Variety (Aug 1939)

li VARIETY FILM REVIEWS Wedaesday, August 23, 1939 Ginger Rogers holds somcthinf; more than dancing prowess to maintain her status as a b.o. personality. Miss Rogers demonstrates major league ability as a comedienne for Ihc sec- ond successive time, in this instance aided in no small measure by Walter Connolly. "Fifth Avenue Girl' is a cleverly devised comedy drama; ex- pertly guided by Gregory LaCava I.nn-y .Marv. ,1nni> <:iay »*r Kin*: N.'il S|»arks CiirlntlH ±ial\ In). SHIln \Yaltfi- |taiiii-iis.-)i. Mr. l'r..iliir Mlsi ICsthiT Jiini-s Mr, F.lani)lK.ln. ... IJullo J.ii- <iln>lli;k Mr. 0]mm .Mia. Jlllry Mrs. ."fWHDHon «Mr. iMvlf Liiu .Morris .l.iiilra Il--!>p Cri'ws Jani-t Walil.i Hy Ilinis.lf 'I'lilirytini Hall t'lar.'f l!laiiilli-k ...IL.'rar lf.<hi>;i Jtilin (lallaii.li'l Hi'n \Vi>l.|i.n Kmory I'llrnrll ..Dorothy Vnnr.'han r.iiilll l<i>>li<K Paul .^Inntun .Murgnn Wullut'r THE STAR MAKER (WITH SONGS) Fftvnmiiuni ivlonse of L'hnrlofl R. noirtTR pniilnctlon. Sini-s Itlni; Ciofby; ro:i(urofl I,niilso i':ini|ilu-n, LInila Wiiro. Noil Spark!*. . "Wiilirr l)iimnifl"li. PInvtod liy Ituy Di'l lliilh. Si.Ti'piM»liiy I'y 'KiHnk Unllci'. Don >Iui'(in:in nnd Aridiir ^';insrtr, frtitn }<lory l.y Ardinr i*a'"»:ir ;\nt\ William A. IMori-i-: nuct'^ •Elril by i;nH Kilwiinl.'': raint^ra, Karl .Sll•u^^t; <-lli"r. Almu Mn-TiU'to-: son.ra i . , _ , - j x-- - * *i. mosiiy l.y Will i>. r.H.ii nn.i tJus VMwuv.iji. ; nnd having as loundation one of the jiiimiiy itMikc :ini j:iinoH V. Mnnurn. I'lv- ' best sci'ipls of socko dialoR that has viow.'.i III i'.ii;.rn..uiii Uieniic. N. Y.. Auk. :come out of HoUywood in several , ^ , i months. Although comedy prcdonii- u:«^:ir'^,:i:i;;ax\'^'^^<=^. H deliberately underplayecl ....i.in.i.i Wan-' Ihroushout. Its a new LaCava di- rectorial trick that generates sur- pri.se.'. Picture is due for healthy biz. with holdovers the rule rather than ex- ception in deluxers and general runy. It carrie.<! smart appeal for the so- phisticates, yet with every pa.<!s;ifie understandable to general audiences. Story is basically of Cinderella pat- tern—always good. Millionaire Con- nolly, shunned by his family on his birthday, meets Miss Rogers in Cen- tral Park. After a night club cele- bration, he hires her to pose as a goUldigger, and takes her to his Fifth avenue mansion. Girl pl.iys her role straight for the old man, showerinj; him with attention. Situation Anally brings the wife, daughter and son to their senses, and Miss Rogers' pose clears up many family complication.'. Daughter marries the communistical- ly inclined chauffeur, Connolly is re- united with his wife, and son Tim Holt falls in love with the intruder. Sock laughs are supplied by situa- tions and surprise dialog. Miss Rog- ers, bewildered by her sudden cata- pult into a swank home, carries it all off with a blankness that accentuates her characterization. Connolly deftly handles the assignment of the pros- perous manufacturer who devises a scheme to shake up his family. By- play between Miss Rogers and Con- nolly is rich, and the humor through- out is wholesome. Characterizations of Verree Teas- dale, as the wife, and James Ellison, as the family chauffeur, are slightly overdrawn. Former's portrayal is a poor imitation of tlie zany wife roles portrayed by Billie Burke during the | past year. Young Holt is adequate as the son who finally takes an in- ! terest in the family business and then goes for the father's supposed girl friend. Franklin Pangborn supplies some brief appearances for comedy. Production is distinctly a