Variety (Jun 1935)

12 VARIETY FILM REVIEWS Weduesday, June 12, 1935 Oil for Lamps of China Cosmopolitan production and TViirncr rc- lense. Features Pat O'Brien, Josephine Hutchinson. Directed by Mervyn Lelloy, Screen play, Lnird Doyle; from novel by Alice TlBdalo Hobart: camera, Tony Gau- dlo. At Strand, N. T., week June 0, '35. Running time, 05 mine. Stephen Chose ...Pat O'Brien Hester - Josephine Hutchinson Alice ...Jean Mujr Don John EIrtredgc Jim Lyie Talbot No. 1 Bobs ; .Arthur Byron Hartford ; Henry O'Neill MacCargar Donald Crisp Bunsy Ronnie Cosby Kin Willie Fung Kendall ....George Meeker. Dan Edward McWade This atory, In book form, was one of the country's best' sellers for over a year and caused a lot of talk. In tra:nsferrlnK It to screen the Aim- ers have taken many liberties, so that it evolves as a choppy, lonp, and sometimes confused yarn. Pop- ularity of the novel should help, but It will need all the publicity It can get. Ordinary cast name strength also a handicap, so that it looks as if the film will be push- ing uphill all the way, without quite makini; the grade. Its best chances may be In the keys. About 30 minutes clipped since the preview. It makes the story jumpy and In at least one place, 'where the wife.suddenly returns to her husband. It's mystifying. Yet, It is obvious that the cutting had to be done. Miss Hobart's original was an In- dictment of a great oil company for Its subjugation of its employees. Film switches that around to a man's blind struggle against mis- treatment, dishonesty In offlclals, personal misfortune, and rank de- ception on the part of his officers, with nothing more than faith In 'the company' as his wand. 'The company always takes care of its men' is the motto that Pat O'Brien has learned and believes. Eventu- ally, he thinks, the company will come to his rescue. And the com- pany does. But far-fetched la the finish of the managing director, from New York, telephoning Shang- hai to see that justice is done to the boy. So what the treatment amounts to is a lessening of the poison against the oil firm. Picture carries a printed foreward that no spcclflo company or person is In- tended. Also several things In favbr of the picture, among these being the act- ing and photography. O'Brien has never before topped his perform- ance here. It Is a sincere and honest characterization. Josephine Hutch- inson, opposite, Is equally effective. It la her most important film as- signment to date. Her speech is curiously brittle and, at times, too legitimate, but her control and emo- tional 'displays are bound to Im- press. Photography is exceptionally fine, a few shots where shadows are employed-being surprisingly effec- tive. / • Story Is laid practically entirely In China and Is okay productlonally. The Atlantis OH Company has sent O'Brien over there to sell oil to the Chinese. Because he's saving the company some money his first baby dies in childbirth. Because his best friend has lost a minor sales con- tract he fires him, etc. Comes the revolution. The rebels try to take a few thousand dollars of the com- pany's money so he risks his life, sees his assistant shot, ia badly •wounded himself, and is in a hos- pital for months. But he saves the $15,000. When he's out of the hos- pital he's rewarded by being de- moted. And then the ending Btralghterilng everything out. In minor roles Jean Mulr and Arthur Byron are strong contrib- utors, while other good perform- ances come from John Eldredge, Lyle Talbot and Willie Fung. Kauf. the obvious barriers, and, coupled with Jean Arthur's undeniable char acterlzatlon as a fast-speaking, forthright young woman, It takea on a distinction all Its own. Joseph Spurln-Callela's screen debut Is likewise auspicious. Cur tailed to Joseph Callcla, this legit recruit who clicked In last fajl's 'Small Miracle' (gangster play) does a consummate Job as the arch menace Into whose confidence the G-man has wormed himself. Action opens fast and tense on how a prison break Is plotted and successfully achieved. It develops that It's all art of the scheme, to get Sonny (Callela) out of confine merit on a relatively minor rap. In order that Chester Morris (pseudo- convict, and co-consplrator with Callela in the break) might ferret out the Purple Gang's retreat. That's the first indication that Morris is a Fed. Follows a sequence of melodrama- tic events that closely parallel the lurldness of bad man exploits In re- cent years which have highlighted the national press. The Purple mob- sters are paralleled In true life. Dllllnger and other