Variety (Jun 1930)

25 HELL'S ANGELS (All Dialog) CidJo production released by United Ari'l^ts Directed by Howard Huehee, lea- tiirliic Ben Lyon, Jamea Hall and Jean Harlow. DUloK by J. M. March; staged by Tameq Whale. ' Story by Marshall Nellan and" if- March, with Howard Etsabrook ard Harry Behn credited for adaptation. Released as sound on fllm. Lo<lee Cunning- ham ohiPt recorder. Musical arrangement hv Hugo RIesenfeld; production manager J w Engel. At the Chinese theatre, Hol- lywood for Indefinite twice dally run, $1.50 top, starting May 27* Running time, 11» ""cfuTieramen: Gaetano Gaudlo and Harry Porrv first credit; B. B. Steene. Harry Zacli Dewey Wrlgley, Elmer Dyer, Pliny Goodfrlend, Alvln WyckofT, Sam Landers, Jockey Tuers, Glen Kerehner, Donald Keys, ■Rov Klaffke, Paul Ivano, Charles Boyle, Hermon Schopp, Guy Wllkey, John Sliver, Edward Snyder. Ed Kull, Jack Grccnhalgh, Henry Cronjager, Edward Cohen, Frank Breainer ond Ernest Lazlo. ^ Monte Rutlcdge ;. .Ben Lyon ROV Rutlcdge James Hall -ur^'i,.,, Jean Harlow ikaii Arnsledt John JJarrow Baron von Krnnz ..Luclen Prival Lieut, von Bruen ..Frank Clarke QQidy Roy "Wilson Cai)t. Rcdfield.. Douglas Gllmore Barone.ss von Kranz Jano Wlnton Ladv Rondolph Evelyn Hall StalT Mojor W. B. Davidson Squadron Commander.. ."Wyndham St.indlng Zeppprn Commander.. .Corl von Haartman First Otilcer. VF. Shumann-Helnk "Hell's Angels" has an "if" about It. And that "if" is the censors. If any other screen in the country flashes Howard Hughes' air fllm the way it opened on the Coast, "Angels" Is a cinch. Minus blue-nose Interfervnce, this one won't miss. But you can't dis- miss the "Shalt nots" as easily as that. So this air fllm, and as an air fllm it's a pip, shapes up as a re- lease that's going *o get a load of money, but that it will ever pay off its producer is doubtful. Which means that it's going to be better for the theatres than he who made it. Us practically Impossible for Hughes to get his money baclc. They advertise that the fllm cost $4,000,000, which likely means $3,- 000,000—plenty. And that Hughes doesn't depend on the picture busi- ness for an existence opens the way for him to go on the roll call as the fllm industry's most unusual guy by turning this one loose at reason- able figures. He's in so deep that it can't really matter to him now. And Hollywood across tables, drawing rooms and putting greens is giving "Angels" a terrific pan- ning. Perhaps the reaction of Slav- ing waited so long to see It. Few ainon^ the colony see any hope for it at all. They like the air stul? be- cause it forced them to do so. But the story?' How they tear it apart! It's no sappy, imbecllic tale. Keither may it be the greatest story whldi has ever been screened. Nev- ertheless, it has substance. One of the brothers (Ben Lyon) is strictly a "good-time Charlie" continuously on the make and humanly afraid to die; the girl (Miss Harlow) Is no good in the sense that she has and will try anything with either brother, but only does so with Lyon. This is because Jimmy Hall has Ideals, Idolizes her and wants to make everything official. . It all finally winds up by Hall shooting Lyon be- fore the latter spills vital informa- tion to the Germans to save his life, after which Hall goes before a firing sciuad to get his. The presumption is that the girl Is left to go on giving the other boys a thrill. The picture Is to the brim with Bex. It won't teach the modern youngster anything, but it will cer- tainly give 'em an idea.of them- selves in action. So the censors will get a kick out of this stuff and cut it before anyone else can sit in. Los Angeles has no censorship. The other highly censorable points are three profane exclamations wiiich the ear registers, not the eye. One is a yell. All three are in the same secjuence. And each belongs, should stay in, but probably won't. It would be a great thing for pic- tures if "Angels" could slip these exclamations through. It's not merely profanity for profanity's salfo. Here, aa in many stage cases, it's used for emphasis, it fits, and it's great. On the other hand, there's The Code and Prohibition. The first half of the fllm (60 min- utes) builds up to a Zeppelin raid on liondon which runs two reels and is given a big screen. A Ger- man youngster brought up in Eng- land purposely misdirects the bomliing into a lake, British planes pur.sue, part of the Zep crew is called upon to abandon ship to lighten the dirigible, they jump, and tlie climax is one of the Royal l''l.vliig Corp's youngsters sending hi.