Variety (Sep 1935)

Wednesdajf September 11, 1935 FILM REVIEWS VARIETY 17 r PARK ANGEL United Artists release of Samuel Gbldwyn production. Stars Fredrlc March, Merle Oberon and Herbert Marshall, Directed by Sidney Franklin. Screenplay, IiUllan Hellman and Mordaunt ShE^Irp;. from play by Guy Bolton (R. B. Trevelyan was his then non-de-plume);' cainera, Qregg Toland; musical director, Alfred Newman; assistant director, Hu^h Boswell; cutter, Sherman ..iXodd4-»t-Bi«oll^-N,-^,r-We<*-S9pt.- ■8i-'35.^ Bunning time, 105 mins, Alan Trent.'........Fredrlc. March Kitty Vane .................. .Merle Oberon Gora'd Shannon Herbert,..MAr.3haU. Mrs. Shannon..... .Janet Beecher Sir'George Barton.. ...John Halllday Granny Vane. eiirlctta Crosman Anti West; .Frieda Inescort Lawrence BIdley..Claude Alllster Joe.............George Breakstoh Betty....... . . iFa.y ■ Chnldecott OlnecrV..i.....V.Denis Chaldecott A s^ckcroo w6nian's picture* Has a punch inarque6__ilirfiest/ine In Herbert Marshfill aiid a forthright Benttinental romance, well directed by. Sidney Franklin, to sustain al- tnoat every element. The high-pow- ered matinee appeal alone should underwrite. 'Angel' for smash errossea, although the general , ap- ical la not to be dlscbuhted. Director Franklin's consistent good taste in production values is matched by an equally distinguished scripting Job by Lillian Hellman and Mordaunt Shalrp. Their dialogic restraint In tense emotional scenes Is parred by an eflually expert hlsr trlonlc interpretation by the stellar trio as well as by Janet Beecher ani} John Halllday, the prominent ma- .iurer support of the, romantic three. - Grown up together from chlldr hood, the war throws Kitty Vane (Miss Oberoh) to .-March as her natural romaiitlc choice. Marshall and Miss Oberon later berate them- selves in inlataken belief they havie aeht March to his doom. Instead, after nursing in a G^rmaii prison camp, and'later back in his native Shglaiidj March turns up under a nom-de-plume, an author of best sellers for': juveniles, but perma- neiftly blind and In constant mental dread of becoming a burden to his bride ■ without benefit of clergy. The scene of parting at the em- barkation town Is one of the most poignant. Through technical time limitations they can't secure the necessary wedding license. Their last night together, when .she chooses to lEiccbmpany him to Folk- Btone, before! the. English troops cross the channel. Is the cauise of Marshall berating March for being supposedly unfaithful to Miss Oberon. The climactic situation where March rehearses every step in his familiar environs as a means to fool hlis visitors—Miss. Oberon and Marshall—whom the kindly Halllday has summoned, is the top tear- jerker sequence. Every move, every simulation of pseudo-vision, is well- nigh flawless as March cooly greets his childhood friends and former betrothed. One Unsuspected slip to Marshall tips off his play-acting, as both realize March's attempt to conceal his blindness and dismiss them from himself forever. Miss Oberon is a revelation as a. reformed vamp. No longer the Javanese slant-eyed- siren, her ver- satility as the comely English girl opens up a new and heretofore un- suspected histrionic channel, to the very competent delineator of what were formerly 'typed' sophisticated roles. In simple hair-dress and sans any great sartorial display, "Miss bberon's emotional opportunities are fully met upon every occasion. The lone directorial lapse Is the close- ups of her hands, a not particularly happy and betimes disconcerting effect. But otherwise her personal charm and pulchi-ltude is as ever telling. N Ma5sbaH-Hnd>JM[arch are superb as ^ iS^wa.r-torn, Ibve-torn boyhood 'chums, mutually in love- with Miss Oberon. Both refuse to avail them- selves of any opportunities to stretch the emotional tension.' Thei. judicious directorial restraint all down the line, reacts in the proper degree of audience appe^i* The