noted public enemies are recognized from their screen-recorded exploits, including . the denouement where Callela, after a facial operation, is trapped in a southslde Chicago vaudfilmer and finally annihilated. Lionel Barrymore as the dip- somaniac medico who is sympa- thetic with the mobsters so long as he's kept in constant liquid satura- tions gives a memorable perform- ance as a sometimes lovable, ever professionally competent but tragic figure of a surgeon who might have been great if not for the booze. The situation where the G-man donates lite blood In order to keep the No. 1 Public Enemy alive so that he may be later destroyed with all of his gang, is one of several punchy se- quences. That's all part of the de- tail which Morris must follow through In order to gain the mob- ster's confidence. Jean Arthur's Introduction to the scene Is plausible and her playing further cinches it. Paul Kelly as the G chief and the rest of the sup- port more than make their contribu- tions stand up. Whatever intro- ductory dubiousness exists concern- ing some of Lewis Stone's actions as the warden are explained with the denouement that It's all part of the plot to expedite a pseudo prison break on direct orders from the White House to wipe out the Purple gang. Modus operandi of the melodra- matic unfolding is punchy, on a par with the surprise twists. Produc- tion detail ultra. The reverse slant on the gangster cycle again proves that, as the name 'moving pictures' implies, the prime appeal of this type of film is that It's always a picture that moves. Action with plenty of rat-a-tat got 'em In the pre-repeal period of clnema- turgy, and is repeating b.o. values In line with the current national drive on all manners of outlaws. Abeh PUBLIC HERO NO. 1 Metro-Goldwyn-Maycr production and re- lease. Features Lionel Barrymore, Jean Arthur. Chester Morris, Jos. Callela, Paul Kelly, Lewis Stone. Directed by J. Wal- ter nuben. Original by Iluben and Wells Root; screen play, Root. Producer, Luclen Hubbard; music, Edward Ward; photng, Gregg Toland. At Capitol, N. Y,, week June 7, 1035. Running time, 00 mins. Doctor Lionel Barrymore riiercsa Jean Arthur Jell Crane ; Chester Morris Sonny Joseph Callela Duff Paul Kelly Warden Alcott Lewis Stone Mo.ie , Snm Baker Rufe Parker , Paul Hurst Butch .George E. Stone Truck river John Kelly Simpson Selmar Jackson Andrews Lawrence Wheat Little. Girl.. Cora Sue Collins Mrs. Hlgglns Lillian Harmcr Rates with the best of the G-men pictures. Lots of action, sound, story boxoffice romance values and a series of punchy situations, fur- ther enhanced by serviceable cast Interpreters, all combine Into rating 'Public Hero No. 1' for strong gate receipts. The romance angle perhaps dis- tinguishes 'Public Hero' above the others, for It's not dragged In too forcibly. Dramatic situations In- volving the hero-cop and the gang- ster's sister are perforce tinged with liberal theatrlcalism, but J. Walter Ruben ahd Wells Root, col- labing on script and directorial values, have plausibly hurdled all OUR LITTLE GIRL . Fox production and release. Stars Shir- ley Temple. Features Rosemary Ames, Joel McCrea, Lyle Talbot. Erin O'Brien- Moore. Directed by John Robertson. Pro- duced by Edward Butcher. From story, 'Heaven's Gates,' by Florence Lelghton Pfalzgraf; screen play, Stephen Avery, .\llen Rlvlcln; additional dialog. Jack Yel len; camera, John Seltz. At Radio City Music Hall, N. Y., week June 0, '35. Run nlng time, 04 mIns. Molly Mlddleton Shirley Temple Elsa Mlddleton Rosemary Ames Dr. Donald Mlddleton ....Joel MeCrca Rolfe Brent Lyle Talbot Sarah Boyton Erin O'Brien-Moore Circus Performer Poodles Hanneford Amy : Margaret Armstrong Alice Rita Owin Jackson onard Carey Mr, Tramp.,.,. J. Farrell MacDonald About the only one who gets be- hind this production and Injects into it some sense- of conviction and verisimilitude is little Miss Temple. Picture has Its bright and punchy spots, but they are few and widely spaced. Halting mummery of the support cast and draggy direction refiect the film's basic wenkne.'ts, tho story. But Shirley Temple's charm and flair for trouplng are given abundant chance and she should easily satisfy her following and as- sure business. 