Variety (May 1930)

Wednesday, May 7, 1930 FILM REVIEWS VARIETY 21 ALL QUIET ON THE WESTERN FRONT Universal Tproductlon and release. Di- rected by Lewis Milestone; producod by Carl Laemmle, Jr. " Adopted from novel of game ■ title by Erich Maria. Remarque. Adaptation by Magcwell Anderson. Scenario by George Abbott. . Cameraman, Arthur Edcson. At Cehtral, New York. April 20; twice dally; ^ top. Running time 1S2 ifitnutes. . ' ■ ' _ Katezlnsky.,.. i,.,..L.ouls Wolhelm Paul Baumer,. Lewlrf Ayrea HlrnraelstosB. .,,..,>,. John Wray Gerard Duval Raymond Griffith TJaden ..George "Slim" SummervUle jluUer Russell Gleason Albert William Bakewell £eer • Scott Kolk Behm..^.. Walter Browne Rogers CKemmerlch Ben Alexonder ■Peter Owen Davis, Jr. [Petering Harold Goodwin XJeut. Bertlnck. Pat Collins IWesthus Richard Alexander Kantorok Arnold Lucy Hanimacher Heinle Conklln Herr Meyer Edmund Brcese iWachter .....Bodll Rosing Ginger • Bill Irving TUsf Baumer ^....Marlon Clayton Kri Baumer Ben'l Mercer Mr. turner..... Edwin Maxwell Suzanne Yola d'Avrll J . J Renee Damonde French Gl^a '•••I Poupee Andrlot Sister Llb(rtlne Bertha Mann Poster Girl Joan Marsh A. harrowing:, firruesome, morbid tale oC war, so compelling in its realism, bigness and repulsiveness that Universal's "Western Front" becomes at once a money picture. For this is war and what Sherman said goes double here. Nothing passed up for the nice- ties; nothing glossed over for the wohien. Here exhibited is war aa It Is, butchery. And when the (?erman boy, back to the school which he left as a youthful scholar, as a hardened war- veteran afte.r three years' nghting the French at the front, said to those young boys raring to go where he had been, that "war is dirty. It Is death," and' the glory — to hell with the glory of country along with It, or something like that, no one in the audience could help but en- dorse that sentiment,, for those be- fore the screen had endured with the German soldiers all of their horrors; frights, amputations, pri- vations and deaths. It is this very thing In a very great talking picture that will draw the business and money to "All Quiet On the Western Front." If* as they say, all of this was also in the book, then it is understandable vrhy a story of this worst side of war did become the best seller. Acknowledging the unbodnded credit that' must go to Lewis Mile- stone for the superb direction of a most difficult subject all the way through, there is behind all of this TJniversal picture, something else again. It's quite. true that U has • turned out a talker picture that may live forever as a picture of the four-year war, and did so com- mercially, but to whom is due the rose for daring to make such a pic- ture as this, with that commercial- Ism in mind? If that person were young Carl Laemmle, who produced this film, then the kid Is there with nerve, for he has done on that nerve perhaps something no other pro- ducer in the film industry would have cared or dared to chance. Driving men and boys to their certain finish before those murder- ous machine guns, dodging all kinds ot killing mjssles from the air, liv- ing with the rats, starving while fighting, forgetting country and home, just becoming a fight ma- chine on a routine, and probably ahell-shocked into future oblivion if Burviving all of these war years; that's the story and picture you hear and see in "Western Front." It's so real that despite the inner Intent of the elder Laemmle to pre- sent a picture of the Germans in war, Universal has turned ou a stern object lesson against war. As Louis Wolheim said in his character: "At the next war let all the Kaisers, Presidents, Generals and diplomats go into a big field and flgut it out first amongst them- selves. That will satisfy us and keep u.s at home." Or when Slim Summerville, like- wise in character, of course, stated: "Me and the Kaiser; we are both flehting, with the only difference the ^iser isn't here." Mr. Milestone left out nothing. Three or four deaths in sight of the audience; two hospital scenes; sug- eested amputations of legs so sug- Sestlvely forced you can almost see tnem cut off; deaths by that war Dutclu'ry on the field and a death by stabhiuR in the trenches, including ghastly sight of a pair of bare nand.s only, for but a flash, hanging onto a barbwire fence. 