« plane through the big bag from above. The way this final destruction is pictured will get a gasp from any iuulience. No film has yet had anything like It. Meanwhile, that (;<'rnian kid spotted In a suspended ■ KondDla to direct the Zep's bomb- ing, has been suddenly ("ut loose l>'.>i>!iu.se he's impeding the home- ward e.'icape and the big drum can't retrieve him fast enough. The story has previously designated him an Oxford pal of the Rutledgo brothers. Hence, there'.'t more than '•■'isual interest In the boy. Tlie ^throc dramatic hitjhllghts of tlie Zt>p footage are claimed to be based on fact—the severing of the '"able to the gondola (which prob- ably is out for Germany); the crew vohinteering to jump (minus para- «-"hutHs) and the Briii.sh kid plung- ing his plane through the big en- velope. A French flyer did this over Paris. Second half's main display (59 minutes) is an aerial dog. fight In which at least 30, maybe 40, planes simultaneously start diving and zooming at each other. The only thing Hughes missed on this and would have had if they'd had 'em, was a Grandeur camera. Continuity approach to this action Is a cap- tured German bombing plane which the British are going to fly back over the enemy lines to destroy an ammunition dump. The Rut- ledge boys oflter to dot it, Monte stepping forward after an emotional upheaval over being tabbed as yel- low. The brothers reach and de- stroy the objective with the ex- plosion.s figuratively rocking the screen and it doesn't look miniature. "While this has been going on, 13 or 15 German planes have been fly- ing above the bomber but- paying no attention until the leader sees the depot being peppered whence he signals to attack—and those planes start tail spinning out of a V-formation to take a crack at the bomber. Then coming from the other direction are what seem to be dual groups of about 10 planes each—British ships. The German squadron leader sights them, sig- nals to his men to regain their .formation and Hughes has mis- takenly and abruptly cut off this shot after showing but four or five planes returning to position. It's a beautiful maneuver for which the footage should have been allowed to run to sure applause. Thence the free-for-all interspersed by closeups of the boys in action. One overly gruesome passage is that of a pilot being hit to then scream in terror and agony as his plane dives. A bit too tough. Its during all this that the pro- fane exclamations occur. The big laugh Is Lyon, at the machine gun, taking shots at a British plane In his excitement. The flyer, from Lyon's own group, knows who's in the bomber and in exasperation finally snatches his helmlt off to show his bald head, pat it, and holler, "God damn it, it's me!' They'll howl at it all over, if It can only stay in? Story actually opens in Munich with Monte trying to date every femme in town, a aueiiing scene at this point instigates memories of a similar silhouette in "Flesh and the Devil." Back in England next, Roy introduces Helen to Monte and the hit and run artist gives full at- tention as the girl has all the ear- marks of belonging to his club. Monte proves his deduction right when -she asks him up to her apart- ment after a-Technicolor ball. There may 'have to be some changes in the dialog between these two, fol- lowing the fade on the big clutch, as the picture here lays Itself open to giggles. Highly seasoned portion of the second half comes with Monte and Roy on a spree. Roy finds Helen half soused and entwined with an- other officer in a barroom booth. He then has to stay sober enough to get Monte back to camp, the latter being busy on an ear biting contest