dialog in these sequences leaves much unuttered and by vir- tue of automatic emotional reflex, thus creates an even, more accent- uated appeal. This may be the right road towards the achievement of 'tlie nfew cinematic art' about which the picture savants so often prate. This Goldwyn talker version of 'Dark Angel' lis another mani- festation of how much more ef- fective are the normal reactionary Instincts from the audience if prop- erly pitched by what transpires on the screen. The Ifmitlng of the dialog plus the proper histrionic shading, thus reacts in the audi- ence's own natural emotions being even more highly pitched, than if the screen ' cast but hysterical didoes. * The same seniblances of symbolism which .Sidney Franklin manifested in 'Smilin' Thrii' (hfe also did 'Bar- retts of Wimpole Street') are ap- parent in 'Darlc Angel.' The sudden gusts of wind at the doorstep of some crisis, the parallelisms in natural habit from adolescence into maturity, and kindred other nice- ties are a credit to the Franklin akin arid artistry. There are some other good per- formances, in bits or otherwise. John Halllday, in charge of physi- cal reconstruction of war-wrecked men, does a highly Competent and sympathetic job. Janet Beecher, the mother.,of Marshall whom stie sees losing out to Alan Trent (March) in the. friendly rivalry for Kitty Vane (Oberon), Is as effective in this mental understanding of her beloved three as in the scenes of parting and reunion when botll boys go off to war. Frieda Inescort, as -the-rUHder^tasB^lnef—Misa-^Weet;—tlte- secretary, is a coiner on personality and charm. Claude Aliister has an ftttfictive. bit, and. the kid .players^ Fay -ra(hd JQenld Chaldecott, George Breangtoh, Cora Sue Collins, Jimmy Baxter; and Jimmy. Butler-^are all fine little troupers.^ Along with the technical credits, Gregg Tpland's flue camera work is not the iieast of it. Just 10 years ago Goldwyn made 'Angel' for First Na,tional with Ronald Colman arid Vilma Banky •«.Bdr-GeGipg-S'••■F4t«ineH>i4e«--d*reet4sgr As a slleiit it was big b.o.; in dialojg transition today it's even more cer- tain of economic suoceaa. Film runs long, 105 minutes, but nobody minds. Abet, THIS WOMAN IS MINE (BRITISH MADE) Paramount release of Pathe-Vogue pro- duction. Featurea GreRory Ratbfl, Katha- rine Sergava arid John L«der. Directed by Monty ^nks; Story,. Gregory HatofC; adaptation, Fred Thompson; music, Alexis AcoHKngelskl. At ^Strand, Brooklyn, week Sept. 6, '35. .Running time, TO mlns. Niklfa.'.^........Gregory Ratoft Trelawney... < .'..-. Jobn Loder Lady Phyllis Pllcott......... .Benita Hume Ltda..Katharine Sergava Korn .Richard Bennett Lord Pllcott i ;Hugh WakeOeld Pletro. Paul Graetz Xilda as a child,...: .Rosaniund Barnes Woman Is Mihe,| made In England under another title, makes a weak bid for attention oh this side. Paramount bought the :plcture, pro- duced in Brltian by Monty Banks for Pathe-Voeue. Banks also directed. Story is by Gregory Ratoff, if It can be called a story, and in it Ratoff is given eviery oppidrtunity to play actor in a big way. He under takes a serious dramatic role, that of a circus lion tamer who pushes a girl into marriage against her bet- ter Judgment and then zealously struggles to retain her love against the encroaching attentions of an other circus star, . ^ Ratoff's story lias attempted to wring drama from the futility of such a marriage but it fails to con vlnce. Ratoff is all over tlie camera as the Hon trainerrhusi>and and his diction, plus the dialect, is not al ways distinct. Recording fails him to some extent. With other players including Benita Hume, Richard Bennett and Hugh Wakefield, cast is made up of capable performers who are known on this side, even if not of big: box office timber. The girl is Katharine Sergava, also a Russian, who appeared in some pictures on this side for War- ner Bros. She also has an accent that reminds a bit of