1*^ t'^e shells come hurtling over, jne incessant noise, louder and hot- ter now and again, but always "•ore; always war, and that run- n»»e: r.xpioslon of a ground set of lorpc-rlocs that blew everybody and Tf.f^'ytji'ng to bits as it progres.sed. «a all here and it's all war. tiard to throw comedy into the erean'st tragedy the world has Known or in this, th^ biggest and wouite.st drama ever screened, ^uc i:ipy get it in, mostly through '■"ni iiummervllle as a hard boiled veteran, and another, the mpJe lead role played by Wolheim. Or again when three German soldiers swim, naked, across the •river to the French shore, carrying bread and sausages to three French farm girls on the other side, and or of that other scene in silhouette, of a bedroom shadowed on the wall with a bowl and pitcher on a table, and one of the German soldiers heard saying to a French girl, hoard but not seen: "You are not like the other' girls I have met," ,and then the three German soldiers leaving the French home, after they come downstairs. That may be funny in Germany, but you can bet all of the hot dogs ever cookec},. it will never be shown in France. And what a war picture, without an English or American soldier in it? And the best war picture ever filmed. Which is "Western Front." Because it's the real war. whether ;made in Hollywood or in what was the Western Front of the supreme iholocaust. This story In brief, and taking in all that it does thereby, cart-ies a group of school boys, enthused by their professor's plea for fealty to country, from their training days through warfare to their deaths. According to this tale none of those German boys who broke 'up school one day to enlist ever returned, ex- cept one. And when that one went back, the old men of his home town were fighting over a map as to the best way for the Germans to reach Paris, and the professor was once again harranguing his scholars somewhat younger this time, not over 16, to fight for their Kaiser and country. This latter is one of the best scenes, without the air noise, that of the returned soldier permit ting his real feelings about war to spill over, to be called a coward by those schoolroom boys who heard him tell the truth, but were just as eager to go as he had been three years before. The returned soldier, tiring quick- ly of the false impression at home of the war, fighting and the front, went back to fight some more, and met his death from a Frendh bul- let as he was about to feed a little bird on the trunk of a tree. It end- ed the picture-quietly and killingly, as that was war, too. Every male in the world, from 14 years, up, should see this picture. Women will go In the main, al- though all may not, through the gruesomeness. Women like to cry and there's plenty of cries- in this, besides the thrills and also the knowledge of war that has been and will be. . In performance one might say it's due to Mr. Milestone's direction and let It go at that. But there are Standout performances, even in bits. Mi;. Wolheim leads, closely seconded by Mr. Summerville, for those two muiat make them laugh as well, and they do: then John Wray In his fine character drawing of Himmel- stoss, the post man who became sergeant and put the former pupils over the ropes as soldiers in train- ing, with a laugh out of this when they turned» the tables on the trainer.. Raymond Gtifllth is the Frenchman stabbed and who died in. the trench. He didn't have to talk for Griffith died as no one else has pn the screen; Russell Gleason who made a short story