with hi.s own damsel. Fol- lows the bombing expedition and the capture of the brothers after falling in a spectacular dive. Their being alive at the finish of this plunge is about the only implaus- ible item in the fllm. There's not an American or Frenchman in the picture. It con- cerns only England and Germany, and the picture should click in both the.se countries, and it probably will throughout all foreign-wired lands. First half, on story, is unques- tionably episodic. Continuity jumps around in (luick flashes, but it's good cutting because there's always something doing on the screen, and dialog throughout these short pas- sages is excellent. Every word counts and there are no long speeches. As a matter of fact, there are onl.v two long "sides" in the en- tire film—Monte's tirade in the offi- cers' mess and when he dies In Roy's arms after the latter has shot him. This last scene was 'way overboard on length opening night. The com- edy touches In those early cryptic scenes also show plenty of thought. On performance Ben Lyon will oat'-n most of the public attention and credit. Playing an un.sympa- thetio churafter. Lyon gives it plenty to make tliis his celluloid effort to date. Jiinniy Hall has the lone as- signment aimed for sympathy, other than that of Karl, the German lad, but .sparkles only occasionally. There's many a spot where Hall actually looks flabby. It doesn't help. .Ic.-iii Harlow wafts plenty of "that" across tlio sheet and dresses to accentuate It. It doesn't make much difference what degree of tal- ent she possesses here, for the boys are a))t to go In an uproar over this girl who i.« llie most sensuous figiire to get in front of a ciinera in some time. She'll i)rob;ibIy jilways have to play these kind of roles, .but no- body ever slai-ved possesslnir what slie's got. Other cast members to siand out are Lucien Prival, as tlie I'.aron; .Tohn Darrow, as Karl, a^; praetiejilly all of the Oerman foiitir.geni. Kspe- ciallv does this go for Prival. who give.s Lyon a run for first honor."? and easily takes second place in the extensive lineup of players, James Whale is programmed as having stag'-d tlie dialog and has Miniature Reviews "Hell's Angels" (VA^ Strong air picture. "Florodora Girl" (Metro) Good hoke entertaimnent, "Safety in Numbers" (Pari. Bright Buddy Rogers comedy with five theme songs, two very oke. Typifier of American youth has three leading femmos. PleaslHg box office proginmer. "One Romantic Night" (.1'. A.)—Little more than a pro- gram picture and moi"e arti- ficial than average. "Back Pay" (FN). Corinne Griffith, starred, weui-in.g clothes and looking pretty in a picture that has nothing else. Weak programmer. "Mystery at Villa Rose" Aji- ten)—^^Considered as murder yarn along familiar patterns English production is pretty good. Written, directed and cast with better than average intelligence. "The Wonderful Lies of Mina Petrova" (UFA)—A little bet- ter than the average foreign- made shown sure-seater audi- ences and okay for unwired houses here. Slightly different in its perspective on the Rus- sian army, particularly the treatment of a lieutenant by his general, plus their girl friend. "Midnight Mystery" (Radio, Globe). Indifferent picture rnade out of a play that failed, and with no great improve- ment. *■ FLORODORA GIRL (All Dialog, with Songs) M-G-M production and roleaso. Starring Marlon D.avio.s. Gene Murkey's story, with latter contributing dialog In ool'.al'oration with Ralph Spenco. Al Hoftal>org and Robert Hopkiii!). Harry Beaumont Ulreoted. Her- bert StoUmri (music) and t'llftord Grey- Andy Rioe (lyrl>\>:), credited for original songs, $upplpnienling the classic "Floro- dora" seMot numl'or, Oliver T. Marsh, photograpliy; I^ouglas L. Shearer, rooonl- Ing engineer; Carl 1,. Plerson, fllm editor; Technicolor about T^e. Running time, 75 minutes. Caiiitol. Now Tork, week May P.l. Ilainy .Marlon ]")avion lack lrf»\vrerico (.irav IV ncior Walter I'aliell Ilenilngway Louis John Hnrtel.