Universal Weekly (1928-1930, 1933-1936)

Vol. 29, No. 22 Universal Weekly 25 ‘‘Broadway” Opening in Los Angeles Scores Triumph for Laemmle Junior LOS ANGELES EXPRESS By Monroe Lathrop THE HUZZAS in this city of incessant cinema excitement last evening swung over to Fifth and Grand to give “three cheers and one cheer more” for the doughty Carl Laemmle and his namesake and chip off the old block, who is now the junior manager of the oldest movie plant. Universal’s chief brought forward his latest prodigality “Broadway,” and as most of the old favorites of the films, at one time or another, have marched under his banner, they were present in a phalanx to demonstrate their interest and good will. * * * * The Biltmore Theatre was brilliant with fame and fashion, which were rewarded with a show that revealed the best work, weighed as a whole, yet to come from the Universal studio. “Broadway” is no anti-climax to “Show Boat.” It is even better entertainment, much more stirring. Laemmle is reported to have paid the record price of $350,000 in the bidding for the stage play. To that sum has manifestly been added an even larger one in its cinema elaboration. Its whole effect is of the kind that will bring joy to the exhibitors of the country. What was merely a melodrama is now that plus spectacle, partly in color. The story of the original, from which much pilfering has been done by plagiaristic producers in the making of night-life films, is retained. It remains better than its counterfeits. * * * The spectacle is provided by the addition of a wondrous cabaret which looks as large as the interior of the Shrine Auditorium. Its immensity is nothing, however, to its bizarre character. The vast interior is done in expressionistic angles and colors. It is a veritable cathedral of jazz. Over and around the spectacular area swings the movable camera catching a trail of shots such as the inventive German pioneers in this stunt never dreamed of. . . . EXHIBITORS HERALDWORLD LOS ANGELES, June 18. — “Broadway” opened at the Biltmore Theatre last night to a packed house. Its opening was a Western triumph. Carl Laemmle. Jr., deserves the majority of the laurels for it, but the cast, won tribute last night as the audience indicated its approval of each individual. Paul Fejos directed the picture. The story is a repetition of the stage play story with the addition of music at not infrequent intervals. That “Broadway” story is a gripping thing that has been the basis for more than one story, play and scenario. Incident has been lifted from it in almost wholesale manner to build up various pieces of late. And oddly enough, the pieces that have inherited it have all been successful. It has been one of the most original stories that we have had this decade. Excellent Music Offered The music is excellent. Glenn Tryon and Merna Kennedy are the song and dance team that work themselves into the limelight by their toes and talents. Voices Suitable to Role Tryon’s voice is easily suitable to the role. His support in unwinding the story is a chorus of five girls — all of whom are good actresses. They are Merna Kennedy. Edith Flynn, Betty Francisco. Ruby McCoy and Evelyn Brent. With Merna Kennedy an able heroine, Flynn, Francisco and McCoy 100 percent character chorines, and Brent a good “heavy,” Fejos could not have missed. — Douglas Hodges. There may be some to carp that the spacious palace of revelry is not the Manhattan sweat-box cabaret of reality. But what of it? Pictures are made for entertainment purposes. And why should “Broadway,” the play, be too sacrosanct for liberties with its stage limitations? The colossal conception of this night club is a mixture of extravaganza with realism. It represents the spirit rather than the facts of the Great White Way, the concentrated glitter and false glamor that draw and singe the human moths from all over the country. * * * The plot and (with necessary editing) the dialogue of the stage play are retained. Important episodes, like the vendetta of the bootleggers, and the killing of “Scar” Edwards and the tragic fate of Steve Crandall, gang chief, at the hands of “Scar’s” girl, are fully as effective as in the original; they are even heightened by the contrast of the revelry in front and the tragedy back stage, which the play couldn’t show. Glenn Tryon plays the conceited but likable youth remarkably well, and the role has the value of his natural magnetism. Two distinct assets of the picture are Thomas Jackson and Paul Porcasi, who played Dan McCoon, the detective, and Nick Verdis, the cabaret proprietor, in the original and are now vivid characters in the excitin moments. * * * Robert Ellis gives a memorable performance of the swaggering brutality of Steve Crandall. The qualities that have made Evelyn Brent popular seldom have a chance to shine as the bitter Pearl, but she is faithful to the characterization. Merna Kennedy is the “good” girl Billie Moore, and as such has a tepid part. Otis Harlan stands out as “Porky.” The direction of Paul Fejos is intelligent and of large, capable grasp on the whole. With an excellent adaptation by Edward T. Lowe, Jr., and superior photography by Hal Mohr, he has made one of the pictures of the times. LOS ANGELES DAILY NEWS By Eleanor Barnes PERHAPS it was natural that “Broadway,” the celebrated stage sensation with its wicked, witty and wise lines, should be translated to the silver screen in its entirety — especially as an audible, for its exciting, compelling plot, known to almost every theatre-goer, makes admirable movies. The film closely follows the play in most particulars, especially as to dialogue and situations, but in screen form it becomes more elaborate, more graphically related than the stage could even touch. Universal’s picturization will prompt the “oh’s” and “ah’s” of many a movie fan. * * * The settings are unbelievably gorgeous. Gigantic, colossal, magnificent, amazing are but a few of the adjectives strong enough to describe them. And when the color sequence is presented at the final reel, the many bright hues of the backgrounds are a ( Continued on page 32)