Universal Weekly (1928-1930, 1933-1936)

32 Universal Weekly July 6, 1929 1 We've Got What ■ You Have To Have ♦ ‘‘Broadway” Opening Is Triumph for Laemmle, Jr. ( Continued from page 25) pleasing eyeful, but are sure to make even the most astute movie fan take an extra gulp. ****** REDEMPTION Paul Fejos has done a splendid job of directing. Dr. Fejos’ groupings are impressive and he has built up personalities of the players and the scenes to a great extent. Unusual camera shots, through use of a gigantic crane many feet in the air, gave an odd but bizarre touch to the film. Maurice Kussell has directed the dances and arranged some original routines with his company of gorgeous and graceful ladies of the ensemble. And, by the way, there are several live tunes, including “Hittin’ the Ceiling” and “Sing a Little Love Song,” rendered by the principals which probably will be whistled and sung by the fans. THE CAST The performances are of high standard. Several of the players have been chosen from the original stage play and make their talking debuts in their original roles. Evelyn Brent creates a striking study of the lifewearied chorus girl, Pearl, whose fiance is killed by the unscrupulous gangster. Miss Brent’s scenes are finely touched with restraint and quiet force. Particularly in her denouncement scene, where she shoots the gang leader, is Miss Brent vivid. Thomas Jackson plays his original characterization of detective Dan McCorn and makes it a thoroughly likable, human and calm figure. His characterization is strong and real. Paul Porcasi is another stage recruit and plays the cafe owner excellently . Glenn Tryon as Roy Lane is thoroughly likable and handles his dialogue realistically. Mema Kennedy as the girl plays it for all its worth, and even though the characterization is that of a dumb chorus girl, she makes quite an impression. An old friend is welcomed back in the appearance of Robert Ellis, whose strong study of the gangster is perfectly handled. And Betty Francisco makes a big impression as a hard-boiled chorus lady. LOS ANGELES EXAMINER By Louella 0. Parsons THE ADVENTURES of Carl Laemmle, Jr., with his million dollar plaything, “Broadway,” have been related with various highly colored versions. Probably it is the first time in the history of filmland that a twenty-one-year-old boy has been intrusted with so pretentious a production. Last night at the Biltmore Theatre, filmland’s best and bravest gathered to see how the son and heir of Carl Laemmle, Sr., has accounted to his parent for his exceptional trust. Looking at “Broadway” with the cold, critical eye of a reviewer, and eliminating all personal sympathy and sentiment, I do not see how the boy’s worst enemy could accuse him of failing his father. I should like to congratulate Carl, Jr., on his debut as a producer. “Broadway”, in many ways, is the best picture Universal has ever presented, and certainly a talkie that ranks with the best of the recent output made by any other companies. The stage play by Philip Dunning and George Abbott created a sensation when it was produced in New York. Dealing with those hectic phases of our modem life, bootlegging, hijacking and a convenient night club that acted as a shield for the lawbreakers, “Broadway was the first play of its kind to offer entertainment that was daringly real. It presented a certain side of Broadway life heretofore unexploited.