Dietrich. ; Miss Sergava has looks but is shy here on poise and performance. Background is the circus, locale being Pa,ris. One sequence, that of a large audience creating distur- bance, is capably handled. The other circus star is played by John Xoder, who little more than wa^lits through.' Richard Bennett and Benita Hume- lead the support but not much chance to show any- thing. Linery looks like a good cast but it doesn't work out. Char, SHE GETS HER MAN Universal release of a David Diamond production.. Features Ziisu I'llls, Hugh 0'Connell> Helen Twelvetrees. Director, William Nigh. Story,. Aben Kandel and David Diamond; adaptation, Abeh Kandel; camera, Norbert Brodlne. At Fox,. Brook- lyn, week Sept. 0, '33, Running tlme,'OU mIns, Esmeralda .Zasu Pitts Windy :Hugh O'Corinoll Franclne ....^ ' Helen Twelvetrees Elmer .Luclen Llttledeld Flash .Ward Bond. Spike .^Warren Hymer Goofy Bert Gordon Chick i ...Ward Bond.. Weird conglomeration of sltua- tloriiS and lines put over In out- lahdish fashion, with net result that this is extremely thin program fare. Hlgiiiy improbable story appears to have suffered in adaptation and through direction with some bits verging on the slapstick. SSasu Pitts and Hugh O'Cbnnell, both of whom can be extremely funny, find it difficult to .handle the stuff they are tossed in this one. There's the flambubyant press agent seeking a new personality in public jliriielight to ballyhoo, who picks, a dumb lunch counter wait- ress, made town hero because of bank robbery she's halted, as a na- tional figure. Remodels her and shoves her out as a lecturer and organizer of women's clubs to battle garigstei's. Gang leader.t decide she's riiaking It too tough for them.and kidnap her. Her touching speech leads them to toss away their guns and reform. This sorry concoction of hokum that' falls to register lirgely be- cause not put over as broad farce, only way the average audience could appreciate it. The gang stuff Miniature Reviews •Dark Angel' (UA), March, Oberon and Marsliall in strong romantic film. Big femme matinee draw, and surefire ■i>t>xofficef-^ir"geT»efal'." ~~"— 'This Woman Is ina' (Par). British-made circus story and a 'mliibr picture. Cast names standard but each drawing power. 'She Gsts Her M«nV (U). Wild mixture of crook stuff and weak comedy, with Zasu Pitts and Hugh O'Connell. 'Ladies Love Danger^ (Fox). Good whodunit with novel mo- . JD5ept?A,..., A.^ Lm}te_..~Ktor.e_:. mat... name strength could have sent it into top houses. 'Alia^ Btiildog Drummond' (CB). British made which leans to comedy treatment. For minor dates. is nearest pix gets to this tempo, and it's, the funniest. Miss Pitts squeezes every pbsaible laugh out of .commonplace lines arid Hugh O'Connell carries on despite the impossible story. Helen Twelve- trees, as Hugh's sweetheart, Jioes Well with. an unsympathetic role. Eddie Brophy arid Warren Hymer are oke as the principal gangsters. Luclen l,lttlefleld Is his usual com- petent self. Liooks suited only as secbndary feature on diiaj programs, with run- ning time of more than an hour against it. Wear. LADIES LOVE DANGER Fox production and) releasis. ,. FeieitureB Mona Barrle and Gilbert Roland. Pro- duced by Edward' T. Lowe. ■' Directed by; H. Bruce Humberstone. Story,. Ilya Zorii; screen play, Samson Raphaelson'; adapta- tion; Robert Ellis and Helen Iiogan; camera, Daniel B. Clark. At Times, N. -Y., as halt double bllU Sept.. 0-10, '35; Run- ning time, 00 mhis, Rita. .Mona Barrle Rlcardo Souchet. Gilbert Roland Tom Lennox Donald Cook Adele M'chel .....Adrlenne Ames Phil Morton. Hardle Albright Glfflns.: .Herbert Mundln Sergeant Bender...