Variety (Jan 1933)

Tuesday, Januaiy 3, 1933 FILM REVIEWS VARIETY 19 Talking Shorts CLARK and MoCULLOUGH 'Jitters, the Butler* Comedy 18 Mine. Academy Radio Despite that Bobby Clark's antics With the same old cane and cigar, plus the painted glasses, and Paul McCuUough's stooging, are agey, the team raises a lot of laughs In this two-reeler. Even their man- ner of delivery goes good on the screen in this instance, and the dialog is both fast and snappy. Material is better than is to be found in the average two-reeler to- day. In 'Jitters the Butler* with a butler who seems to have a servll- iari indifference toward a kick in the pants, the story is along novel lines, fitting the Clark-McCullough team snugly. Boys are street cleaners having their fun. When they accidentally toss a firecracker into the street cleaning commissioner's car, they're fired, only to become involved in an auto accident with the Commlsh's wife. Believing them hurt, she takes 'em home and they crash a party at which the husband eventually turns up. There is considerable kicking, cOat-tearing, etc., which isn't so funny, but on whole short digs up enough laughs to compen- sate the average audience. ' Mark Sandrlch directed and if in no other way at least earned ^sredit for keeping the short on a fast- moving basis. James Finlayson and Dorothy Granger are included in the supporting company. Miss Granger ^s an impressive figure. Char. Alexander GRAY and Beiuiice CLAIR 'The Red Shadow* Operetta Novelty 19 Mina. Hollywood, N. Y. Vita. Nos. 1471-2 Looks like a cheater with someone having gotten the idea 'Desert Song' operetta offered some possibilities for a two-reeler. Besides not being original material for the screen, short iB short as an entertainer. It won't arouse much enthusiasm any- where. While okay on the song numbers, from the - story viewpoint pretty weak. Apparently same sets as used in Warner Bros.' production of 'Desert Song' as a feature; are used over again. Alexander Gray does the sol- dier with the inferiority complex masquerading as the 'Red Shadow/ with Bernice Clair as the girl. The plot has little suspense and less ex- citement. Both Gray and Miss Clair record impressively in a vocal way, singly and on doubles, and an effort has been made to give two-reeler some production value with a lot of girls used in the tent scene. Char. HOLLYWOOD ON PARADE Novelty 10 Mine. Projection Room, New York Paramount There've been numerous shorts on this line, and all flops, because it's too hard to keep the items timely. Also difficult to -1|ceep them from looking scrappy. This one has a title used on the radio for a regular commercial broadcast, which might help iden- Itfy it for customers. Skeets Gal- lagher is the m. c. and about eight subjects are Introduced, all inter- spersed with orchestral numbers by Eddie Ldimbert's band, with Lam- bert doing comedy in each number. Introduced as celebrities are Ivan liebedeft, Claire Windsor, Vivian Duncan and her baby, three of the four Marx brothers, and Flfl D'Or^ ■ay. All for just short flashes, do Ing nothing much and meaning less than that. Kauf. SPORT THRILLS Ted Husing 8 Mins. Hollywood, N. Y. Vita. No. 1489 Bike racing and the Pendleton <Ore.) rodeo form the subject mat ter of this latest release in the •Sport Thrills' series with Ted Hus Ing doing the narrating. An inter, esiing flller and suitable to plug the holes on any program. Without identifying locale or time of the bike race, sprinters are well photographed In action. It's an out- door track somewhere. In the Pendleton rodeo sequence the film is often stopped on a try for novelty and laughs as a cowboy is In mid-air going off a bronc's back •r in some other odd position. Char. THE DENTIST' W. C. Fields 20 Mins.; Paramount Sloppily tied up comedy that might have been something, but misses because of a seeming lack of pur pose. Wanders from subject to sub Ject, with very little logical excuse, thereby missing linear development Some of the situations very funny, however, and short will serve for filler purposes. Fields Is a dentist with a grouch, First he's on the golf links with everything somehow being turned into gag situations, then into his home and office for more. Some of those dental scenes good fun, but all seem slow, with Fields giving the impression he's Just walking around wisecracking and not car- ing much one way or the other. It could be trimmed down to corking one-reeler by dropping out all the unnecessary footage. Kauf. •THE ROOKIE' Tom Howard Comedy 10 Mins.; Projection Room, New York Paramount Sloppy Comedy made passable by Tom Howard's work. His phiz in shorts is funny, anyway, and his mannerisms never fall to please Here he's saddled with a pretty hopeless situation, but he almost gets away with it. Howard is the wise detective that goes out to break some rookies In Bumps Into jewel store robbery and of course, helps the crooks and is robbed himself. Kauf, 'HAWAIIAN FANTASY' Vincent Lopez band mins. RIvoli, N. Y. Paramount A capital idea ' here is used, scheme