< F,inny , Ilka (.'h,-u)p Maud Vivian Oaklanil Id Man Dell Jed l'ro\i(y itiimblesliam. I'ontalnp Mrs. yihari.. (.'ommoilorc.,,., Constance Mrs. Caraway.. fieorgie Smith. VIbart child Vlbarl. child... Claude .Mllster Sam Hardy Nance O'Nell Robert Bolder Jane Kelthly . .Maude Turner Gordon Oeorge Chandler Anita I-ouisc Mary Jane Irving ch'arm of the "Florodora" score and the snatches of "Break the News to Mother," the "Blue Danube" waltzes and the kindred periodic muslG which was incorporated. The Toohnioolor shots deal with the Casino tlieatre presentation of "Florodora" and just enough of It tor best effect. Abel. done that smartly. But somebody should get full credit for the way titles have been introduced. This is a sweet piece of work. During the Zep footage the entire crew speaks nothing but German, so the impor- tant sentences are translated via title as the words are spoken. No superimposing on the action. Just a plain title while the sound track carries the German tongue. Where they can make the action tell so much and ease the titles In and out like this, it's a pretty fair argu- ment in favor of so handling a lot of American pictures for the foreign market. Sound for the picture is unusually fine, with Hughes adding six extra horns for the local showing. Pho- tography is also aces, particularly, of course, in the air. Get a load of that list of cameramen. Hughes spent months ' around Oakland, Cal., waiting for cloud ef- fects against which to shoot his plane gymnastics. It cost a fortune, but the results, to him, must be worth it. And he's probably got enough footage left for two more air pictures. These vapor backgrounds top any- thing of the kind any camera has shown. Also remarkable are the cloud effects attained for the Zep- pelin, which, of course, is a big model but is the .subject of expert miniature technique. Initial appear- ance of the vessel is made emerging from a cloud and a later shot has It disappearing into a bank, as if into a tunnel, with the clouds closing In behind it. For the air stuff the big screen is used for 21 minutes in the first half, and 23 minutes in the second. The one color sequence runs just about a reel and Is not important. Prob- ably included because Hughes want- ed to cover everything. Program lists 78 pilots as having been concerned in making the swarm of aeroplanes do tricks, and If everybody listed for some sort of credit or were repeated, It would be a matter of another typewrltrr rib- bon. Hughes spent three years work- ing on his i)et. The story was also remade three times. Originally It was silent, with Greta NIssen as the girl; then it was made once In sound and remade again after that. Air shots were taken silent with the sound dubbed in afterward. The spectacular features also are enough to make "Angels" an Impor- tant box-office entry and a holdover proposition, but the strength In those days or extra weeks depends on what the censors do to It in the various localltle.s. If they'll leave It alone it's a cinch two-or-more-we<!k picture even in the claH(< B towns. Probably the only thing left of It In C;hIcago will be the scene of the I'.ritish Parliament declaring wai- on Germany. What counts ngainst "Hell's Angels" ever getting the original in- I vestment back Is that it is ff)llow- ■ inK so much foolage of ilie same (t.^P'•. n(4alily "Wings'' and pus^jlily "Flight." ■ Had "Angels" been turned 'loose when "Wings" was, it a.'-siir- edly would have gotten as mui'li money. It's a record picture In time and the KHiiii splllerl out II. bul O'jl in I cfist -therr-'s still "IJen Ilni" to he j finiincially accounted for. After three years with ii, IIuKlies was in the la.st row of the Chinese on the second night, acconip.-uiled by his secretary, who was jotUng Oo',\n ( IMS. 