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An authoritative guide to the newest talkie offerings
OLD ENGLISH (Warners)
MR. GEORGE ARLISS is here again. This time in a production called Old English. The story takes place in Liverpool, England, during the early years of the present century. Old English is the character played by George Arliss. A part that gives him a chance to do some of the best acting of his long and splendid career.
He's a director in numerous companies and is chairman of a navigation company, but in spite of all this, he is on the verge of bankruptcy. The theme of the story is how Old English outwits his creditors and also how he outwits his many relatives who are trying to get what little money he has left.
The only one of his relatives he cares about is the daughter of an illegitimate son. (Oh, yes. Old English had been something of a rounder.) And you may be sure he fixes things up for her before the final fade-out — which, by the way, is particularly effective.
Even though you may have a hard time making sense out of the many and varied British accents, it's well worth seeing for George Arliss alone.
T4LKIIMG
BRIGHT LIGHTS (First National)
HERE is anothef one of those things which has Frank Fay in a serious story. This is a back-stage story, at that. Although we must admit that it's much better than almost any other back stager.
But the trouble is that Frank Fay is a subtle comedian with a flair for kidding life, himself, his bosses and everything in general. And Frank Fay as a person who rescues the heroine from the clutches of the dirty villain — well, it just doesn't go.
Dorothy Mackaill is the heroine
whom everyone, it seems, is trying to take advantage of. Frank Fay, though, loves her all through the story and consistently protects her from her wicked pursuers.
Somehow, Dorothy is not altogether convincing. She seems to this reviewer as if she'd be much more able to take care of herself than this part depicts her. ■
But it's a good show. It's all in the Well-known Technicolor and it has almost as many stars as The Shoti; of Shous. Noah Beery, Eddie Nugent, Daphne Pollard and James Murray all help make this a great picture.
MANSLAUGHTER (Paramount)
jON'T tell me you've forgotten the lavish affair DeMille made of thi^ little number way back in 1922? Remember Leatrice Joy and Thomas Meighan.' Ah, where are the old familiar faces now? Alas, alas.
This time, pretty Claudette Colbert plays the part of the thoughtless young lady of society who, by a deft manipulation of her car, kills a cop with a heart of gold who is just trying to do his duty by giving her a ticket. Figure that out. There's pen and pencil at your elbow.
And Frederic March, late the not-so-rough gob of True to the Navy, plays the honest district attorney who I;ts his best girl go to jail for the public good rather than save hci for himself. Somehow that always seemed k.nd of dumb to us. But maybe we're just wicked ourselves, or something.
It's a good taikii., ihougii. And it will grip you. The scenes of Long Island's social whirl zi-i considerably more true to life than those of DeMille. And the picture is notable for its absence o'"" bathtubs. Colbert and MarrS are both excellent.
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