Universal Weekly (1925-1933)

Vol. 21, No. 18 Universal Weekly 87 'UNIVERSAL HAS THE PICTURES" "I'll Show You the Town" REGINALD DENNY is romping all over the screen in one of the most delightful of comedies, "I'll Show You the Town," at the Forum this week. If there's any lingering doubt in your mind about Denny being an infectious, utterly beguiling, irrepressive, insouciantly gay comedian, then try this film as proof positive. When one hilarious situation after another is packed into the story and Denny is still able to top each one by his own antics and clever expressivenes, there's only one answer — he's a real comedian. Just fancy an accommodating young man immersed in the throes of writing a book, who, much against his will, is forced into showing the delights of the town to three women on the same night. One is a wealthy widow trying to make up her mind to which charity she shall contribute. Another is the lonesome wife of a very busy friend, simply craving excitement on her birthday. And the third is a ridiculously wealthy and tormentingly beautiful young girl from the West. And all the while, a former fiancee, now married, is seeking: refuge in the bachelor's apartment from her suspicious and pugnacious husband. Well, any man who can entertain, in a thorough way, three women on the same night in the same cafe without any of them knowing of the others' presence, is a positive genius. And Denny is — almost. Just a careless waiter misplacing a piece of ice and the whole net of intricately woven excuses and subterfuges comes tumbling on our hero's slightly intoxicated head. The cast is irreproachable. If Harry Pollard, the director, is responsible for the selection another prize mark should be chalked up for him. All the way from Denny down to the unmentioned head waiter they are excellent, so much so that it's difficult to name any individual as outclassing the others. Denny, of course, is the most prominent by token of his leading role. Marian Nixon indicates just the right degree of charm and petulance in her role. Cissy Fitzgerald is amazing. She doesn't look a day over 32 or 33 and those luscious, big brown eyes of hers are just as active and tantalizing as ever. Her work is so finished and poised, she gives an added bit of seasoning to the concoction. Margaret Livingston deserves many a word of praise for her work, although it couldn't have been very fatiguing. During the latter half of the film she is transported about in various men's arms. Lilyan Tashman is shown in a new light as a comedienne. — Los Anqeles Times. (Length: 7,396 ft.) "Fifth Avenue Models" By ALMA TALLEY THE Piccadilly this week has a particularly good program, headed by "Fifth Avenue Models," a Universal Jewel. It is a film that will please everybody, with an excellent story, well constructed and directed, and a good cast. The plot has to do with a girl's devotion to her father, who paints pictures that no one will buy. The heroine, a fitter in a modiste's shop, is drafted into service as a model during an exhibition. While displaying a gown, she has a row with another mannequin and the feathers begin to fly — the feathers being on the gown. Of course, the frock is ruined; she is fired and told that she must pay for the dress. So her father accepts an offer from two crooks to accompany them to a millionaire's home and point out to them a newly purchased Rembrandt— on their pretense that they wish him to copy it. Of course, he is caught, though the thieves escape, and is sent to prison. His daughter visits him every week-end to take him painting materials. Her new employer, an art connoisseur, has fallen in love with her, and when he calls on Saturday night, a neighbor informs him that she stays out every Saturday night, leading her suitor to suppose that she's not such a nice girl after all. But, of course, it's all fixed up for the happy ending, with the artist recognized, and the girl marrying into one of the best families. The story was adapted by Olga Printzlau from Muriel Hine's novel, "The Best in Life." Svend Gade has done an excellent job in directing: the interest is steadily maintained throughout, and the characters seem real and lovable. The highlight of the film is the hair-pulling match between the two models, which is great stuff. And there is a fashion display which will get over big with the feminine half of the audience. Mary Philbin is sweet and charming as the heroine who has never been kissed. Norman Kerry is an attractive hero, and Josef Swickard plays "The Man in Blue9' COLORFUL atmosphere, fast action and good incident feature this romance of a cop and an Italian girl. The man in blue, splendidly played by Herbert Rawlinson, has his own troubles with sons of sunny Italy — to say nothing of a horde of politicians, but he wins out — of course he does, and you will have an enjoyable time watching him do so, for the story is full of real romance, honest humor and genuine heart interest. Madge Bellamy is a delight to the eyes as the Italian girl and does some capital acting. Boost this one, it will bring results. — The Spotlight. (Length: 5,706 ft.) "The Saddle Hawk" HOOT GIBSON and his troupe of galloping stuntsters are playing hosts at the Cameo in a photoplay entertainment billed as "The Saddle Hawk," a nifty thriller of some six or eight reels, in which the eminent puncher of cows runs the gauntlet of hard experiences from sheepherder to cowboy. Gibson followers, who relish the brand of westerns dispensed by the youthful saddle-rocker, will have no kick coming if they patronize his latest offering. It abounds in thrills, spills, and fun enough to go around the auditorium at least twice. "The Saddle Hawk" is undoubtedly one of the fastest, snappiest film attractions in which the Gibson lad has ever appeared. The story is full of drama, adventure and romance, such as one might expect to find out in the great open spaces. — Los Angeles News. (Length: 5,468 ft.) the struggling artist with a great deal of pathos. Smaller roles are well played by Rosemary Theby, Betty Francisco and William Conklin. Unlike many distinctively "boxoffice" pictures, "Fifth Avenue Models" will not insult the intelligence of a high class audience. The plot is logical and consistent without any annoying incongruities. And for fans who like glamor in their pictures, this lavishly mounted production toes the mark. So, taken all in all, from a box-office standpoint, there's nothing wrong with this picture. — New York Telegraph. (Length: 6,581 ft.)