being to place a musical group in surroundings suggesting a scenic travelog. Opens with the orchestra in a seashore grove of tropical aspect and all in Kanaka costume. Cuts to a quintet of male singers, also In garb of the islands, with accompani ment of the orchestra off screen. Thence to the ^nd there are alter- nate views of siihlit p'alins, fine bits of marine views, dashing surf and the singers. All ends with the full band and singing group posed in palm grove and Lopez wandering about leading the musicians. Numbers are all appropriate, with native Kanaka melodies featuring steel guitar harmonics, and promi- nent in the music plot is 'Pagan Love Song.' Rush. SING 'EM BACK ALIVE Novelty Cartoon 7 Mins. Projection Room Master Arts Swell short here that ought to make easy selling. Eton Boys, quartet, do the singing, with Lew White playing the organ, and the whole thing backgrounded by a car tooned burlesque of the animal thrillers. Four songs, beautifully banged out by the Etons in one two style, with no stops and olcay all the way. Only possible objection is the matter of penmanship In the car toons, which in one or two spots is sloppy but not enough so to hurt. Words of the songs are superlm posed on the screen for the benefit of the few in the audience who are dexterous enough to follow the music and sing along. Kauf. ROUND THE WORLD IN SONG Novelty 8 Mins.^ Projection Room Master Art Good filler material and along i new vein. Title pretty well tells the story. It's a sort of round-tbe world travelog in song. Eight songs used, showing Broadway, France, Spain, Germany, Russia, Japan, Hawaii and California. Songs are Sung by Sid Gary and the 'High Hatters' quartet, with Don Wallace playing the organ and Norman Brokenshlre connecting the vari ous items smoothly by some chat tor. Words of the songs are flashed on the screen as they're sung, while backgrounded is a bit of action photographed, to lend atmosphere Kauf. 'TIME ON MY HANDS' Ethel Merman Cartoon 10 Mins. Projection Room, New York Paramount One of Max Fleischer's song-car toons with the bouncing-ball busl ness and Ethel Merman singing the main theme. Nicely handled for pretty good results, with the ball over each syl lable of the superimposed chorus to lead the audience for join-in pur poses. Kauf. 'WALPr Indian Dances 8 Mins. Cameo, New York Principal Hopi Indians, In person, have per formed their dance routine in so many public parks that many audi ences will find little that Is new liere on the screen. This short is In Cinecolor which like the average- color, only makes it a little more difficult to differ entiate. Waly. Miniature Reviews 'Animal Kinoctom' (Radio). Good women's picture with fine acting by Ann Harding and Leslie Howard. Torrid sex stuff suavely treated. Opening new Roxy feature a sales point. 'No More Orchids' (Col). Carole Lombard featured and while otherwise lacking mar- quee distinction, pic is a pleasing programmer in the '33 manner. ' C y n a r a' (Goldwyn-UA). Stage play beautifully screened. Fine acting by Ronald Colman and splendid cast. Romantic tragedy of special Interest to women gives subject excellent rating. 'Lawyer Man' (WB). Good picture in the lawyer cycle, on whole well done, and should prove but at the box office. William Powell the whole pic- ture but bad casting in pick- ing Joan Blondell as his oppo- site. 'The Half 'Naked Truth' (Radio.) Better for the wise cracking younger element, al- though containing a few laughs for the average adult. 'No Man of Htsr Own' (Par). Entertaining film with na- tional appeal and draw. Clark Gable the b. o. bait, in addi- tion to title. 'Slightly Married' (Chester- field). Good names but stale plot to back up fair produc- tion value. For the lesser houses and can single there, 'A Man's Land' (AlUed). Western picture well done but without novelty. Okay where they like 'em. 'Devil's Playground' (Prin- cipal.) Just another fishing ex- pedition with nothing that has not been shown before. 'The Son-Daughter* (Metro). Helen Hayes and Ramon Na- varro co-starred in a tragic Chinatown romance that miss- es on old-fashioned story. titles, this time in two cases where more illuminating titles would have been better. Ann Harding does a brilliant bit of playing here, demonstrating that she was the perfect choice for the role of the ex-mistress, a part the right handling of which is vital to the whole story. It's treatment has to be quietly persuasive In contrast to the showy acting opportunities of the wife and the character of the other woman has to win sympathy while in an equivocal position. Les- lie Howard plays the husband with his always acceptable simplicity, while Myrna Loy makes a vivid figure as the Lorelei wife. William Gargan is first rate as the ex- pugilist serving as a makeshift but- ler, and Henry Stephenson Is a like- able old man. Technical production is always satisfying without production flour- ish. Rush. CYNARA NO MORE ORCHIDS Columbia production rind release featur- ing Carole Lombard. Directed by Walter Lancr. From