^ .....Nick Foran Lieutenant Robei'ta..John Wray Toadies Love Danger^ has enough app^eal for detective-story lovers to lift it above dual classification in some spots. It is compact story tell- ing with many familiar but no sock cast names. Screen play is" intel- ligent bit of writing, with direction and supervision praiseworthy. Added to this is a good job of casting. Gilbert Roland is a playwright aind amateur sleuth. Mona Barrle is the blonde menace, and also figures in the brighter moments, as the foreign news writer who accidentally bumps into a . series of killings. Action doesn't lag. Miss Barrle glibly stumbles Into the murder cycle which successively takes the lives of a wealthy play angel, the leading lady who's about to marry him, arid the theatre man- ager. With three or four in story suspected of the crimes, yarn builds while reason for the deeds is care- fully concealed until last few feet. Roland is a pleasing choice and Miss Barrie is charming to the ex- tent of making her character a rare delight. Hardie Albright is a revela- tion in numerous scenes, Herbert Mundiri furnishes laughs as Roland's butler. Donald Cook, John Wray, and Adrlenne Ariies are highly satis- fying in supporting assignments. Screen play is by Samson Raphael- son, with neat adaptation by Rbbert Ellis arid Helen Logan. More than ordinary credit should , go to H, B. Humberstone for his direction which never overlooks a point in dievelop- Ing suspense. A smooth detective meller and a little stronger marquee strength Avould have sent it into ace spots. As is, looks best for secondaries. Wear. merit, as. developed. Isn't strong enoug:h to offset the weakness of plot construction and action. To begin with, Hulbert riever makes the substitute for the real Drum- mond, which he plays, the con- vincing character it should be, with result audience appreciation of his work in this base will be wanting,. —WTmTCiws-— eiiuo uiTters~ftg;in'e"~K5' Hulbert lays siege to a gang of gein thieves and Anally captures the lot, but it's ■' like a mouse gfbthg ut> against a tomcat. In trying for action, every effort is made to pro- vide an out for Hulbert through comical means of aggression or escape, but there are a couple of In- stances where he's irt mortal combat with the heavy, latter laying down for him, Hulbert, lobking for exclteriient, doubles for the real Druinmond, wliQ^ -4aid-up- -In- &■ Iwapitalv^amd- drags in a mugg as his assistant who wavers between fear a,nd bung- ling. This assistant is played by a, brother, Claude Hulbert, whose pos- sibilities are good as a light come- dian. He Is billed as appearing by courtesy of Warnier Bros. Picture moves oVer considerable ground, but does not vary Its back- ground much. CJreat amount of foot- age Is in and around t.he hideout of the gem thieves, who have an un- derground castle and a lot of secret passageways leading to and from ah abahdoried: subway tube. In the final reel the producers have, sought to inject thriller punch on ai subway train which is being driven to destruction by the head of the thieves, who has: locked himself ■ in the motorman's cab with Hul- bert, the girl (Fay Wray) and others aboard. This sequence, the train stopping within seconds of death, reminds of meller direction of 1906. In many other ways the production seems ho more up to date. Miss Wray gives a steady per- formance as the girl who's been kidnaped to.do som6 gem work for her captors. Her uncle is played by Paul Graetz, whose principal fault is over-acting. Lighting and recording satisfac tory,^. whllie photography attra.cts more than the ordinary attenti6n, the wild subway ride notably being well cameraed. Char. Alias Bulldog Drummond (BRITISH MADE) Gaymbnt-Brltl.sh production and relcaBia. Stars Jack Hulbert; features Fay Wray, Claude Hulbert and Ralph Richardson. Di- rected by Walter Forde. Story, Jack Hul- bert; adaptation, J. O. C. Orton, Sidney OIlHat and Gerard Falrlle; film editor. Otto Ludwlg; camera, M. Grcenbaum, . At Globe. N. Y.. week Sept, 9, '35.Running time, n2.mln!i. Ann Mander-q....... .,..Fny Wray Jack Pennington.,; ...Jack Hulbert Alcy I.ongworth, ..Claude Hulbert Morelle .Ralph Richardson SolvJnl ,..Paul Graetz Donny. Ibb McLoughlln liulldog