Universal Weekly (1917-1934)

Aug. 25. 1934 Jimmy Qrainger Celebration :13 "GREAT" — Says John C. Moffitt of "One More River" in Kansas City Star THIS, I believe, is the world premiere of Universal's screen version of "One More River," the last novel by the late John Galsworthy. It deserves to be regarded as an artistic and a newsworthy event. Artistic because Diana Wynyard, the star, James Whale, the director, and R. C. Sherriff, who did the adaptation, all have managed to create something that is akin to a screen novel, rather than a screen play. By a peculiar sympathy with the literary master they were handling they managed to create in terms of dialogue and pictures something of the same power, the same poised British fairness, the same sustained mood and the same insight into a lovable but harassed character that this master of fiction could call forth from cold type and paper. Without losing Mr. Galsworthy's relentless attack upon a social ill, they have achieved his ability to dramatize a theme, not as a theme, but as the moving story of a lovely and sensitive woman. It is newsworthy because, coming after the League of Decency's activities in Hollywood and the appointment of Mr. Joseph Breen as a supreme screen inquisitor, it constitutes the first tangible answer that has been offered concerning the relationship between the reform and literature. On Theme of Divorce The theme of "One More River" is divorce. It is not only a story of divorce, but it is Mr. Galsworthy's indictment of what he considered the brutal archaic divorce laws of England and the unmannerly practices that the courts permitted to maintain them. He indicts the law which makes adultery the excuse by which an unscrupulous husband can profit by dissolving a loveless and an unfortunate marriage. His entire eloquent plea is a plea CRITICS PRAISE JAJSE WYATT CARL LAEMMLE, Jr.'s satisfaction and enthusiasm with Jane Wyatt. after her first screen work in "One More River," which resulted in his determination to feature her in her second picture, "Great Expectations," has now been fully justified by the united opinion of the critics all over the country. In reviewing "One More River," special mention was made of Miss Wyatt and she was singled out from among the outstanding cast for especial praise. Following are some of the laudatory comments made on Miss Wyatt. In New York, Richard Watts, Jr. in the Herald Tribune calls her "the most captivating of the newer ingenues and a young player of vast potentialities " He adds: "Miss Wyatt's admire'-s will be pleased, but not surprised, to note that she photographs excellently and plays charmingly as the heroine's sympathetic sister." Kate Cameron in the Daily News says: "Jane W>att makes an auspicious film debut. She is an attractive young player, endowed w-ith poise and acting ability, who will undoubtedly have a highly successful career on the screen." Regina Crewe, N. Y. American states: "Jane Wyatt makes her motion picture debut here and upholds the histrionic banner of our side of the Atlantic in forthright fashion." Rose Pelswick says: "Miss Wyatt makes an auspicious debut." Time Magazine in its August 20th issue says: "In the role of Lady Clare's sister Dinny, a promising ingenue named Jane Wyatt makes her debut." John Moffitt in Kansas City Star says: "Delightful ingenue." On the West Coast, the critics in Los Angeles were alike in their praise. The Times said Jane Wyatt was "very effective." Variety called her "attractive and convincing," while the Hollywood Reporter said "Wyatt reveals charm" and the Citizen-News stated "Wyatt gives a splendid performance." favoring the emancipation of modern women. Mr. Breen approved the picture, thereby setting at rest the fears of many who were apprehensive concerning the possibilities of the entire screen output being dictated from a sectarian viewpoint. Whethsr it is due to the restraint of Mr. Breen or to the innate good taste of Mr. Whale and Mr. Sherriff, the picture Is handled with decency and good taste, particularly in its avoidance of ^ny of those scenes of brutality which the husband inflicted upon his wife and which brought about the absorbing set of emotional conditions which Mr. Galsworthy constructed Into an arresting plot. The trial scene in which this wronged and spirited woman seeks to defend her integrity before the ponderous machinery of the law constitutes one of the most brilliant pieces of motion picture directing the talkies have seen. With bitter, ironic wit she fences with an attorney who takes full advantage of an attorney's privileges of insolence, sophistry and bad manners. With everything in her nature that is sensitive crying out in revolt, she sees the most intimate secrets of her life dragged forth to create a public show and carnival for the morons. Outraged at the caddishness of her husband, she refuses to descend \o his level by describing how he beat her and humiliated her. At last goaded beyond endurance, she rises to one gloriously defianlperjury that fails to win her case, but that should condemn forever her husband to a sense of his own vlleness. Probably the greatest touch which Galsworthy placed In his entire book Is the moment after the trial when, disillusioned and cynical, Clare offers to give herself to her faithful friend, Tony, "because she pays her debts," and certainly one of the most beautiful in the way he refuses. II