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SCREEN Reviews
BIG BOY (Warners)
STEEPED in the atmosphere of the old South, with its traditions of honor and horse-racing, this production is a perfect one for Al Jolson, that inimitable black-face comedian. Portraying the role of Gus, jockey and hostler on the estate of a once-wealthy Kentucky family, Jolson gives a performance that equals any of his previous screen hits.
While the star presents several new song numbers, one of the outstanding scenes is that in which he joins a group of negroes in singing spirituals.
ON YOUR BACK (Fox)
THE marvelous characterization of the rich broker by that sterling actor, H. B. Warner, and the splendid work of Irene Rich lift this picture from the sea of film mediocrity.
While the story has considerable merit and bits of humorous dialogue that will cause audiences to chuckle, poor judgment was used in casting the juvenile leads. Marion Shilling is not the type for the chorus girl, while Raymond Hackett is unconvincing as her fiance.
The vehicle reveals a mother's sacrifices to build up wealth and position for her son through the operation of a modiste's shop where beautiful models serve as bait for the wealthy male patrons. The title has reference to the modistes business slogan: "Put Your Brains On Your Back."
Miss Rich, as the mother, opposes the marriage of Raymond, the son for whom she has made big plans, to Marion, the lady of the ensemble. There is the usual family squabble when the parent tells her off -spring that the girl friend is untrue.
It is an adult woman's picture and will no doubt bore the men folks.
Claudia Dell, as a modern Southern belle, was a happy choice and brings a new and pleasing personality to the cinema. Louise Closser Hale, as Mrs. Bradford, employer of Jolson, gives a praisewonhy performance in a difficult part. Lloyd Hughes, as young Bradford, was true to type. Eddie Phillips, as the youthful menace — the gambler who tries to fix Big Boy, the Bradford horse — is just as unpopular as he has been in previous roles.
The balance of the supporting players were well chosen.
Actual shots of the last derby add much color to the picture.
HER MAN (Pathe)
THE Havana tenderloin, with its dance halls and brothels, provides a colorful background for this production featuring Helen Twelvetrees, Marjorie Rambeau,. Ricardo Cortez, Phillips Holmes and James Gleason. Director Tay Garnett has taken his own original story and built it into an hour of exciting entertainment.
Miss Twelvetrees, as Frankie, a dance hall girl who toys with men's affections while she relieves them of their bankrolls, tires of the life and falls in love with an American sailor, but the wedding bells fail to ring until after several battles and a couple of murders.
The picture offers broad opportunity for the emotional ability of Miss Twelvetrees and will go down as her finest role to date. Miss Rambeau, a stage star, makes her bow in the talkies as the drunken shell of a one-time beauty who seeks to escape the existence she has led on the island.
Ricardo Cortez is seen as the knife-throwing master of Frankie, while Phillips Holmes does the heroing as Dan, slaying Cortez and carrying Frankie off to a new country and new hopes.
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