LaCava achievement In motivation, its un- folding lies between the wacky 'My Man Godfrey' and the more .serious 'Stage Door." But it's good, sub.stan- tial fun, with the audience partici- pating throughout. Direction is at a steady and fast tempoed When vaudeville was vaudeville and 40 weeks' bookings on UBO and Orpheuin time was something tliat contributed to the joy and laughter of theatrical life is the background against which this nostalgic yarn, starring Sing Crosby, has been pro- duced by Charles R. Rogers for Par- amount. Crooner has the role of a producer-performer which is sug- gested, if not accurately based upon, the career of Gus Edwards. Film is first-class entertainment, a lively combination of the conventional backstage story, which is played for comedy angles, and filmusical pro- duction technique, that is up to best standards. Roy Del Ruth directed. Audiences will quickly and cheer- fully respond to the gayety which pervades the film, wherein is recount- ed Edwards' success with child actors and singers, some of whom graduated from his melodious kindergarten into brilliant public careers as entertain- ers. Paramount solved the problem of duplicating the embryo stars by asssmbling from youthful Hollywood talent an array of youngsters who, on their own account, promise bright futures. Most luminous of these is Linda Ware, a 14-year-old canary, posse.<:.':ed of a brilliant coloratura, a winning personality and a pleasing countenance. She is the standout among a score of moppets. Playing by no means is confined to performers under voting age. Ned Sparks has his best part in months as a publicity man of sour expression and tender heart. Of several up- roarious scenes, one of the best shows Sparks reading a Peter Rabbit nursery story to a gathering of show kids who don't believe a word of the tale. Laura Hope Crews scores as a stage mother, who once sang in grand opera; Louise Campbell is sympa- thetically effective as Crosby's wife. Dr. Walter Damrosch conducts the Los Angeles Philharmonic orchestra in the finale scenes. It's the Gas Edwards repertoire of pop tunes which gives the film zest and the feeling that yesterday is •worth remembering. 'School Days' is recreated in an elaborate production number, including an interpolation when Crosby, speaking directly from the screen to the film audience, in- vites and obtains a spirited if some- what vocally uncertain choral par- ticipation. "In My Merry Oldsmo- bile,' 'Sunbonnet Sue,' 'Look Out for Jimmy Valentine' and many other old-time songs are repeated. Johnny Burke and James V. Monaco have contributed some new numbers, of which 'Go Fly a Kile' seems most likely to be popular. ^ Historical background of the film should not be taken too seriously by show people who are Edwards' con- temporaries. The story, which origi nated with Arthur Caesar and Wil liam A. Pierce, makes no documcn- tary pretensions. Something of the spirit of vaudeville, rather than the cold facts, simmers through the scenes of two-a-day. No direct men- tion is made to the Edwards alumni^ which include George Jessel, Georgie Price, Eddie Cantor, the Duncan Sis ters, Lillian Lorraine, Walter Win chell, Bert Wheeler, Helen and Grace Menken, Mae Murray and a host of others. There's a giggle when an old-lime billing sheet is flashed showing the most prominent headliners of the day on one program ,with Houdini in the No. 2 spot, and the Edwards proto' types next to closing. Gus was good, but Harry Houdini would have es caped from that niche, handcuffs, shackles and straitjacket, notwith standing. Flin. Miniature Reviews 'The Star Maker' (Par). BIng Crosby starred in a rollicking filmusical, based on career of Gus Edwards. Good boxoftice. ■Fifth Avenue dlrl' (RKO). Substantial comedy-drama, with Ginger Rogers starred. Geared for top grosses. 