Variety (Sep 1935)

Wednesdaj) Septem|)er 4f 1935 PICTURES VARIETY 31 Film Reviews PAGE MISS GLORY (Continued from page 14) ton MacLane, would-be snatcher. Mary Astor and Lyle Talbot, latter as an unbelievable newspaperman, are minor. Lionel Stander, as a Greek baeBage smasher, makes It stand up. Jack Mulhall Is a re- porter, while Joe Cawthorh and Al Shean do their dialectic spluttering as rival radio sponsor? In humor- ously eftectlve manner. Although no associate producer Is credited, Robert Lord, who collabed on the screenplay, figures in the dual role of scrlpter and supervisor. It's a competent production job In toto, with the comedy opportunities aptly pointed in the star's favor. She avails helself of everything coming her way, looking well and believable (in a farcical manner) as the tran- sitioned beaut. Her getup as the chambermaid Is severe and in Itself a highlight on makeup. While hot sparing herself, the buildup, via the clothes >iid hairdress, makes the transition convincing. LeRoy's direction maintains an accelerated pace, well in keeping ■with the staccato tempo of the therhe, which could have been even more effectual if trimmed. Coast preview clocklnp was at 75 mins.; as unreeled on its Broadway show- ing, It registers at 93 mlns. Abel, TWO FOR TONIGHT (MUSICAL) 'Paramount release of Douglas MacLean production. Stars Bins Crosby and Joan Bennett; features Mary Boland, Lynne Overman, Thelma Todd. Directed by Frank Tuttle. From play by Max Lief and J. O. Llet; screenplay, George Marlon, Jr., and Jane Storm; additional dialog, Harry Biuskln; aongs, Mack Gordon and Harry Revel: photOK, Karl Strauss. At Para- mount, N. Y., week of Aug. 30, '35 Running timn IIO mlns. Ollbert Gordon BIng Crosby Bobble Lockwood Joan Dennett Mrs. J. S. K. Smythe Mary Boland Harry Kling Lj-nne Overman Lilly Blanca Thelma Todd Homps '.Ernest Cossart Buster Da Costa James Blakelcy Pooch Donahue Douglas Fowtey Alexander Myers ; Maurice Cass Author. Charles L. Lane Benny th6 Goof Charles E. Arnt Charlie Eddie Kane Lady Ralston Doris Lloyd Lord Ralston Lionel Pope DesiSlte Its relatively short foot age—clocked at 60 minutes at the Broadway Paramount screening— •Two For Tonight' is still a rather loose affair. Not up to ■ Bing Crosby's best and will have to be tarried solely by the crooner, Joan Bennett and the rest of the marquee names.' Another Version of the backstage cycle, the attempt to make it appear all rather informal, gay and silly Is a haphazard result. Producer Douglas MacLean recognized the basic script deficiencies apparently and sought to offset that by a light romantic approg.ch, punctuated quite a bit—a bit too much. In fact—by Crosby's warbling., He has five numbers, virtually all solos since Miss Bennett is not a vocalizing vls-a-vis. Sole musical support is via his two half-brothers as the Bongwriting collaborators. Mary Boland is the mother of the three stalwarts, each by an ex—or a demised spouse. Crosby, James Blakeley and Douglas Fowley, In seeking the ear of the unbeknownst to them stone-deaf music publisher, encounter Miss Bennett, sec- to the play producer, Lynne Overman Thus is planted the situation of writing' a new vehicle for the temperamental Thelma Todd. Plot thereafter becomes one, of those familiar play-withln-a-play de yolopments, wherein Errnest Coisart figures as a romantic Samaritan and a not unfunny gentleman butler. In the course of the play plot de- velopment Crosby warbles the title song, 'I Wish I Were Aladdin 'Without a Word of Warning 'Takes Two to Make a Bargain and 'From the Top of Your Head to the Tip of Your Toes,' last three of which are the hit potentialities particularly 'Warnins.' ' Generally good trouping, with some punchy directorial lilshllghts by Director Frank Tuttle, does much to sustain tlie basically weak structure. Tlie cate scene with tlie battle of the siplions is milked a bit but