out of a pair of boots; Lewis Ayres as a heroic youthful soldier figure; Beryl Mercer who seemed an un- certain mother as she welcomed her boy home, and the Sisters of Mercy, the nurses and the doctors of the hospitals. Production and photography In keeping with the direction, which tells much briefly, while recording and projection at the Central the opening night without a blemish. "All Quiet On the Western-Front" cost Universal $1,200,000. The League of Nations could make no better in- vestment than to buy the'master print, reproduce it In every lan- guage for every nation to be shown every year until the word War shall have been taken out of the dictionaries. f>imc. KING OF JAZZ (PAUL WHITEMAN) (All Dialog, with Songs) Universal pmductlon and release. Paul Whlteman nml Band stnrred. In revue form, directed by J. Murray Anderson. Mostly blnckout.s and numbers. Dance numbers staged by Mr. Anderson. .Songs by George Ger.^hwin. M;ibel Wayne. Milton Ager and Jack Y.'llen. At Roxy, New York, week May 2. Running time, 08 minutes. Prlnrlpals: John Bole.s. Laura La IMante. Jeani'ttn Loff. Glenn Tryon. Mcrna Kenne- dy, Kathryn (YawfonJ. George f.^lim) Sum- merville. Stanley Smith. Hilly Kont.. Grare H.iyes. Pl.oters 0. Wllliur Hall. John Ful- ton. Rhythm Boy.-!. Urox Sisters. fJeorge r-hllps, Jacques ('artii»r. Al Norman, Frank I. ,p.slle. Jeanie Lang, i'hnrli>!" Irwin. I'aul Howard. Marian Statler nnd Don Rose. Tommy Atkln.s Sextet. NeM O'Day, Russell Markert Dancers. A box-olflce picture anywhere for one week. If holding over, that must come from the e.xtrcmfMy oa.s.y exploitation capable with thi.s pic- ture and tlie popularity of Paul Whiteman. A.s per the list of prin- cipals above, there are (Exploitation pos.sibilitles beyond the world- famous Whitem.'tn and Wliiteman and his Ijand, but in the picture it's only Whlteman. Takir.g the revue furm ot "The King of Jazz" as dirfoted by J. Mur- ray Anderson, on hin Rr^t picture Miniature Reviews "All Quiet on Western Front" (U). Powerful artis- tically and commercially. "King of Jazz" (U). Good revue entertainment for week bookings. "Clancy in Wall Street" Humorous production, with. Charley Murray always good for a laugh. Lacks color. "Strictly Modern" (FN). Just a programmer, . "R^demptton" (Metro), John Gilbert suffering and suiciding in a particularly dull and stu- pid old-fashioned Tolstoyan "problem." Imperative to have a well-picked sure-fire comedy bill to take the curse oft this one.' "Dr. Fu Manchu" (Par). Lurid ■ version of Rohmer de- tective story. Badly adapted, but probably a draw for the enormous following ot that author, "The Second Floor Mystery" (WB)—A murder mystery with the burlesque touch and a cute Idea that will be liked in some of the minor first runs and ap- plauded in the neighborhoods. "Stampede" (Sudan Made)— Sure-seaters or houses cater- ing to youth and educationally inclined can book this. For others it is an uninspired and insincere effort to put Sudan- ese natives through ah Ameri- can meller routine. "Asphalt" (Ufa). Femme crook and boy cop caperings of the American school but Euro- pean atmosphere that will go well in all silent houses. Disc orchestration makes it okay for off-day bookings in. many of the second runs. talker attempt. It could be said that the revue form is rather late, but that is stood off at this time by •'Paramount on Parade," also late, but over. So it remains up to An- derson, with Universal resting a production that cost $2,000,000 In his inexperienced hands. If there Is one big thing- the Whlteman band Is Identified with, besides its leader, Paul, It is George Gershwin's "Rhapsody In Blue." The millions who have never heard the great Whlteman band play this biggest of all jazz melodies won't hear it here, either. Mr. Anderson has seen fit to scramble it up with "production." It's all busted to pieces, and, while it's all there. It's not the Whlteman number it would