'Nurse Edith Cavell' (RKO). Excellently produced document- ary film, but not for general audience appeal. 'Full Confession'(RKO). Crim- inal melodrama of program pro- portions. Adequate support in the duals. 'Hawaiian Nights' (U). Spar- kling program filmusical. Will provide good support in the sub- sequent houses. 'Way Down South' (RKO). Eraggy story of slavery days starring Bobby Breen. Boxoffice chances moderate at best. 'Island of Lost Men' (Par). Remake of a Laughton-Lombard shocker, fair support in dual subsequents. ■Charlie Chan at Treasure Is- land' (20th). Standard Chan whodunit; adequate programer. 'Exile Express" (GN). Spy fa- ble, starring Anna Sten, weak on script, slim b.o. possibilities. 'Behind Prison Gates' (Col.). Man hunt within prison walls. Brian Donlevy sole draw for dual programmers. 'Riders of the Frontier' (Mono). Poor dualer. that'll have trouble even with kid biz. Tex Ritter starred. ■Smuggled Cargo' (Rep"). Good cast and fair-story that'll help it on the duals. 'Rollin' Westward' (Mono). Unsatisfactory sagebrusher with Tex Ritter. Little b.o. appeal. ■Lure of the Wasteland' (Mono.l. Grant Withers western in color and with music, but lim- ited for box office.' without extraneous footage, tography by Robert de Grasse is in keeping with general excellence of the offering. quietly dignified, and intently de- termined to carry on her dangerous mission until finally discovered. Brussels is the background. Nurse Cavell's hospital cares for both friend and foe alike. She becomes the focal point in an underground system of assisting refugees and es- bor- pace . caped war prisoners over the b( Ph9- der to Holland. It's mainly NURSE EDITH CAVELL Hollywood, Aug. 18. nKO Budio release of Itnperailln in-ocliic- du<'il(in: proiluoed and dlreited I'y Herbprt Wilcox; asflodate produc<»r, Meri-ill G. While. .Siara Anna fIe«Kle. Sirpenplay. Mlrhael Hogan, from slory by Oai'i. Ucit- Inald Berkeley: ramera, A. Vonnp and Jnseph II. Auguft: editor. RImn WIlllamH; apeclul effects, Vernon I.. "W*aIkor. Ti-e- vlcwed at PantaKPs. Autf. 1', Run- ning time, ST .MINH. .Vurae Cavell 'ounlesa de .Mavon Capl. 1-lelnrlchs.... .Mine. Hnppard Mme. Moulin .Mr. Rltonn FIFTH AVENUE GIRL Hollywood, Aug. 19 HKO releaiw of Grtgory Ij>(.'av.i prodiic floii. .Star!" (SInKer Rogers: fenluroa Wnliei Connolly. Vi'i-ree TeaHdnlc. Janie.H Klllson, Tim H.ill. Directed liy Gregory LaCnvn fiercenplny by .Allan .Scott; camen. Itolter tie (:ra«.<)e; e<lltor», Wllllnm Hamilton, Ilol, crt Win?; isst. director. Kdwaid Kllly. Pre- viewed at Hlllstreet. L .A.. Aug. IH. '3'.). Running time. 1)2 .MIN8. Jfnry Orey Air. Diir-len lira, Donlen , Sllke Tim Borden Kntheilne Borden Kiuhryn Adama Hlgglns Kranhlln I'nngljorii Olgo Korlkft lloroji Dr. Ke.sskr T.oula Calhern Tei wllljger Theoilor Von Kllz .'Mnltre d'Motel.. ...Alexander D'Arcy .Anna Xengle ...Kilna Mmv Oliver I an.IeiK I '!?A'Cally. women's group operating the escape road; with Edna May Oliver, ZaSu Pitts and May Robson assisting ma- terially. But after a year, the Ger- man military command ferrets out the plot, arrests and tries Nurse Ca- vell for -assisting refugees and es- pionage, sentencing her to death be- fore a firing squad. Picture is the first British produc- tion to be made in the United States. Herbert Wilcox, English producer and director, brought his star, Miss Neagle, to Hollywood to produce the picture at RKO studios, with a local cast, production crew and facilities. Result is a most noteworthy effort .0' iii-ge .May Jlolmin | 7,iiSii I'lllH .H. It. Warm- .Sl.iler Watklns Sophie Sltivnrt I Nurao O'Urlen, Itungcy I'leri-e ' Cobbler Gen. Von Khrhardt.. Iran -ancnia I,t. Sehulli: Sadl KIr.orhen Krand WhlUock r.t. Schmidt... ..Miiry .llovvui't^ •. . :Koberi; CiililB .llai-tin KoslWk Oiil iKnon ...Lionel Hiiyce .. ..Iluimy 'HulP-r ... .