Orace Ferldns' novel ot same name, adapted by Keene Thompson: screen play by Gertrude Purcell; camera. Joe August; assistant director, Snm Nelson. At the Roxy, N. T., week of Dec. 80. Anne Holt..' Carole Lombard Tony Lyle Talbot Bill Holt Walter Connolly Oran Holt Louise Closscr Hale Dick Allen Vincent Rita .Ruthelma Stevene Cedric C. Aubrey Smith Serge Arthur Houseman Burkehart William V. Mong Merrtwell Charles Hills Malls Prince Carlos , Jameson Thomas Captain of Ship Ed Le Saint Cannon William Worthlngton Benton (Butler) Broderick O'Farrell Housekeeper Belle Johnstone Modiste Harole Mlnjulr Holmes Sidney Bracy ANIMAL KINGDOM Radio production and release directed by Edward H. Grlffltb. Ann Harding and Leslie Howard co-starred. Krom FhlUp Barry's play of the same name with adap- tation by Horace Jackson. Cameramen, George Folsey. Opening feature at RKO Roxy In Radio City, Deo. 29. Running time 00 mine. Daisy Sage Ann Harding Tom Collier Leslie Howard Cecelia Henry Myrna Jjoy Owen ; Nell Hamilton Regan WUUam Gargan Rufus ColUer Henry Stephenson Grace Ilka Chase Franc litnl Stengel Joe k i...Donald Dilaway A wise and engaging picture ad- dressed to the upper levels of fan- dom, excellent selection for the opening of the new deluxer and should be pointed to the money re- turns it really merits, due to a com- bination of circumstances. This happy augury lies in con- siderable part in the hook-up of its premiere with the nationally trumpeted dedication of the RKO Roxy. Choice of the feature for this event is bound to win it mass attention from coast to coast Pres- ence of Ann Harding in another Philip Barry play, with its possi- bility of capitalizing its predecessor, 'Holiday,' added asset. And finally the element of word of mouth will operate as strong sales Impetus. These favorable angles erreatly overbalance the handicaps of a vague and perhaps misleading title and the fact that the story is a bit fine and subtle for the generality. In its acting and direction class stands out all over the production. The story hasn't the wide appeal of 'Holiday,' but in compensation for its lack in that direction it has strong sexy angles and its theme of a wife who practices the selflsh wiles of a mistress in her losing campaign against the Other Woman will have an arresting interest for the more mature femme fans, in- deed, for femme fans of all ages. The flnal scene, in Its surprise and curt completeness Is worthy of an O. Henry story tag. The woman- against-woman tension has reached a breaking point between the self- seeking wife and the mistress-pal, intent only upon the man's welfare. The husband has been maneuvered by his siren mate Into a position where he must sacrifice his future or break away. The Issue hangs in doubt for a space as he ponders the question of wife upstairs or mistress in the distant city or maybe the question which is really wife and which is mistress. Decision comes when he takes up his hat and replies to the butler as he de parts, 'I'm going back to my wife,' meaning the other woman. Picture Is the second stage adap- tation this week that retains the original name, although neither is desirable for picture purposes. The t>ther is 'Cynara' at the RIvoli. Ap patently Just a Hollywood whim to reverse the custom of revising Samuel Goldwyn prodi^ctlon. United At» tlsls release. Starring Ronald Colman. Kay Francis featured. Directed by KInff VIdor. From stage play of same name by H. M. Harwood and Robert Oore-Brown. Adaptation by Frances Marlon and Lynn Starling. Cameraman, Ray June; film edi- tor, Hugh Bennett. Original source, Rob- ert Ooro-Brown's novel, 'An Imperfect Lover.' At RIvoH. New York, Dec 24. Running time, 78 mins. Jim Warlock Ronald Colman Clemency Warlock Kay Franeia Doris Lea Phyllis Barry John Trlng Henry Slephenson Mllly Miles Viva Tattenall Gorla Florlne McKlnney Onslow Clarissa Selwyn Joseph Paul Porcaal Mr. Boots George KIrby Henry Donald Stewart Morton Wilson Benge A nice little program picture, High society stuff in reverse Eng- lish, with an ultra modem touch throughout. Looks and acts more costly than the production budget probably discloses. No wow for the deluxers, but will please in a key spot like the Roxy with strong stage support, and more than sat isfy in the lesser A spots. A woman's title and a woman's type of picture, the men steal it, al though Carole Lombard acts up much better than has been her wont. But Lyle Talbot's opportuni ties in the pursued male role, and Walter Connolly's deft work as the self-sacrificial father, are the high spots. Title is derived from the spoiled Anne Holt's abjuration of orchids and all the luxury this typifies in her pursuit of the poor Talbot who refuses to become another amorous Incident in the social butterfly's career. Against this background is Connolly with a failing bank, a high pride which keeps him from asking Lombard's uncle (C. Aubrey Smith) for financial aid, and the added men- ace in the form of a foreign prince- ling, indifferently played by Jameson Thomas. Story moves fast