have been had It been played sim- ply'straight as a musical composi- tion by the jazzing orchestra that does it so well and aa it should have been, Anderson does a lot of experimen- tation, as It looks. In the early sec- tion. He gets some effects out of it, but they count for nothing at the box office. Mostly these effects are colors and backgrounds. Nothing her* counts excepting Whlteman, his band and the finale, "The Melting Pot." This latter Is an elaborately produced number, and produced In the same manner that Anderson or Ziegfeld would have put it on in a stage show. Many flocks of peo- ple appearing and disappearing. It's imposing, mainly because it comes at the finish, and the numbers be- fore meant little. They were also staged by Anderson, mostly at long range, and valueless for that reason. The Russell Markert girls can do anything, but what's the good of that if they look like a collection of shadows, with the close-ups seem- ingly always In wrong? In comedy the revue is almost barren. A few blackouts, some from the last Andersson musical revue on Broadway, and the others just as light. In songs the picture is more for- tunate. It has two outstahders, both ballads. "Dawn," by Milton Ager and Jack 'Tellen, Is already an as- sured hit through the radio, and "Monterey," by Mabel Wayne, sounds just as likely for a selling success. John Boles sings both, and well, with each extensively produced. They will help, but can't make the picture. The Ager-Yellen "Bench" number may come through. It's there. In comedy William Kent gets the best chance, upon two occasions. Paul tries for a little comedy him- self now and then, once by having a dancer double for him and exposing it. Most of whatever comedy there Is occurs at the opening, when a car- tooned Paul is chased by a lion in the African jungle. Some fun to this, and just cut off In time. Charles Irwin makes a ploasant master of ceremonies, who does not obtrude, and runs off the revue per- formance nicely. Others flit In and out, scarcely noticed or recognized. Joanc'Lte LofI sings a couple of songs while tlie SLsters G merely make one vvondrr why they were brought over from Horlin for the little they show here. .Stanley .Smith ia the juvenile, and good enough. For example, maybe Grace Hayes was in the pic- ture, A "Bridal Veil" number Is put on in a biff way. Bringing the brides through the years to date, probably. But If that Isn't Zlogfold's first pro- duction schonio lor a stac;e musical, it was Anderson's. This picture Is all too much Anderson froi'n the stage. It quickly proves ho did not roalize the camera's scope. Anderson is a class prtuUu'Or for llie sta.!?c. He never has boon eroil- ited with knowing much about com- edy, ond surely boars out tliut rop in the Wliiteman talker. IMul Whiteman doc.'; admirably, wheilior talking, kidding or leading. His voice Is Al for the screen, while the recording is exceptional. As Whiteman i.s well known as an ex- pert on sound, he reserving for lun\- solC the privilege of always being in the recording room when his band is malting plionograph records, an unusual demand with the di.sc mak- ers, the recording here may go to the Whiteman credit. A OSrmlnute picture that can stand a loss of 10 or 15 minutes without worry. There are neat camera and other tricks in it, but, again, they don't count at the gate. All in Technicolor, with coloring smartly done. Whiteman will hold up the pic- ture, here and abroad, for the Wliiteman music la box office in any language. But what this picture muffed is a pity. Shnc. CLANCY IN WALL ST. THE ALLURING GOAL (GERMAN MADE) (All Dialog)' Berlin. April 23; "Da.a Tx>cl(enJe Zlcl," Tauber-Tonfllm production.and ICmelka release: recorded on Tobis. Directed by Max Reichmann, inichard Tauber starred and Maria Eisner. Oscar ?lma and Lucie ISngllsch featured. At Capitol, Berlin, The second Richard Tauber pic ture is much better than his first