\{px r>iiwnlng .Henry Jlrundon Krlt-/. ].eltier . ..({|lt>ert JOmcry .I.uc.lon IM-lvHl Lt. WIlBon nichard Deane Georso Moulin Bert Roach Mllnlaler Halllwell Hobbea Publii; Prosecutor Urnat .Deutach Dr. Gunther Kgon nrcchor Enron Von "Weaer Will Kaufman Vrea. of Court.... .Ouatave Von Seyferitllz .. .Ginger Roger.* ^ .Walter f'onnolly i .Vci-rce Teavilale ' ...Jamen Blllfon .Tim Holt Following close on release of 'Bachelor Mother,' this one confirms imores.sions of thp latter picture that Being historical narrative rather than film entertainment expected by audiences, 'Cavell' will mainly at- tract critical praise, the carriage trade and the history-minded. In metro- politan centres, picture has chance for profitable biz with smart exploi- tation. Aimed for cla.ss appeal, it will not catch the fancy of general audiences in the subsequent spots. In the British Empire, picture will be a standout attraction, drawing plenty of attention and heavy grosses without difficulty. The story of Edith Cavell and her martydom during the World War is here represented in a factual exposi- tion of the events leading up to her. death before a German fljring squad. It's strictly an hi.<;torical document, without theatric elaborations in the telling. In that respect, it differs radically from other films based on historical events' .that have been made from time to time. Produc- tionally impre.ssive, 'Nur.se Edith Ca- vell' treats with reverence and re- spect the tragedy of the British nurse whose only crime was assistance to war refugees to escape across the border. C>rim and sombre in its nar- rative, picture has no light moments to relieve the tragic aspects. Wilcox is slow and methodical In his direction and handling of char- acters and situations. But the sub- ject, matter calls for that method of approach. Picture - conveys the im- pression of reenactment of the orig- inal event, rather than a recreation thereof. This feeling is directly at tributable to the fine and sensitive direction. Supporting players are Impressive in their subdued, though realistic portrayals. Each is a character study without dramatic embellish- ment to mar the illusion presented, Included cire Edna May Oliver, May Robson, ZaSu Pitts, H. B. Warner, Henry Brandon and Richard. Deane George Sanders, as a German cap- tain and Lionel Royce, German com- mandant, provide effective delinea tions of the ruthless officers mainly responsible for the death - of the martyr nurse. Pii- . ' is a preachment against war. .ougli it shows no battle scent, it concentrates on the grim I unfortunateness of those caught in ! the maelstrom of war and the en- suing terror generated. Foreword states picture Is pre- sented in reverence, with bitterness towards none. But it is a strong in dictment against war, and indirect propaganda focused against the (Ger- man military command during the war, which will easily serve to di- rect sympathies in the present Euro: pean crisis. Direct appeal for American sympathy Is prominent exposition of the unsuccessful at- tempts of