It's a welcome action intcriudo In a placid proceeding ,ts Miss Ben- nett moons over her unrequited amour and Crosby thoushtlessly pursues the v.mipish Miss Todd. Crosby is light and carelessly abandoned in his playing of tlie playwright seeking adventure. He starts the whimsy of tripping a waiter, then summons a cop for tlie 6ame assault, all in the quest of happenings to translate into dra- matic sequences. In conti'ast to a too frivolous Crosby is the compara- tively inuto Miss Hennett who is more pensive and closo-uppy than loquacious. Slin has a miiilpiuni of lir.ca. Miss Uolaiid as the ambitious mother and Lynne Overman, the producer, ])rovR export farceurs. Ernest Cossart's niagyar parblinu of lingo at iirst sounds funny, espe- cially when the pliruseology is punchily exprossivc in its inartic- ulatpness; later It's .a bit tiresome. Miss Todd's vamp is more of a dec- orative role than anything else. Charles Lane, Charles Arnt and Bert Hanlon (latter as a census taker) have telling bits. The songs, the competent cast, the fetching title and mostly Crosby win have to offset the other de- ficiencies In 'Two for Tonight.' Aiel. Redheads on Parade (MUSICAL) Fox release of a Jesse icj. Lasky pro- duction. Features John Boles, Dixie Lee, Jack Haley, Raymond Walburn, Alan Dine- hart. Director .Norman McLeod. Screen play, Don Hartman and Klan James; stoiy, Gertrude Purcell, Jay Gorncy, Don Hartman; music. Jay Uorney; lyrics, Don Hartman; camera, John Seltz and Barney McGlll; ensemble director, Larry Ceballos. At the Globe, iN. Y., week Sept. 1, '35 Running time, 78 mlns. John Bruce.' ; John Boles Ginger Blair Dixie Lee Peter Mathews Jack Haley Augustus Twill Raymond Wnlbui'n George Magnus Alan Dinehart Patsy Blair Patsy U'Cunnur Lionel Kunkel Herman Ulhg Trelawney Redfern William AuMtIn Johnson Wilbur Mack life, and nasty Jazzy America. But the emphasis Isn't so much on all that, and the characterizations would please evep the most nation- alistic Americans. Leo Slezak imperaonate's the fig- ure of the Influential concert agent who was once a celebrated tenor. And for the set of the concert agent's room, Slezak furnished a large, beautiful oU painting of him- self as "Raoul," assuring all who asked that 'that young sapling pine' once really was Slezak. Then there is a neat scene between the brothers Thimlg, In which Hermann, success- ful jazz king. Is able to give Hans, just a struggling young musician, a break. Llane Hald will go to London after this. Gustl Huber, new Vien- nese discovery, plays the part of Max's second wife. Ocean steamer t^eck constructed at the Slevering studio for this film Is said to be the largest and most ambitious set constructed for any Austrian picture to date. Hardly living up to the excellence of Its title and exploitation possi- bilities, 'Redheads On Parade' Is relegated to subSeqUent-run assign ments by its weak and unexciting story. It will have to be sold above its worth to draw business—^and the selling angles are as obvious as an exhibitor can hope for. John Boles will help. A backstage musical, 'Redheads' digs beliind the scenes of indie pic ture producing, with probably the trade given a laugh out of. yiewing the short-dough boys attempting an extravaganza. Interwoven with this is the love story affecting Boles and Dixie Lee, extremely muddled and placing Mrs. Blng almost solely In the role of a good listener except for a couple of songs. Her costum- ing is more on the order of a sou bret than the leading woman the script calls for. Jack Haley is another wasted by the script, though he does especial ly well as the indie producer's press agent. His chief role, however, is recasting the backers for the pic ture after the original angel goes broke. Boles Is the 'washed-up' actor as soclated with Alan Dlnehart, th< producer, and Haley In this 'dying effort' to place all of them. on the top again. When