Drummond ..Atholl Fleming .Mclvor .Henry LonRhursC Duke, Cyril Smllh In 'Alias Bulldog Drummond' England sends over a thriller that employs all the old, familiar tricks of the cinematic melodrama school, from fantastic plot down to halr- brea:dth escapes. Picture is light- weight as entertainment and siaem.q fated for "bookings of lesser impor- tance on this side. With Jack Hulbert as a dashing Bulldog Dirummond, Aided by a friend who plays for laughs, the treatment leans toward comedy every chance It gets; but this ele- SWEDENHIELMS (SWEDISH MADE) Swenekflim production and Scandinavian release. Stars Oosta Ekman, features Tutta Rolf. Director, Oustaf Molander. Cast includes- Karin Swanstroem, BJoern Berglund, Hakan Wetergren, Ingrld Bergr- man.. At Cinema de Paris, . N, Y., week Sept, 6, '3C, Running time,' 70 mlns, (In Swedish) This picture has, vaguely, some thing or. other to do with the win .ner of a Nobel prize. It seems he's the world's greatest scientist but when it .comes to managing his own home affairs -. He's no more a flop at that, however, than the pro ducers of the film were at produc- tion. Cast is exceptionally good, despite under a bad handicap. Gbsta Eck- iiian, Swedish ace actor, has the lead role and indicates that he knows how to act and will some day do so. Tutta Rolf, who has already been paged by Hollywood, has .only a bit. No way of telling, from her perforinance here, why flollywood Wantis ner or wliether she will be able to accomplish anything on the Coast, Rest of the cast, too, seems to be struggling against the tide. Neither the sound nor camera work are what they should be. Kauf. The Crouching Beast (BRITISH MADE) London, Aug. 30, '.Tolin Stafford production and Rndlo Picts. rrvlease. StarB Wynne GIbHon, Fritz Kort- ner. Directed" by W; ' Victor .Hannury. From Valentine Wllllnms' novol. 'Clubfoot.' Camcramnn. James Wll.ion. At the Prinre Edward theatre, Aug. 20. Running time, 79 mins. Gall Dunbar.. Wynne Gibson Abmed Hey; .....Fritz Kortner N'1=rel. Dnico ..Richard Bird Prince Umltrl..,,. Andrews Encrelman The PolleKrlnl..i ..Isabel Jcani> Rudl Von Tvlnz..,,. Fred Conyntrhnm T.'JirtIr Pasha...... Peter Gawthorno Major Abbott. .Jan Fleming Ottlllc ..Marjorlo Morn First thing to do with thi.i film Is to cut the odd 19 minutes out of the running tinic ai\d reduce it to a crisp hour. Much of this excision should take the form of chopping out many of the facial distortions of Fritz Kbrtner, who enacts the title role. vyynne Gibson, in the lead, has Insiifnclent opportunity to show her capabilities. She is called upon prlncli)ally to register fear at the ruthless inquisitional methods of Fritz, There is a splendid sup- porting company, which includes Lsabcl Jeans, Richard Bird, Bromley Davenport and Margaret Yarde, There are quite a few others with excellent bits, who create a series of types worthy a better effort. Spy stuff of a most intense na- ture, located In and around Coh- Ktantlnoplo in the hectic year of 1915, carried along vividly, due In rib small measure to goad direction and decor. Picture should satisfy not too discrlririnatlng audiences here and might serve as a .socond feature in America. Jolo. PEG OF OLD DRURY (BRITISH MADE) London, Aug. 29, ■ British and Dominions production and United Artists rnleaso. .Stars Anna Noagle, Ceilvle Hardwlcke. Directed by Herbert Wilcox. Script, Miles M.iUeson. Camera^ man, F; A. Young. At the Lelcester Square ^oatre, Aug; 23,,. r30. Running time, 75 Peg Wofnngton Anna Neagle David GarrlcU...,........Cearlc Hardwlcke Kitty Cllve....,.,.M9rKBj:et^a Scott Michael 01"na«e. Jack Hawkins Peg's Mother; Maire O'NelU Peg's Father...... .Arthur Sinclair Mr. ■ Rich. i i.....Hay Petrle Dr. Johnson .Robert Atkins Doorkeeper.; .'..'