'Our Little Girl' revolves around the trite pattern of the.husband who Is too absorbed in his work to give his wife attention. The complica- tions follow when her loneliness gravitates her Into the arms of an- other. There Is a fourth corner, a nurse assistant to the doctor hus- band, but hers Is an adoration that never gets beyond the one-sided stage. Breaking throiigh the trc.it- ment .ire occasional amu.sing bits of dialog tellingly handled by • the tot star. Women will find the going hard on the tear ducts toward the end of the narrative when the child, overhearing a conversation between the mother and her admirer, realizes that she Is In tho way and decides to run away. Sentimental moments surrounding this episode come close to being, overdrawn, but otherwise the picture's pathos Is projected with tenderness arid restraint. What will get 'cm Is the child's penchant for gay, sympathetic laughter In the Miniatore Reviews 'Oil for Lampt of China' (WB). Long and choppy ver- sion of a best-seller novel. Lit- tle marquee strength will prob- ably mean light returns. 'Public Hero No. 1' ( Strong action meller. 'Our Little" Girl' (Fox). De- spite story, Shirley Temple's nariie and performance should carry It to nice business. 'Spring Tonic' (Fox). Hodge podge of hokum that offers no hope to distraught exhibitors. 'The Clairvoyant' (GB-Fox), Claude Rains In fantastic story with Fay Wray. Weak entry. 'Air Hawks' (Col). Strong aviation thriller of airways with Wiley Post, Ralph Bel- lamy and Tala BIrell. 'Circle of Death' (Kent), low standard western. 'Justice of the Range' (Col). Tim McCoy in cowboy mystery. Oke for dualers. 'Red Blood of Courage' (Am- bassador). Mountle gets, his men in above average, sad die- and-shooter. Oke for Its cate- gory. face of her suffering. As an added starter for smiles and human In- terest there's her little dog, Snifter. Joel McCrea and Rosemary Ames, as the scientist-doctor and the wife, make the most of a set of insin- cerely contrived characterizations. Little but lipservlce, however, is to be found In the performance of Lyle Talbot as the neighbor whose con- stant entertaining of the wife breeds all the trouble, and Erin O'Brien- Moore, as the doctor's office -as- slstant. J. Farrell MacDonald con- tributes an effective bit as the kindly tramp to whom the runaway child tells her sad story. Playing a niajor part in the plot is an Idyllic picnic spot called 'Heaven's Gate' at which the doc- tor, his wife and their youngster were wont to gather t\ylce a year. It Is In this spot that the parents, brought to their senses by the child's disappearance, find her and effect a reconciliation. Odec, CRIME ET CHATIMENT ('Crime and Punishment') (FRENCH MADE) Paris, May 27. General Productions production, distrib- uted by Grands Spectacles Cine. Based on novel by Feodor Dostoievsky. Directed by Pierre Chenal. Scenario and dialog. Marcel Ayme. Music by Arthur Honegger. At AgrlcuUcurs and Boneparte, Paris. Run- ning time, 110 mIns. Porphyrc Harry Baur Raakolnlkov Pierre Blanchar Sonla Madeleine Ozeray Mme. Raskolnlkov,..'. Marcelle Genlat Dounla., Luclenne Lemarchand Razoumlkhlne Alexandre Rlgnault Allona Magdelalne Berubet Loujlne ..Alme Clarlond Catherine Ivanovna Sylvic Marmeladov Delaltre Pollii.V Paulette Elambert Elisabeth , Catherine HessUng (/n French) •Crime and Punishment' rates tops. The adaptation 'by Marcel Ayme, who worked from the French translation by Chuzevllle, keeps everything In the book that makes a picture, discards the non-dra- matic novelist's material and at the same time avoids distortion. Ayme reveals that there is a swell detective story in 'Crime and Punishment,' in addition to the character and psychological study; for which the novel Is famous. Ayme, from the purely writing point of view. Is among the best current Frenchmen, and the others who worked on this atory are top- notchers, too. Arthur Honegger's music means a lot to the picture; hia sombre modernism Is just what Dostoievsky needs. Final note, the march to Siberia, Is done to a mod- ernistic adaptation of the 'Onward Christian Soldiers' theme that audi- tors will remember. Cast Is right down to the bits. Harry Baur has clicked in every film he's made for the past three years or more; as Prophyrs, the judge, he's one of the slickest psychological character detectives yet seen on the screen. Pierre Blanchar has the big part. He Is a superb actor. A few years ago he was one of the comers in French films. Then the Germans got hold of him and he began making French versions for UFA, most all'of which were pretty terrible. In this picture he redeems himself. Madeleine Ozeray, who played Tessa in Louis Jouvet's successful stage presentation of the 'Constant Nymph,' is all right, though noth- ing extra, as Sonla. Her name is rising in France, through a certain tragic charm she has. Among the others, Marcelle Geniat and Aime