the .first bank- roller steps out, Dixie Lee, a beauty shop operator, suggests, the manu- facturer of a red-hair, dye, Raymond Walburn, as angel. He falls, though chiefly for the purppse of sponsoring Miss Lee, with compli- cations arising when' she goes for Boles. Walburn's comedy Is as effective as the scrlipt allows, though the stronger laughs are garnered by Herman Blng, operator of a platl- num-halr dye establishment. Bing attempts to step Into the '.picture when Walburn walks out because pf Jealousy, and from there on everything happens but the cpn- summatlon of an effective climax. Music and lyrics by Jay Gorney and Don Hartman, respectively, are but fair, and the ensemble scenes, considering the length of time this film was In the making, are hardly to the credit of Larry Ceballos. Cos- tuming is one of the discredits; lack of anything outstanding In the way of dancing Is the other. In fact, the picture could have been trimmed for more effectiveness by slicing the group routines. Picture doesn't contain an out- standing performance or moment, though eaCh member of the cast contributes his best. .Scho, DANCE MUSIC ('Tanzmusik') (AUSTRIAN MADE) (With Music) "Vienna, Aug. 18. Tobls-Sacha produrllon and release. Directed by J. A. Huehler-Kahla: book by M.iria Stoplian; mu.slc by Max Nlederbcr- ger. At the Apollo. Vlwina, Aug. 1). '3.'i. 6lna Harding , LInno Hald Hedl Uaumann OuHtl Huhrir Mario D'Almclda Hermann Thlm i: Franz Hcgncr Hans \hlmlK KoDpler - I^" Slcza!; HaiTmann Fenlln.ind Mnyorho pr nob Crawler Gporg .\lcx:indei- (Jn (Icrman) Story is about a young ■Viennese. Mario d-'Almeida (alias ilax), who has become famous as a jazz com- poser and pia-^isl in Anioi ica. Short- ly before he leaves New Vork for a visit to Vienna ho giv(>s a loncort at which Gina. clianiiini; and 'eccen- tric New Vork society K'i'l. falls in love with him. She follows him on the steamer and is followed In turn hy her devoted adniiier, Dob Ciaw- Icr. Glna and Max get married and realize a hit lato tliat Ihpy aren't really suited to each other. (Jiiia's jazz king really has a (.laviriK for the old world and good old classical music. Hodl, dau?;hlftr of a wine dealer whom hp ni(>cLs in Vienna, is found to share all his real interests so M.'ix and (Jina are di- von.-ud. and Max and Jl.-di a!i; m.ir- ried. Gina marries the faithful Hoij Cinwler. who. has been w.-iiliii^ all this time. And Max heeoim's suc- cessful as a classical aillsl in Vienna. I'lbt sounds a bit jiainful, with its contrasting of deah old ICurope. which apiircciates the good thinijs in GOING HIGHBROW (WITH SONGS) Warner Bros, production and release. Features Guy Klbbee. Zasu Pitts, E. E. Hcrton. Directed by Robert Floroy. Screen pipy. Edward Kaufman and Sy Bartleit: original. Ralph Spence; additional dialog. Ben Marksoci; photog. William Recs: songs, Louis Alter and John Scholl. At Strand. Brooklyn, half of double bill, week Aug. 22, '35. Running time, 08 mins. Matt Upshaw Guy Klbbee Mrs. Matt Upshaw ZaSu Pitts Augle .Edward Everett Horton Hnrley ilar i Ross Alexander Mllllcent •. June Martel Sam Long Gordon Wcstcott Annie Judy Canova Horton paces this society crash Ing comedy, capably aided by ZaSu Pitts and Kibbee. The name value of this trio will help the picture, which otherwise Is pretty trite. Ross Alexander, the .Juve, needs better camera angles, but effects a fairly satisfactory lead. He's from leglt. Pitts and Klbbee are nouveau riches. He likes ham and eggs, and she wants to stammer Into society without any cause. Klbbee plucks a cafe counter girl to pose as their debutante daughter. Horton Is the eccentric society fixer of some kind who manages the deal whereby for 50 grand the trio will scale the social' heights. Familiar formula hokey, and for the duals. Judy Canova adds a simple-mind ed character to round out some of the goofy atmosphere of the film. Kibbee and