Talking Screen (Sep-Oct 1930)

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TO GIVE YOU A LINE OR SO ON CURRENT TALKIE OFFERINGS ALIAS FRENCH GERTIE (RKO) — The newlyweds, Bebe Daniels and Ben Lyon, in the same film. It^s all about a couple of crooks and how they reformed. Not bad entertainment. ALL QUIET ON THE WESTERN FRONT i Universal) This is one of the most startling pictures that has ever been flashed on the public screen. See it by all means, unless you are the possessor of a weak stomach. ANNA CHRISTIE (M-G-M) — The fame of this number has spread far and wide and wide and far. We merely list it to emphasize the importance of your seeing it. ANYBODY'S WAR (Paramount) — Them thar Two Black Crow fellers arc back again in a comedy about the A. E. F. It's not a world beater, but it's good. THE ARIZONA KID (Fox) — Warner Baxter as the Cisco Kid again, swash-buckling all over the lot. He's good, but the story is ver', ver* slow. THE BAD ONE (Vnlled Anisis) — One of those Marseilles waterfront pictures with Edmund Lowe as the love-making sailor and Dolores Del Rio as the feminine sex appeal. BEAU BANDIT (RKO) — Rod la Rocque as a noble thief in a fairly interesting story. THE BIG FIGHT (Sono-An) — Mr. Dempsey's play in talkie form, but without Mr. Dempsey. Since the original play was written merely to give Mr. Dcmpsey something to play in, we ask you to draw your own conclusions about this one. THE BIG HOUSE (M-G-M) — A pretty good prison picture with all the acting honors uoing to Wallace Beery as Butch. Chester Morris does well in a difficult part and Robert Montgomery is unconvincing in the hopeless role of an unhi-lievable weakling. As entertainment, it's above average. THE BIG POND (Paramount) — Here's that Chevalier guy again with his famous voice and, of course, that fascinating accent. Don't miss bim, girls. THE BORDER LEGION (Paramount) — Richard Arlen and Jack Holt — two of the he-est he's — team up in this excellent story of the West. Don't miss it whether you're a Western fan or ' not. BORN RECKLESS (Fox) — Edmund Lowe does very well as Louis Beretti in this excellent talkie version of the f,imous best seller. THE BRIDE OF THE REGIMENT (First National)— The Technicolor is good, Vivienne Segal is good, and Walter Pidgeon is excellent, but — the story is a little slow and the comedy, by Ford Sterling, Louise Fazenda, and Lupino Lane is a little forced. BRIGHT LIGHTS (First National) — Reviewed in this issue. CAUGHT SHORT (M-G-M) — Marie Dressier and Polly Moran in a perfectly delightful comedy which, although based on the Wall Street crash, is still very entertaining in spite of its rather old-fashioned theme. If M-G-M doesn't team up these two again — well . COMMON CLAY (Fox) — Reviewed in this issue. CONSPIRACY (RKO) — Reviewed in this issue. COURAGE (Warner Brothers) — Belle Bennett in the well known mother role does beautifully in this audible cinema version of the stage play of a few seasons ago. Well wor:h a visit. DANCING SWEETIES (Warner Brothers) — If you are one of those fans who like dance hall stories, don't miss this little number. Grant Withers and Sue Carol arc Jclightful. DANGEROUS NAN McGREW (Paramount) — A rather disappointing picture. It might have been a swell comedy, but somehow or other, 6 The Ten Best and Why THE ROGUE SONG, for the marvelous voice of Tibbett. ANNA CHRISTIE, for Greta Garbo and Marie Dressier. DISRAELI, for George Arliss' superb performance and the charming atmosphere. THE VA(;AB0ND king, for its convincing historical romanticism and for its voices. THE DIVORCEE, for its gripping truth and for Norma Shearer's most brilliant performance of her career. SO THIS IS LONDON, for Will Rogers, that's all. ALL QUIET ON THE WESTERN FRONT, for its breathtaking brutality. THE CUCKOOS, for its perfectly delightful foolishness. JOURNEY'S END, for its excellence as a psychological study. THE DAWN PATROL, for its thrilling noises and for Douglas Fairbanks, Jr. Mai St. Clair couldn't make up his mind what to do with it. Helen Kane is not at her best. ' THE DAWN PATROL (First National) — A fairly good airplane picture of the Great War, acted out by Douglas Fairbanks, Jr., Richard Barthclmess and Neil Hamilton in the leading roles. As English officers, they're all there except the accent. However, that's a detail. THE DEVIL'S HOLIDAY (Paramount) — Nancy