U.S. Ambassador Brand Whitlock (Gilbert Emery) and the' Embassy secretary, Hugh Gibson (H. B. Warner) to persuade the German military to commute sentence of Nurse Cavell to imprisonment for the war's duration. Revival of the incident, in which the American of- ficials were curtly brushed aside and ignored, will generate anti-German feeling in many quarters, As a picturization of an historical event, 'Nurse Edith Cavell' provides Anna Neagle plays the title role | a new approach to presentation of with restraint and re.spect, in fact too recent history. Of interest to the restrained in many spots. pre.<-°cnling | trade will be Its progress In the the nurse as an unemotional figure,: theatre from the b.o. viewpoint; es peclally with its straightforward narrative o( (nclunl events without addition of added dramatic material. Caveir has been given topnotch production outlay. Contributions of all technical departments are ex- cellent. Photography by F. A. Young and Joseph August is maintained in low key to accentuate dramatic ef- fect. I Silent production based on incidents of the Cavell case, with dramatic additions, was made pre- viously in 1918 for an independent company, with John G. Adolphi di- recting. Julia Arthur, ot the stage, portrayed the title role at that timc.j FULL CONFESSION Hollywood, Aug. 19. RlCtl relt-a.'*n of Itolicrl Si,.k pr„dni-tlon. l-ValurCM \"it-l«r .Mcl.aulcn. Sally l-Mlcr.-*. .loHcph t'allrla. Itarry l''ll-/.i;cralil. 1>lrci-li-d liy John Kai-row. Sfrccnplay by .leri-y t'ady; sloi-y by I.eo ■ Itii Insk i: camern.- .1. Hoy Hunt: n,tll,ir. Harry' Marker: af«*l. dliHM'lin-, Sam Rinnan. I'revli'wctI In alu- dlo pitijccllon room, .-\ug. IS, "M. Running lime. IS MIN.S. Mclllnnia .Molly Kntber l.onia .Michael irKccfe.. N'orah t^'Kceri- l,iiura Muh,H)C.\ ... Krank O'Kocfc Weaver Moore Merv-anlunlo Victor XIcT.nglen .Sally Kllcra loH<-ph Callcla Ilai-ry Flt'/.!;crald Kllsabetb RiKiliin Allele I'cnrre . ..Maholni .Mc'laggart lohn "Jllclfpr William Haadc t;corKe. Ituiubert Full Confession' is a rather inter- esting drama, with a murderous criminal confe.'ssing his crime to the authorities on persuasion o( a parish priest .to save the life of an inno- cent man. Produced as a B, picture will groove nicely in that slot where dramatic support is required. Not strong enough for the upper brack- ets. Story is a simple one, embellished by John Farrow's, direction. 'Victor McLaglen is a killer, presented as a ruthless murderer in the opening. When he is about to die. a confes- sional to Jo.scph Calleia. the parish priest, disclo.ses that another man has been convicted of a crime con^mitted by McLaglen, and is awaiting death in the oenitentiaiy. Callcia's offer of a blood transfusion saves the criminal's life. From there on its a dogged determination of the priest to get McLaglen to confess his crime to the authorities to save the inno- cent man from electrocution. Cli- max comes when Calleia is attacked by McLaglen and then is .saved by a blood transfusion by McLaglen, whereupon latter sees the light and gives himself up. McLaglen provides a typical por- trayal'as the criminal—rough, tough, and only concerned with his own freedom and happine.is. Calleia han- dles the role of the priest with sin- cerity and dignity, watching over his parish with understanding and tol- erance. It's a new type for Calleia, previou.sly identified with gangster roles, and humanly elTeclive. Barry Fitzgerald provides a good delineation as the Irish tad con- demned for a crime he did not com- mit. Sally Eilers is adcqtiate as the girl who loves McLaglen despite his wrongdoing. HAWAIIAN NIGHTS (WITH SONGS) Hollywood. Aug. l.S. l'olvei-.V!iI r,-Iea.'