Pitts are usual. The camera, didn't require much and offers-nothing to comment about. Alexander handles the two songs In the film. Just fair. The duets with Horton offer some laughs, how- ever. Shan. PEASANTS (RUSSIAN MADE) Lenflim production and Amkino release. Directed by Friedrlch Ermler; scenario M. Bolshlntzov and F. Ermler; musical ac- companiment v. PoushUov. At Cameo, N. Y., week Aus. 20, '39. Running time, l(H mlns. Varvara Nechayeva E. Younger Egor Nechayev B. Poslavaky Gcrasim Platonovlch A. Potrov Geraslm's Mother E. Ko. ehaglia-Alexandrovskaya Head of Bureau Nikolai Dogolyubov Anisim Vladimir Gardin Kostia I, Chuvelev Mntveyev V. Lukin Volodka B. Sladkopevtzev Petka ;., P. Alennikov Atlantic Adventure Columbia production and release. Fea- tures Nancy Carroll, Harry Langdon and Lloyd Nolan. Directed by Albert Rogell; assistant director, 'Wilbur McQaugh. Story, Diana Bourbon; screen play, John "T. Neville and Nat Dorfman; camera. John Stumar. At Strand, Brooklyn, week Aug. 20, '35, as half double bill. Running time, GS mlns. Helen Nancy Carroll Dan Lloyd Nolan Snapper Harry Langdon Frank,''. , Arthur ' Hohl Van DIcman Robert Middlemasu Mitts ' John Wray Mcintosh E, E. Cllve Spike Dwight Frye Mrs. Van Dleman..... Nana Bryant Only lack of cast names keeps this in the dual pix classlflcatlon. It has a familiar but well-worked out story which has received a fine adaptation. Added to this, Al Rogell has done a bang-up Job of megglng and the well chosen cast comes through. This one Is good enough to rate more than ordinai-y exploitation mention by Intermedi- ate houses. Gets under way with Dan Miller, stellar reporter covering big con- flagration while his fiancee waits for him to take her to dinner. His at- tempts to keep appointments with his sweetheart eventually le.ad to his discharge. The district at- torney has been slain and Dan gets tip that the slayer may board an ocean liner that night. This car- ries .story to ship, with Dan, his crack photographer pal and fiancee also aboard. Overcoming numerous obstacles, Dan uncover.s Jewel thieves, captures slayer of the d.a. and wins the girl. It has been done on previous occasions, but It's largely good cast performances and clean-cut direction that makes it Jell. Act- ually, the seemingly involved action on the high seas is developeil in sucii fashion that one climax after another is stacked ui) until the story eventually hursts in flaming a'ctlon with the newspaper scri)i(! and ship officers corralling the four crooks. r;oM)antic passages subordinated for the .sake of action and plot iniild-up. .'scenes in city news room are astonishingly restrained for ii featuie production. .Selection of I.loyd Nolan, who did similar role in TroiU I'age' road production, a n";il liil oC easting;. Harry Xjxnsrton. as news cameraman, provide.^ droll lau^ilis and is splendid foil. After suf,'"ering from l-In^jlish accent at outset. Nancy Carroll comes lhroiii4h. She looks particularly well here. Jotin Wray also very ;;ood .'IS ttiui'iler Rusiiecl. Camera job by John .Stuinai- incasuies up and production vahn' high for st'jiy of type. A stron;; pix for double program.-j and can solo In some spots. Wc'ir. (In Russian) As more and more of the Russian films come .over and are shown around, the question of propaganda comes more and more to the fore. Especially Is this true since the Russians have learned and im- proved. Their pictures now, every once In a while, are good enough to stand on their own as film product of quality and it becomes more dif- ficult therefore to differentiate be- tween what is propaganda and what is entertainment- This new picture from Moscow Is a case in point. Photographically and cinematographically it is a really fine effort. In those Ameri- can circles where the Soviet at- titude, and principles are under- stood, and liked, it should do ex- ceptionally good business. Average