionaire and the other the mechanic. She thinks she likes the mechanic better but she doesn't see him again until her brother unexpectedly brings him home one night, after which the plot thickens rapidly. There is plenty of comedy provided by the supporting cast, especially Louise Fazenda and Jack Oakie.
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