<P of .M:i.\ t;„l,lcn lo-otliic- tl(in. l»*,'tilui-cH .lolinny l),,tt-na. .Mary t'ar- llKle. Dlrci-ld" by Albert S. Kotell. S, rccn- pluy by Charles GrayHon and l.cc I.orb; original by John (.Jrey; caoiiM-a, .Stanley Cortex; editor. Olio l.udwig. Songa. .Matty Malncck. Krank I .«i,-.«.y,.r. Trevicwr-,l at Alexanflcr. Aug. l.'i, ';i!i. Running time, OS .MINH. Ted Hartley Johnnv Powna .Millie .Maiy Carlisle Lonnle l.atie Cmi-'tain-c .M.tnre Ray I'elci-s t I-Nldle Qnlllan Alon7.o Ollinan Klii-nne ilirailot T. C. Ilnrlb-y Tbui-.slon Mall Frank l.anu Saiiiiiel .s.- Lllnda Votherlng Itolicri Kininelt Keana' Murphy Willie Fung Here is a neat package of light and breezy filmusical entertainment that will provide adequate program sup- port in the lower dual. brackets. Setup and pace is speedy in the un- winding, with production numbers effective through lack of elaborate- ness. Picture also pre.'ienls .several tunes that are nicely slotted and de- livered. Story is not new, but interesting enough for the purpose in a different setting. Johnny Downs, son of a hotel magnate, pa.sses up business responsibilities to organize a band among the employees. When the father .sends him to Honolulu to as- sist with another hotel in the chain and forget about music. Downs takes his band along. Aggregation suc- ceeds in landing with a rundown op- position hotel to make it a success for Constance Moore, girl he falls in love with. Music is supplied by Matty Mal- neck and his orchestra, with Mary Carlisle and ■Mi.'Js Moore splitting vocal responsibilities. Four tunes by Malneck and Frank Locsser are good, and all candidates for radio and pop aoneal. 'When Hawaii Sang Me to Sleep" and 'And I Found Love' are dreamy and slow num- bers with Hawaiian rhvlhm. 'Min- uet in G' and 'Hey, Good Looking' are tuneful in syncopated .swing. Johnny Downs is okay as the laud- ding mae.itro, with Constance Moore 0DD0.<;ite for the romantic interludes. Eddje Quillan provides corhedy mo- ments as the breezy p.a. for the band, aided by Mary Carll.sle in combo role ot comedienne and singer. Etienne Girardot also as- sists In getting over the comedy. Balance of supporting cast neatly selected. 'Hawaiian Nights' is proof that ac- ceptable program fllmusicals can be turned out on moderate budgets. In keeping the two production num- bers—a Hawaiian native dance di.":- play, and opening floor .show at the hotel—within budget requirements, they stack up as sufficiently enter- taining without extraneous footage or pretentious settings to achieve the effect required. Albert Rogell's direction keeps things moving at a fa.st clip. The Hawaiian backgrounds are cxcol- lently set up, with sound recording of the music and songs of untisunl standard for a moderate budget pro- duction. WAY DOWN SOUTH (WITH SONGS) RKO rclcaao of Sol T.CH.scr i>roduclii,n. Stars Robby Rreen; feitturea .-Man .\l,-\v- bray. Ralph Morgan. Clarence Mii.ve, Rol.cii Grclg. JDIrerted by Renmnl Vorhau". Sn.iy mill adaptation. Clarvnce Muw and l.aiiK- .iton Hughea; editor. Arthur Hilton; pboiog- raiilty, Charlea .Schoenbiiuni. Al 1'iiIh,-,-. .V. Y.. llual, week Aug. 17, Mn. riuiining lime. 01 MIN.S. ' . " Tim Itotibv llrccn JacQue.i Iloiiton ..Alan .Mowl.iay Timothy Held Ralph .Moixan Cncte t'nton t'laicin-e .Miimi ''itullne ;.stern lluim <'i"lie..' .Sallv in.iiin .Martin Dill K,l«in .MaTw.ll Ca.ia Charlea MIddli'lon .ludge Rave.nal... Hoberl liivig J'^nlf I.HIIiin Yail.o ''U'nbu Sivinie RHiiit '•"k* Jack fair 1-"'U Mai-guei lio Whit tea Hall Johiiann Choir. A slow-going, tiresome Bobby Breen starrer with songs. mostly- Negro spirituals done by the H.nll Johnson choir. The business po.