'ii<t Strictly hokum laugh picture, "The Florodora Girl" Is diverting box-office material, not to be taken too seriously. One may wonder if the hinterland won't be Inclined to literally interpret the broad villain ous gesticulations of the gambler- heavy who twitches his moustaehios In Desperate Desmond nuinner as he obviously covets the titular I'Morodora Girl. Picl\u-e can stand plenty of exploitation. Regardless of these not unsus- pecting possibilities, especiially with a bucolic audience that might take this romance of the gay 90's a bit too seriously, Marion Davies' capa- bilities as a comedienne are evi- denced anew. It's an all-type audience picture with no age limitations. The a,k.'s will tolerantly contrast the 1930 tempo with that of 30 years ago, and the youngsters, of course, evi- dence their hilarity nightly at the hot repartee expressions of 1900 such as "skidoo"; the authentic bathing suit, styles of the day; the commotion caused by the advent ol the pioneering "horr.eless carriage" of the time; the authentic Yale-Co- lumbia gridiron match and the Ilne-plunging formation of the pe- riod; the Bucket-of-Blood type of Bowery slumming joints; the free- lunch counters and saloons; the itinerant German brass bands, and all those props which the Metro staff of librettists and directors haven't overlooked. The Introduc- tion of any one, be it the tandem bicycle or the contemporaneous contrasted Adonis-like life-guard to the scrawny 1900 "life saver," as the beach patrol was then designat- ed, was excuse for torrents of guffaws at the Capital. "Floroclora Girl" I.s an Interesting study In screen dialog, even, more so than anything el.<»e to evidence MI.ss Davies' own expert knowledge of timing values, compared to the straight "reading" of sure - fire laugh-lines by her company. The star, when on the receiving end of a laugh situation, quite naturally laughed with the lines, as much as her audience did, and In that wise the timing was excellent. Miss Davies stalled and plugged the waits with her business before at- tacking her own speech. But her company, regardless of the fact, Miss Davies engaged In .sure-fire hoke laugh business (such as with the grotesque costumes of the day) or forgetting that a belly- laugh should fetch as much returns from them as from the auditors, raced right into their own speeches. The most casual thought might have told Beaumont, the director, that Spence - Boasberg - Hopklns- Markey didn't collaborate on laugh dialog just for the screen credits, and that certain sure-fire laughs were there, to which an average audience would be bound to respond. This "timing" factor for laughs is the subject of no small discus.slon right now around clncmatlo round- tables, with various theories that the cutter could control. The Dav- ies picture takes It out of the cut- ter's hands because no cutter can create interpolating celluloid with business and action, to stall the immediate utterance of a too hasty speech. That must be righted right In the studio. The romance of the sole remain- ing member of the original "Floro- dora" sextet is gleefully done by Mi.ss Davies. Kverythlng I.s tempo- ed for laugh values, with as much panto and props as dialog returns. Were It not that this typo of pant- omime and props is so natively American, It would be a cinch re- lease for the Intern.'illonal market where a sound-synchronized score and titles would have taken up the dialog end, with the obvious panto and hoke business telling Its own story. However, onr own post- Spanlsh-Ariiei'lcan war da.vs may Iif; too nalivcly local and general appeal. And the props only cannot be safely deijended upon In JOurope. Walter fallett, Louis John Bar- telH, Claude Alllster and Jed I'rouly are excellent corhedy support, espe- cially the Utiy<i Ilelp-ii.M type of lOngllsh nobility character. Law- rence Gi-ay stralghted seriously In the male lead. Xo tlieru'- song hits which Is as it should be. despite all the efforts of Tin Pan Alley to the contrary, foi- nothing' f iMild offs(-t llie past-pro\eii Safety in Numbers (All Dialog with Songs) }'uran<oun( )iroduc(ion and release. Starring Charles (lluJdy) Uogera. Di- rected by Victor Scherlzlnger;, story, neorse .Marion, Jr., and reroy Heath; aonga by .Marion and Richard .