with the action stuff aiding not a little in the un- folding of this fairly engaging ro- mance. While obvious in the main, its manner of treatment sustains it on the whole. Talbot is one of those Gable-Brent personalities; a proud, brunet male who has the heroine chasing him. Louise Closser Hale as the spry grandmother is his ally and about the only other important player in the doln's. Stqlth, usually a prom- inent participant In any celluloid proceedlngrs, is rather trivial here, and not particularly convincing as the hardboiled moneybags who, hav- ing a great affection for his niece, Insists on the foreign alliance with the prince. Technique more than adequate in every respect, skillful cutting down to the 66 mln. footage helping it all along very nicely. Abel. Goldwyn this time comes through with a class production that also has wide appeal. Stage play has been put on the screen with beauti- ful balance of directness and sim- plicity. It finds Ronald Colman in probably the best bit of clean-cut acting he has done since 'Raffles,' not excepting 'Arrowsmlth.' Cast is admirably even and satis- fying in support, and the story, even in its restrained playing, takes hold early in its telling and holds its grip to the last. Treatment leans heav- ily to the British ideal of maintain- ing a calm and mannered surface that only shaxpens the suggestion of emotional tumult beneath. Ordi- narily the device weakens a tale for American fan purposes, but here the play makes its point in spite of it, largely because it has to do with gallant and likable people—Colman's very human husband, Miss Francis* glamorous wife, and the eager young London shop girl who stumbled into being the other woman without very well knowing what she was doing, ^ and afterward paying bitterly for* her wayward impulse. Story really is a romantic tragedy built out of a minor bit of philan- dering. A Frenchman would have made it into high comedy, but this serious and sympathetic handling gives it powerful appeal for the women fans, and therein lies its. prospect for commercial success. That and the genuinely moving sin- cerity of its acting. The screen version can afford to soft pedal the acting possibilities, for it has a wealth of detail to bring the people into. closer focus than was possible in the stage version. Just as an example, the summer re- sort swimming contest that bring the barrister-hero and his shop-girl mistress together for the second fatal time, is a graphic episode and built up splendidly to give the som- bre tale a light touch of comedy. A score of other intimate touches Im- possible to the stage help to mako these screen people Intimately per- sonal. Picture retains the arrangement of prolog and epilog which was rather a puzzle In the ^tage version but fits better for screen purposes, helping to tie loose ends of the nar- rative. Only in the picture the start and end are in Naples instead ot Capri. The coroner's inquest sequence in the picture i.s a model of brevity in dialog, conveying a maximum of dramatic effect with the utmost economy of words and practically no action at all. Tenseness of the pas- sage is strangely conveyed by the very terseness and immobility of the actors. Never did a court-room scene deliver quite the degree of dramatic tautness with so little ap- parent histrionics. The same is true of many other sequences. The family friend is played by Henry Stephenson, who had the same role in the stage play and came within a narrow margin of stealing the honors. Here he is ex- cellent, but falls into the proper balance of a perfectly patterned cast Production Is in all respects worthy of the quality of the play (Continued on page 27) The Woman Angle 'Cynara' (U. A.). Ronald Colman in a well knit class story presents the man's side on casual marital infidelity. His charm and sensitive playing captures all the potential femme sympathy in a subject replete with femme appeal. 'Rasputin and the Empress' (MGM). Three Barrymores and title promise a lot to the ladles, but story unreels with only occasional punch, too little conviction and negative romance. Girls may be impressed with the layout but disappointed In the results. 'Lawyer Man' (W. B.). William Powell's femme devotees will approve of him in an engaging characterization though his escapades here are repetitious and lacking in the simple dramatic bulld-up that drew the gals to preceding lawyer pictures. 'The Animal Kingdom' (Radio). Leslie Howard and Ann Harding, qual- ity and polite sex. It all winds up Just as the girls would have it, there- fore a romance generous with femme appeal. 'No Man of Her Own' (Par). Clark Gable as a hit and run sweetie until a good girl teaches him true love. No boiling—femme lead and' contrived story not quite strong, enough for that—but enough sizzling to keep the ladles entertained. 'No More Orchids' (Col). The ladies have long since ceased to tarn about the poor little rich girl suffering amidst sables. Trite and talky, this one's clothes are not enough to revive their Interest.