.George Barratt" Plot is an idealized chronology of the life of Pejgr Wbfflngton. Her as- sociation with David Garrick is rigidly .glossed over, so that even the most rabid c enso r could find no rarrrr' wniT'firnyTiiiiii^^ 6F sug^" gested. One might even believe she was a whited sepulchre. Miss Neagle is more acceptable. In the lighter passages, but when she attempts to read Shakespeare, she is Woefully inadeqiiate. Hardwlcke. plays Garrick with splendid make-ups as Richard III, Shylock, and other roles, and is al- ways Hardwlcke, Three outstanding characteriza- tions are perpetrated by Arthur Sinclair and Maire O'Neill as Peg's parents, and Hay Petrle as Mr. Rich, manager of Drury Lane, Robert Atkins looks like the piic- tures of Dr. Johnson, has little to do, but does It acceptably; Special commendation the cahieramah. Exceptional care was exercised In the construction of the period scen- ery and costuming, but one is never diverted from the thought that it la only scenery. The one thing lacking In the ien* tire production Is a sense of reality, ahd that is hevbr there for a min^ lite. Jolo, A CSUNYA LANY (•Plain Girl') (HUNGARIAN MADE) , Budapest, Aug. , . Harmonla-Pless prod. Scenario ' b7 tiaszio Vadnay and Bela Oaal; directed.- by Oaal; music Fred Markush; camera- man Henry Balasch; cast: LlU HuriatI, Paul Javor. Julius Gozon, Ella Gomba- szogl, Julius Kabos, Martin Ratkay, Maria Szemler,. Istvan Bekassy; previevr at . Forum Theotre, Budapest..' " ' " (In Buiigarian) This picture Is ah adaptation of ah earlier stage musical by Vadnay and Markush, but Markush has composed a few very spirited new. numbers for It which greatly add to the attraction of a welt made picture. Story Is about Eva, a very pretty girl who makes up to look plain and different so as to get a Job In the law office of Dr. Halml, who makes a point of having only plain girls working for hi . E.ra wants to get even with Hal 1 because he did her a bad turn previously, In the divorce case of one of his clients, making out that Eva was the cause of the client's infidelity. So she wriggles into his office and iils con- fidence and maVes him fall in love with her. Complications result, with the obviously happy ending. Direction is spirited, with many -musing details, Lily Murati, in her first screen part, the double one of the plain and. the pretty girl, Is first-rate. She Is one of the most gifted young actresses, oh the Buda- pest stage, and she now proves a find for Hungarian pictures, tooi Javor is manly and distinguished in the male lead. Capital comedy couple of Hun- garian films, Ella Gombaszogi and Julius Kabos, again give an ccellent, performance. This is the 10th pic- ture in which the two of them take care of the comedy relief, but they are ney.er the same and always amusing. Julius Gozon, too, is very funny in the part of a detective. picture is sure to be a local success. Jacobi SZERELMI ALMOk ('Love Dreams') (HUNGARIAN MADE) (With Music Budapeijt, Aug, 31. Hunnia production'and VrAnIa release; Bccnarlo and <Jlrecllon Heinz Hllle; muslo .pompllod from Franz Ijlszt's -works by B. B, Buder; photography istvan Elbcn; caHt: Ferenoz Taray, Maria Hulyok, Bela' I-ay, Tlbor Halmay, Carola Zaia. Ivaszlo '/>. Molnar;, Julius Gozon, GIzclla Batliory, Alex . Pctthes. Geza Foldessy. -At ctrd and ■ ,Sfala theatres, BudapcHt; running lime 103 mlns. (In Hungarian') It was a capital Idea to. weave a screen story around the figure of Franz Liszt, greatest planl.st of all times. Capital idea, howcvcr| has» been executed. in a moft unhappy manner. Franz Liszt, whose music and whose personality had a strangely suggestive power over his contemporaries, has become, in the dlrector'.s hand.s, a. dummy made of cardboard who spe.'iks like a schoolmaster and reels off plati- tudes about Richard Wagner. Heroine of the story Is a young Hungarian Countoss, Maria Duday^ her.solf a. gifted planli^t,. who meets Liszt at a party given In his honor by Count Zlchy, M.aria is enifagcd to be marled but runs away loeforo her wedding to Welmftr, to become a pupil of Ll.szt, Here she meets (Continued on page 68)