Russ films in the last year or two have done all right in the U. S., get- ting something like 300 to 400 play dates. This one should do well In all of these. But beyond that, what'/ There will be staunch antl-Russ persons who will feel that this pic- ture is nothing more or less than another Soviet onslaught. From certain standpoints it is, but It is also a good film. There Is this to be said for the newer Moscow product: it Is realistic, albeit a biased portrayal and conception of current life over there. Also, thfe Russians have gone through so much change and strife that they cannot help feeling It and showing it. What It comes down to Is that the early Russian films, and some even today, were and a.re bald slabs of blarney about come-on-ln, this Is the way to live. But pictures like 'Peasants' are in a separate class. They still tell how fine everything Is under the new regime, but they don't do it obviously and they sub- merge the doctrine to the dramatic values. 'Peasants' abounds in true drama and tragedy. It Is the story of life In a farm community. The new system has come In but the peasants can't quite cope with It. While they are trying In eai-nest manner to figure out the new life one of their members, antagonistic to Sov- iet rule, plots against them. His wife Is an ardent worker for Com- munism so he murders her. The government representative Is sus- picious so he talks his brother-in- law into making an attempt at kill- ing him (the leader). Eventually, of course, the farm succeeds, the pigs are succulent and all Is well. What Is Important about the film Is the complete, clear and indelible manner In which the various char- acters are drawn. It Is old school Russian writing, but It Is genuine and Impressive. From an esthetic standpoint the picture has only one fault and that is its insistent leisurely pace. Same story, with about 20 minutes cut off, could have been a really shock- ing melodrama. But that Is where Hollywood and Moscow differ and that Is why Hollywood need never fear the Russians. They are stub- born about, details In Leningrad. Maybe that's why Dreiser is so pop- ular over there. The acting throughout is A-1. A really beautiful girl (the first beau- tiful girl to show up in Russian films since Anna Sten) Is E. Younger. A. Petrov, Vladmlr Gar- din and B. Poslavsky are standouts in the lead roles. Kavf. Short Subjects (Continued from page 14) posal and then picks one out of stack. After he mails It, falls In love with Sylvia. His troubles pile up when he discovers that the but- ler mailed the other three. His strenuous efforts to stave off pro- posing to these girls and at the same time win Sylvia's heart pro- vide the funnier moments. Warren Hull, handsome young- ster, plays opposite Miss Froos. Of course, her ballading Is a highlight. Chester Clute, veteran vaudevilllan, does neat Job as'business man In the supporting cast. 1Vcor. HEART'S DESIRE (BRITISH MADE) London, Aug. IC. Brill.sh Tnlornatl'in.'il |irnrlu>~llon :ind r"- '.".nw. Stars Itich.-ird 'rnubt-r. fe.Ttiircs l.r-oniira Coibett. DIri-t-ti-il bv P.nul Hteln. Sf-mf-n [>lay. Hrun'i I'ranlt, T,. <lu fJardc I'nn''h. JtoKcr llurforil. Jack fJavlnn. Jr l-'ri.m a Hlory by LIcinl I'lckard: iiddlilonnl 'M.il-ig. ('Miffop) Orr-y: c-.imcr;iman. John C. I'rix. :\t l!i<Kal Ihoulrc. Aug. 10. liuil- rlng time HO mlnn. rdch.-ir/l Tnuhi-r (.<^'inor,'i Corb(-tt Kalhli-cn Kt-Mv l';r.ir.-lz '.'nrl Il.'irliiirrl r'l'.'i nk VirAVi't fji-oi'k''' fJr:iV(-H IJI,'in;i .N';ii>ir-v .... \ i<il.l Trne Ijenli-r Warren .r".--'i'pji .^(oii)|f>r.. I-'i','ini-'-.H Wilson., A fin;i l-'|.-rlri Olive:- n .S. r;in Inn . .. . ';i';invll|i. Wllt-uii I >i:i ca Sl)rrn [on . . I.:iily !inriilni;lii T.