Clarlond arc topnotchors from French legit. Shows the advantage of a producing center such as Paris, in which studios and legit stage function side by side. Story Is told perfectly straight, starting with the murder, and end- ing almost Immediately after the confession In the police station. Murder la horrible, without being repulsive. Struggle of Raskolnlkov to get away from himself Is highly dramatic. Disadvantage from the American point of view Is that the film Is long and the dialog is important, making titling tough. Nevertheless, the specialized houses should not miss It. It's bound to grab off the literary and arty mob. And the film crowd should see it, to get an Idea of what Hollywood could do with the same story. There's a real picture ' In this Dostoievsky book, and the French have proved It, Stem, DANCE BAND (BRITISH MADE) (With Songs) London, May 30. B.LP. production and release. Stars Buddy Rogers; features Juno Clyde. Di- rected by Marcel Varnel. Scenario and dialog, Roger Burford; camera, Bryan Langley; art direction, David Rawnsley; music and lyrics. Mabel Wayne, Desmond Carter, Arthur Young. S'onny Miller, Jack Shirley. Previewed Prlnco Edward the- atre, London, May 20 '35. ' Running time, T5 mine. Buddy ^lorgan Buddy Rogers Pat Shelley June Clyde Steve Sarel Steve Geray Anny (Ginger) Mngda Kun Lewes Fred Duprez Jim Leon EHierkot The Drunk Ichard Ilearnc Spike Hnl Gordon Bourne Albert Whclan Dancers ....Jack Holland and June Hart Buddy Rogers cabled his agent here to attend the tradeshow of 'Dance Band' and report how it was received. He need have no mis- givings. It is. popular entertain- ment from start to finish, cut to a point where there is hardly a draggy moment. B. I. P. apparently went out to make a picture not only acceptable to the natives, but designed to ap- peal to the XJ. S. A. Story Is negligible, but there Is enough of It on which to hang a bunch of specialty comedians, every one of whom is a topnotcher. Rogers Is cast as a band leader who croons, dances and plays nearly a dozen Instruments. June Clyde directs a ladies orchestra, sings and steps.- Two Austrian comedians, Steve Goray and Magda Kun, who recently produced an excellent and almost successful revue at the Shaftesbury, contribute handsomely to the entertainment. Fred Duprez gives the best screen performance of his career as a dumb cluck booking agent, crook, liar and four flusher. Leon Sherkot, who scored one of the big hits in Coch- ran's 'Streamline,' does a bit of talk- ing and Introduces his pantomimic specialty. Richard Hearne, one of the big hits In a Leslie Hcnsoh show last year as an acrobatic drunk, re- peats this In amplified form. Jack Holland and June Hart, American ballroom dance team, scored big here In vaude and repeat in the pic. Elaborate settings, Intelligent di- rection, smart lyrics and catchy tunes. Big song hit Is 'Valparaiso' by Mabel Wayne (American) and Desmond Carter, which looks like It win travel far and wide. Jolo. SPRING TONIC Fox production and release. Features Low Ayres, Claire Trevor, Walter King. Zasu Pitts, Jack Haley, Mitchell and Durant, Siegfried Rumann. Directed by Clyde Bruckman; produced by Robt. T. Kane. Adaptation, Howard I. Young, from play, '.Man Eating Tiger,' by Ben Hecht and Rose Caylor. Screen piny, Patterson McN'utt and H. W., Hanemann. Comedy ifequences, Frank Grlflln. Music and lyrics. Jay Gorney. At Beacon, N. Y.. week June 3, '33. as holf of double bill. Running time, 55 mIns, Caleb Enix i,cw Ayres Betty Ingals, Claire Trevor Jose Walter King M'legle Znsn Pitts Sykes .Jack Haley Loin Tala Ulrell Matt Siegfried Rumann Grlften N.isher Frank Jlltchell Camebrldgo Nashcr Jack Durant This picture has every appearance of having been ad Ubbed by the cast while the director's back was turned. Everyone rolls his own for a total of inanity. All the hokum and horse-play of the Sennett era, plus a free translation of the Selig cat epics, are conglomerated here for a gag men's • picnic and zero enter- tainment. That it's a New York first run outside Times Square is the tip-off. What story there Is hangs on Lew Ayres as tlie timid soul who goes caveman in the last reel through ac- cidentally calming a tame tigress that has wandered away from Its circus habitat. Tiger, first Injected incidentally, becomes the pivot around which all events revolve. Ayres and Claire .Trevor are about to be wed, when the girl rebels against endless rehearsals of the ritual and, taking her maid (Zasu Pitts) into her auto, flees it all. Jack Haley, a reporter, lurking out- side the