attempt. Tlauber's popularity con tinuefe and It will probably last but till his third and last produc- tion. Story Is ^ery simple, dealing with an opera singer who slowly makes his way up the ladder. The film's chief drawback Is -that it hasn't the catchy songs that were in Tauber's first production. The beginning of the picture held the interest but toward the end- it becomes boring. Despite this, there are many inter- esting details in Max Relchmann's decent direction.. But Reichmann can do a lot more than he shows here. Story Is weak but business will surely be big. Mag. ZEINAB (EGYPTIAN. MADE) (Silent) Cairo, April 19. Ramses Film Co. has presented its Egyptian film, enttlled "Zelnab," at the Metropole Cinema, Cairo. The value of "Zeinab" Is based upon the literary experience of its author, Dr. Hussein Helkal, eminent Arabic writer and journalist. It is really a piece of work depicting rural life In Egypt, and staged by Mohamed Kerim, well-known film producer, who could extract from the material, gathered by the author a master- piece of silent art. Zeihab is a native girl living In a village, endowed with beauty, but, like the majority of young Egyptian girls, she has been deprived of self- control In disposing of her future through her own discretion. When working In the fields, gain- ing honestly her livelihood, she falls In love with Ibrahim, who is en- trusted with the Inspection of cot- ton gleaners, among whom is Zeinab. Hearty feeling of love is ex- changed between the two lovers. Ibrahim and Zeinab swear to be faithful until marriage wlU bind both. Poverty is the only obstacle that impedes the realization. Thereupon Hassan asks the girl's hand, -being the type of man looked for by the parents of Zeinab. The nuptial ceremony is celebrated be- tween Hassan and Zeinab. On hear- ing thl.s, Ibrahim becomes desperate, and at the same time he Is sum- moned for ballot. • Not able to pay the necessary tribute for exemption from military service, he must go. Ibrahim bade farewell to his be- loved Zeinab, who keeps a hand- ken.'hicf as a memory of her lover in her moments of trouble. But soon she Is stricken by a dis- ease, which conveys her ad patres, while she gives her last tranced breath holding In her hands the lonely rello of her beloved. The choice of locales Include the riverside whom Z'^nalj was asked to acceiit Ha.ssan's proposal; the wide sp.'iccs of the dc.sort, the handsome and pIctureHfjue mosques, with thflr slender min.-xrfts, etc. A part of thr- iilm' was colored In Paris. The op- erator, Oaston Madru, has stamped his work with Individuality, and was assisted during his absence by Mo- hamad Abdeijyzim, who compl'^ted his work perfectly. Cast Includes: 7.e I n.'t b Kfi h I 'I J a 11 .i f e 7, ^"Iniili's Mother .Diiwlat Abi.id HiUisam 7.aki Hoht-im Ibrahim SoroJ Munlr '/Mmib'n Father.Ibrahim Ha^.^nn lOI Kemely ilus.Han's Father Khcikh Ha.s.s-m Ahmei] YuH.sef Bey Wahby is the director of the Ramses Film Co. Film entirely made in Kgypt by the Mlsr Co. Assicad. .\i-:-.t.>>r>: riotures iiy f.ipuii! l>iri-v-tO'I till* .•.ii|nM \ i.-<i<>n v>f .~i-"rv liv Itilnh Holl 1>i;il.iir In Willuiiu I .*.on, <-iin.M'.inuui r ,l.ii K lin'i;.!!-. .\rt w.ill.i.l.M-. l>:ii| V 1 ''il my. Now Y.m k (un<^. Tit niinutt's. Mii'hai<l \ :.. An>ly M.»i-lnti>.--l\.. Ml-.'*, ri.-m-y Donald M:ii-li>tiisli Katie Olanr.v FrCililie ,S,>uniiiM-s.. (All Dialog) proiluoiion. Uv»K>;i.'cd by IVil Wil.le umler iU\;vnl Sni.tll, S-roen and Jark Warner, Higan. Harry J.n-k- ^lun.l nvrnling by •irOi-i»r. I'harlos Cad- n Mm editor. At «>i-k M:iy 'J. Bunnlhg Di ■;il<i ,..I'li.irliv Murray .r,\i<-ii-n I.ittlolKMil ... Herrlnef ,.. l-'.ilwnr.l ■ NUKPnt .... Mli'i.tm SiM'mr Uoi'.l lliiwes An inexpensive Independent'pro- duction" wherein tlie producer.