-iJ .VlaytT PHIL SPITALNY ORCHESTRA 'Sirens of Syncopation' All-Girl Orchestra 11 Mins. Paramount, N. Y. Paramount Lack of production values and novelty approach keeps this short from standout distinction. Spltal- ny's girls give out hot and varied, but Paramount's cameras were practically stationary, and little thought was given to the presenta- tion, it was photographed and recorded straight - away without cinematic embellishments. Even so it looks better than the run-of-mlU stuff. And sounds very nice. Especially notable Is the work of Spltalny's featured soloist, Maxlne Marlowe. Her mellow contralto plus an agreeable physiognomy for the lens suggests that she might have picture .possibilities. Spltalny's arrangements are unique and his showmanship asserts itself In part despite the rotitlne shell provided by the studio. Land. Following In the footsteps of Its .-iuccesst'iil '){lossom Tirnr-,' ]',. I. p. • h'ls gone, one l)e;tf:r with this sue- ; veediiKj 'I'aiihei- usical, 'Heart's I lJ(;siic.' It is a |iielMi-e of which j ei't-n llollywof)il might be proud. I Therr- is .'Uiiiosphe.e. appealing, ro- I ni.-intic locale, exceptional detail tor (an Kriglisli pi-oducllon. and a sim- ple, homely e;ii'i Interest. A ci'ude recital of the; story would sound very elemental in the niatlei- of oiigin.ilily. hut U is siii-efiie. and iias been wrrll woi-ked out. Direc- tion and production li;is that con- tinental touch which is .so airest- ! ing Nothing, in fact, so far as those responsible for the lilm weic 'LOVE DEPARTMENT' With Bernice Claire Musical Comedy 20 Mlns. Palace, N. Y. Vltaphone Bernice Claire In one of those mu- sical skits they concoct out in Flat- bush. 'This time It's the girl 'Advice to the Lovelorn' editor who g'oea abroad to find true romance and hurries home to the reporter she left behind. Several songs and a coupio of specialty acts are yanked in by the neck, with two of the numbers given a showy production. It all adds up 20 minutes toward the time for the next showing of the feature. CMc. STORY BUYS Hollywood, Sept. 3. Radio bought film rights to Louis Ransome Foster's 'Goodbye to Yes- terday' and will develop It for Gene Raymond. P. J. Wolfson sold screen play of his original. 'Indestructible Mrs. Talbot,' to Paramount. 'Burn, Witch. Burn,' horror yarn by A. Merrltt, bought by Metro. •H,- Bruce Humberstone making own adaptation of recent buy of Satevepost yarn, 'Lady Scrogglns.' Tristram Tupper's 'Magnolia Grove' taken by Universal as pos- sible starrer for Margaret SuUavan or Jane Wyatt. Radio has taken screen rights to 'Thorobrcds AH,' by Tom Storey and Earl Johnson. 'Battle of the Alamo,' an original by Llndsley Parsons and Robert Emniett, bought by Republic as a starrer for John AVayne. TITLE CHANGES Hollywood, Sept. 3. •The Fugitive' gets the call over 'Lady Beware' at Columbia. Tag for Metro's next tree-swlnger Is 'Tarzan Escapes.' Warners 'Living Up to Llz'/.ie' hits the release sheet us 'Personal Maid's Secret.' 'Two Black Sheep' becomes the same number of Sinners at Re- public. Unlversal's 'Hangover Murders' goes out as 'Remember Last Night.' 'Little Immigrant' at 20th-Fox ?cts tag change to 'Paddy O'Day.' CONTRACTS Hollywood, .Sept. .1. As a reward for his performance In 'Annapolis Farewell,' Paramount ;?ave Tom lirown a termer and Im- portant part ill 'A Son Comes Ifomt!.' Andrew Tombes slays on at iiOth- Fox for another swing. cr)neerned. was neglected. Looks like there was a hunch of experts on the set all the tlino to suggest liieas. Tauhei' n(!vei- s.ang helter, .and has ;Uti"ictlve melodies. Mis KngLisli has improved, ;ii)d his diction Is sfi natu- lally g(;od tli.u when he wurliles one I'.ir. undc-i-si;jnrl every word of tho lyrii-s. 11(! ha.-i grown a trille thin- ner and they liave drosscid him for Die picture so as to tone down hia plump physifjue. There !s a light breezliiess of plot, exiellently developed via the nie- dijini of conu'dy. Casting support has I'aiil fJraelz, Ceorge f.'iaves and V'iol.x Tree. T^cronora Corhett has the lead and is most atlrac:tlve. Jolo.