Carroll goes dramatic in this one with fairly good results. We're still thinking, however, that heavy dramatics are not her forte. Great praise to Phillips Holmes as the very, very handsome leading man. He really can act as well as look matince-idolish. DISRAELI (Warner Brothers) — Here's another one that needs no words of praise. Again, we merely list it to remind you to see it if you haven't done so already. THE DIVORCEE (M-G-M) — That book, ExWife, unofficially transferred to the screen. Whether or not it follows the book doesn't really matter for the movie is such a corking piece of work that you will be fascinated as it unreels. Norma Shearer does excellent work. DUMBELLS IN ERMINE (Warner Brothers) — A good, slangy comedy *ith James Gleason and Robert Armstrong continuing their excellent work of former films. THE FLORODORA GIRL (M-G-M) — Marion Davies in a swell comedy which has as its setting the frivolous days of the Nineties. Marion looks pretty and gets some good laughs in the funny outfits they dashed around in, in those days. FOR THE DEFENSE (Paramount) — Reviewed in this issue. FREE AND EASY (M-G-M) — A more or less amusing story starring Frozen Faced Keaton. Maybe we're getting old, but it seems to us that Keaton isn't ar funny in this as he used to be. GOLDEN DAWN (Warrter Brothers) This is what is known as a spectacle, built around the famous operetta. Lavish is hardiv the word for it — extravagant might be better. You'll get your money's worth. GOOD INTENTIONS (Fox) — Edmund Lowe in another underworld characterization, as a gang leader who tries to give it all up because he's fallen in love with one of them thar sassiety girls. Pretty good entertainment. GOOD NEWS ( M-G-M > — A fairly faithful talkie version of the famous musical comedy. Maybe that's the trouble — it's so darn fai' \ ful that you wish there were something a little bit new in it. However, it's all right. HELL'S ISLAND (Columbia) — A triangle story about a couple of them fighting fellers and a goil. The fighting fellers are in the Foreign Legion. Jack Holt and Ralph Graves do good work. HOLD EVERYTHING (Warner Brothers) — The excellent musical comedy in which Joe E. Brown plays a prize fighter. Winnie Lightner is also in the cast and between the two of them, you will be holding your sides, dearie. HOLIDAY (Pathe) — An excellent talkie version of the fainous stage play of the same name. Not an exciting play, but interesting, with plenty of smart talk. INSIDE THE LINES (RKO) — In this story of 1914 there's so much spying, counter-spying, and counter-counter-sp>'ing that it's quite hard to tell t'other from which. As a story of war intrigue, this little yarn is satisfactory. JOURNEY'S END (Tiffany) — A very faithful translation of the very famous stage play. It's a psychological study, so if you don't like psychological studies, you had better stay at home and play solitaire. JUNO AND THE PAYCOCK (Harold Aulen) — An English talkie of the Irish play with an English-Irish cast. It's very good and very un-f"lollywood and we advise you not to see it unless you can stand a rather drab and foreboding story. LADIES LOVE BRUTES (Paramount) — Georgie Bancroft is here again. This he-man rollicks through a he-nian story for audiences of adoring ladies. LADIES MUST PLAY (Columbia) — Reviewed in this issue. LET US BE GAY (M-G-M) — A delightful version of Rachel Crother's play. Acting honors go to Marie Dressier with Norma Shearer scoring second in the leading roles. Norma has gone back to posing again in this one. LOVE AMONG THE MILLIONAIRES (Paramount)— Clara Bow in an absolutely ridiculous story, not even convincing and certainly not interesting. Clara is good — singi a couple of good songs and looks cute. Mitzi Green scores another hit. MADAME SATAN (M-G-M) — Reviewed in this issue. MAMBA (Tiffany) — A story of South Africa which is extremely entertaining. Jean_ Hershoit and Eleanor Boardman do very well. THE MAN FROM BLANKLEYS (Warner Brothers) An amusing burlesque of middle-class English life with the romantic John Barrymore being delightfully unromantic and highly amusing. A MAN FROM WYOMING (Paramount) — Gary Cooper in a story so utterly ridiculous that it's almost too much. However, it is worth seeing for Gary's acting and nothing else, MANSLAUGHTER (Pcramouni) — Reviewed in f-his lAsue. » [C-ntinued/on />..