^si- bilities do not appear bright, and there is a question what will hap- pen below the Mason-Dixon Line in view of the .slavery backvroiiDd <it the .story. Generally, the market is tho dual bills. Breen is an agreeable character in a highly .sympathetic r ^ of the lad who battles again.st cft'orts of oihors to impose harsh treatment on slaves who are faced with Inking orders from them following the death ol the kid's father. He is prominent in the action all the way but it may be consideired he is a little overboard ii\ his. sympathies for the coloi;ed folks of the plantation he has inherited. The time of the story is 1854, be- fore the Civil War, and the back- ground, looking very authentic, in Louisiana of that period. Large group of colored performers, over and above the Johnson choir, are used as atmosphere and include numerous effective types. In one mob scene, where the Negroes are celebrating the completion of the job of gathering in the cane crop, the spirji of carefree jubilation and gaiety, typical of their race, is well captured. The shagging and jitter- bug stufT, however, is something else again, in view of the ante- bellum period. Some ot those south- ern accents also sound a bit phoney. Too much unimportant detail, in stretching the story to 61 minutes, is principally responsible for the drag- giness. All of the scenes with sing- ing of spirituals and old songs have merit. Hall Johnson made the choral arrangements of the numbers used. Breen himself figures in two ntini- bers, one a spiritual with others, the .second an old song about Louisiana as a solo. Breen has as capable support Alan Mowbray, a New Orleans innkeeper who talks too windily; Ralph Mor- gan, as the kid's father who van- ishes early in the proceedings: Clar- ence Muse (who also co-authored), colored servant around whom mtich of the action hinges; Robert Grcig. a unique judge character, and Charles Middleton, a Simon Legree type, among others, both white and col- ored. Clitir. ISLAND OF LOST MEN Paramount relea-se of Kugene Zukor pro- duction. I'Yaturea Anna Way Wong. J. Carrol Nalsh, Anthony Quiiin. Ki-ic Itlme. Hroderick Crawfonl. Directed by Kiirl Neumann. Adapted by William R. I.lpoian and Horace Mc(?oy; from play by.Ncininn Kellly Rnlne and Frank Ilutler; cnineia, Karl .Strum; editor, KILiwurih. Ilo-ighiod. At Criterion; N. Y., dual, week Aug. HI, ':in. Running time, 6,1 .MIN.S. Kim Mng Anna May Wong liregory Prin J. i'aii,,| N,-,l.>h Herbert Ki |i|„i e Frobenlus Kmcr Tnin Chang Tal Anllinny LJuion Hambly William Haa,li> Tex Oalllater i-oderick Crauronl Profenor Sen liudoir KiiLHer General Ling Richard I.oo Remake of Paramounls 'While Woman' (Charles Laughton-Carole Lombard of some years ago) was handed Eugene Zukor as his fiift solo production effort. While film lacks a fS-edible, workmanlike sloiy, and Is essentially Malaysian melo- dramatic hokum, there is .still enough, color and suspense attached to the proceedings to attract trade in sub- sequents and nabes, if properly ex- ploited. Responsibility of carrying the pic- ture rests solely on J. Carroll Naish. As a peculiar species of exploiteor of jungle labor, un.scrupuloti.>:ly maintaining an empire, single-hand- ed, against all comers, black or white, Naish is called oo to bring a wide range of histrionics to the part. Speaking with a clipped Orieii- (Continued on page 20)