*!' fig- ure to cash in on Charley Murray's humor and popularity. Story is woven around and satirizes the recent Wall street crasli. No doubt about It being a good programmer, but that|s all. It doesn't merit the Broadway week stand . accorded It at the Colony, except for exploitar tlon purposes. It's Charlie Murray's picture, from start to finish plus some comedy and pathos by Luclen Littlefleld, Murray is a natural for the part given him here and proved it by romping throughout and scoring all the laughs. As usual and in the manner which has become familiar to film fans from his work in "Cohen and Kelly" production, Mur- ray is the thick skulled, but humor- ous. Irishman with a-weakness for get rich quick schemes. / He is a plumber, in partnership with Littlefleld. Through an error, he finds himself playing the stock market and- when he makes some money, he deserts his itartner and moves into a swanky apartment up- town. Pulls the -familiar faux-pas while entertaining ritzy guests for good laughs. After his daughter leaves home because of his behavior, he loses all his money in the stock market crash. Littlefleld returns and tells him he is willing to wel- come him back to the plumbing partnership witli Murray accepting. Love Interest Is carried by Miriam Seegar, as Murray's daughter, and Edward Nugent, as son of Little- fleld. Both are very young, good looking, and their romance scenes are pretty saccharine. Production is economlcall. All scenes are the one-round indoor affair and could practically b© transplanted to the stage in Its pres- ent manner. A clip of a newsreel used to show the distracted di- sheveled mobs In the stock market during the crash. Dialog Is the main pillar of strength. Some oke crossfire and the snappy lines handed to Murray, protnoted by Murray's manner o£ delivery, are sure bets for laughs. An oke bet for the neighborhoods. STRICTLY MODERN (All Dialog) First National production and release. Directed by , William A. Seller. Dorothy Mackalli «t.-irrp<I. ."Sydney Blackmor fea- tured. At .Strand, Wew York, week May 2. Running time. nO minutes. ICate Dorothy Mackallt Heath Desmond .Sidney niankmor Almee Julanne Johnston Judge Hnrtlett 'Warner Richmond Hobby Spencer Mickey Dennett Mrs. Spencer .Katherlne Claire Ward Zippy title on what, at best, could have been a good short story. It was, as "Cousin Kate," a fair stage, play. Artistically, just a talker- Aa a gros.scr, should prove fair. Every- thing secured should be through th© title and the Dorothy Mackalll fol- lowing. Adult theme with not-so-adult treatment. Exploding cigars and a black eye carried all through th© picture by a young but very stern. Judge are the chief comedy Imple- . ments. The finish Is obvious as soon as the story starts to move, and between a fast first section and the hoke wedding climax Is a great quantity of mostly nothing. Cousin Kate's cousin (Julanno Johnston) Is jilted two days befor© the wedding by her fiance of fiv© years' standing. Heath (Sidney - Blackmer) lammed when his bride- to-be lectures him on "passion isn't everything" and on the way out poked Wafner Richmond in the eye, Riclimond, as the Judge and secret admirer, was the one who advised Almee on what to tell her future husband. Cousin Kate meets Heath on a train via flirtation as the latter la returning to apologize. Kate is go- ing to the wedding. They fall hard during the romancing on the train without knowing each other's Iden- tity. Wf)rkR out okay at the finish, with Cousin Kate and Heath pairing off and the judge and Almee doing the same. But not before Kate's kayo drops worked on the Judg© just as iKt was about to painfully say, "I now jironounco you man and wife." If the r-.-ii-Iy pace were maintained this would li.'i^e been a .'<peedy pic- lure. As is at the Strand, runs only .')3 niinutcH, but the draggy middio .seftioii rai.ses the blood pressure. As Cousin Kate, Mis.s Mackalll played a sophisticated novelist with li»'r own ideas about love, changed only wlieri nicetlng Heath. Black- mer in a gi>'iil-Iooklng nian and first (Continued on page 3!)>