house, hitches himself to the gas tank and goes with them. He Is jounced off along the route, the girls finally landing at a desert- ed lodge which is headquarters for Mitchell, and Dur.mte and Siegfried Rumann, moonshiner.?. Meanwhile, Walter King, as a philandering circus troubadour in Spanish costume, walks out on Tala BIrell, a tlger-tralnlng spouse, who objects to his giving all the dames on the show a play. King, as a spite- ful gesture, liberates Mlna, the tlgre-ss. Both go on the prowl, King armed with a guitar and a yen to (Continued on page 41) Short Subjects 'A TRIP THROUGH GERMANY' Propaganda Scenie 20 Mins. Embassy, N. Y. Ufa Made In Germany, distributed here by Mary Warner, this Is un- sulted to general audiences, and what little entertainment value It might hold Is nullified by the bald propaganda for Hitler and the Nazi rule that Is Its prime purpose. With practically Its entire first reel devoted to pastoral scenes, subtly suggestlnr peace and happi- ness of the people, It switches to Rhiheland castles and scenic shots, then to Munich, caljed by the off- screen voice 'the birthplace of Social Democracy.' Nazi headquarters, with swastikas decorating the facade. Is shown, then fine angle views of medieval cathedral archi- tecture. A bit of Wagnerian music, with a scene of a youth at the forge, dis- solves Into present-day Nazi youths in mass weight-lifting. Adroitly, the . names of Germany's music masters are Introduced—Bach, Bee- thoven, Mozart and Wagner; then a work gang with pick and shovel, followed by a shovel brigade, carry- ing their Implements like muskets, marching home at eventide behind a uniformed commander. A 100-mIle-an-hour train, revelry In Munich and traffic In Berlin are Introduced as signs of progress un- der Hitler, and" the tag Is an over- head shot of the stadium wherein next year's Olympiad will be staged. Entire thing, with accompanying patter glorifying Der Fuehrer, Is so palpable In Its promotional Intent that at the Friday showing In the Embassy there was not a ripple of notice, pro or con, from the audi- ence. It Is an lll-advlsed subject for any exhibitor, whether as a giveaway or low-price reel, ( to. put on his screen as entertainment. Bon. ANDY CLYDE 'I'm a Father' Comedy 17 Mins. Ziegfeid, N. Y. Columbia Full quota of laughs In this sltua« tlon comedy, with Andy Clyde click- ing notably. Nothing astonishingly- original in story nor In Its develop- ment, although Director James Horne has realized on Clyde's comi- cal potentialities. From a chlld-hating office grouch, Andy Clyde develops suddenly Into the opposite when he Is led to be- lieve that he Is to have an off- spring. His efforts to mother his wife and his proud announcement (In advance) to the boys in the office provide the excuse for rou- tine slapstick. It's done with skill and not as annoying as usual. When Andy finally discovers that It's all a ini.stake and that preparations were for his wife's friend In the neigh- borhood, he suffers a relapse until he decides to adopt a child. Andy ha.-; just adopted the ninth Infant as pix closes. Andy Clyde, who's been around tho comedy scene and in features for years, shows how effective hIa clowning can be when In the hands of a capable director. A short that will easily balance with a heavy feature. 'TREASURE BLUES' Thelma Todd and Patsy Kelly Comedy 18 Mins. State, N. Y. etro Has Its laughs, but It's mostly because Thelma • Todd and Patsy Kelly are there to provide them, the material forming the basis of this Ilal- Roach (Metro) two-reeler be- ing lightweight. Miss Kelly, an unusual comedi- enne type, makes a good teammate for Miss Todd and In spots their antics are hysterically funny. On whole, however, slibject lacks body and ideas. Girls go off on a silly expedition to search for treasure buried at the bottom of the ocean, and some of the action takes place on the sea floor under ridiculous cir- cumstances. A diver's suit and com- plications figure as laugh getters. Char, 'THE LEATHER NECKER' Comedy 17 Mins. Mayfalr, N. Y, Columbia Two-way coinedy opening with Wade Boteler chasing Harry Lang- doh In autos and declaring he'll get even with the comedian, (iompanion asks why and there comes in an episode of the marines in the tropics with Langdon stealing Boteler'a girl. Also they get captured by the Insurrectos. Then back to the auto chase for the close. Auto gag mrrn- ly a device to stretch to length, with the usual In and out through traf- fic, but notliing new. Some punch to a. fireworks battle bit, but hardly enough to carry the load. Chic.