\. Whit- ing (rt'spooiii'oii" lyrlca anil tunos); scenario. Marlon P;x Oavid Hcnnelt staged dances. Running ilnu', abo-it 60 niins. Al I'araniounl, New Vork. wcolc May SO, William Buller Reynolds, Charles "Ruddy" Rogor.s Jacqueline Kalliryn Crawford Muxine Jusciiliinv Dunn Pauline Carol Lombard Cleo Carewc... Uencva Mitchell Bertram Sliipiro Roscoe Kama IMill Kemptun ...Franvls McDonald Alma McGregor.. Virginia Uruce V. Carstair Reynolds.... Richard Tucl;er Jules Rauul Paoli Commodore Drinker..... Ijawrehce tlrant Messallne Louise Ucavers Light romantic comedy with Hong.s, further aided by the general merit of the Ave tunes,-two of which should ultimately step out. Juvenile appeal of the boyish lUnUIy Kogors is aptly cauiciied by this story of a moneyed western youth making gcod (u> r.roadwtiy, turlher enibel- lished by the charm of a trio of "Follies" gills who have been com- ntissionod by the hero's uncle to "guide" the youth around l*iuln strecit—at $10,000 per "guide" each. Should be good box-otllce stuff and pleasingly tinieful but may. call for stage support where Rogers can't pull alone. The smart trio does Its work well but couldn't control one of them, played by Kathryn Crawford, fall- ing Into the final clinch. The other two girl friends are Josephine Dunn and Carol Lombard, all giving ex- cellent and sophisticated perform- ances to exemplify the plot-idea of "safety in numbers" for the flighty youth, excepting that Rogers does fall for one of the three. The Schertzlnger direction Is satisfactory In every department. Interpolation of a. silhouette dance flash, strictly revue idea, Into a play with music again evidences the . elastic advantages of the screen In presenting dialog scenarios with theme songs over the paralleling stage limitations of the average play-wlth-music (this latter as dis- tinguished from the musical com- edy). It Is while the songwritlng-hero demonstrates his hot "Pick Up" number that the audience Is per- mitted to view a Dave Bennett dance routine In silhouette super- Imposed on weird traffic photog- raphy. While altogether unrelated to the unfolding .of the plot, it is these revuesque Interpolations and stagings which account for the sound-screen's advantages over proscenium arch limitations. The "timing" factor popped up here In the only detracting element in the film. With Ro.scoe Karns' mugg Interpretation of Bert Shlplro, the taxl-bandit, his mls-syllabrlca- tlons of the name of Miss Carewe Into "scaroow" (familiar enough idiom of the day.) could have been relied upon for a cinch laugh, and a little business of stalling before the next speech would readily have solved that. Even If certain audi- ences might not relish the charac- ter's utterance of the Broadway ejaculation, the timer,. If there Is such a person, could have safely permitted the normal lapse bt-tween speeches. Instead, here, where the pause should bo normal. If noth- ing else, the dialog race.s on. Rogers Is afforded opportunit.v to show off his-jazzlque versatility with sundry Instruments during re- hearsals, etc. He's the whole show, stroncly played up to by the sur- rounding s. a. trio, a bulld-un for the flapper trade. Aid. BACK PAY (All Dialog) First National production and reli'aH<<. .Starring Corlnne fJirirTllh, DIrei-d'd l> • Wli- Hfim A. Seller. From story liy Funnle Ilurxt; screen vorslon by Franclu Fariigoh. At Strand,. New York, week .May 30. Run- ning time. f>7 minutes. Hester Bevlns C'lirlnm- Clrimth fJerald Hmlth ;,.f;ninl Withers Wheeler Montague Jjove Hoi rjloom Tfltiy lialie I'il Wheeler's Kccrotiiry Aggie SImrni! Judge Ma.iaeupe Hester's Maid ..Iliillam C.)Oli'• ...Vivian Oakland ..(Jenrva Milfhell ...Wniliim Holley , Virginia Sale I>ef I-orelta ....James Marcu.'* Ixiul.-i" I'arver .,. .T.oulse Me:i vers JuHt Corlnne Griffith looking pretty In a role that no orn- couM make thoroughly convincing and In a Fannit; Ilursl story fh.'H tries lu wind up sadly but can't. This story Is bad right off. the bat. K's Ju«<l a rewriting of the old one whert'Jn a country gii 1, long- ing for line things, ducks the small town boy friend and blows to .N'ew York with a handy travllni,' sales- man. In .New York this country g;il be- comes th" woman of a w.".r profiteer, , nice sort of chap with plenty of I (louKh • nd lllieralily. The boy friend j ((.'o:iliinii.'d on page 36)