Motion Picture Reviews (1934)

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REVIEWS
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THE WOMEN’S UNIVERSITY CLUB

LOS ANGELES, CALIFORNIA
JANUARY 1934
Los Angeles Branch American
Association of University Women
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i Motion Picture Reviews Three
MOTION • PICTURE • REVIEWS

Published, monthly by

LOS ANGELES BRANCH
AMERICAN ASSOCIATION OF UNIVERSITY WOMEN
Mrs. Palmer Cook, General Co-Chairman Mrs. John Vruwink, General Co-Chairman
Mrs. Charles Ommaney, Preview Chairman Mrs. A. M. Marsh, Business Manager
Mrs. Charles Booth - Assistant Preview Chairmen - Mrs. Thomas B. Williamson
EDITORS
Mrs. Palmer Cook Mrs. J. Allan Davis Mrs. George Ryall
Mrs. Walter Van Dyke Mrs. John Vruwink
Address all communications to The Women’s University Club, 943 South Hoover St., Los Angeles, Calif.
10c Per Copy - - $1.00 Per Year
Vol. V JANUARY, 1934 No. 1
EDITORIAL
Lee Shippey in his column in the Los Angeles Times recently criticized the reviewing
groups and organized club women quite severely. He said:
"The reason the club ladies don’t censor books as they do movies,
course, is that no one else will give them such free-for-nothing oppor-
tunities as the film producers do.”
Also “the club ladies who so earnestly select and recommend certain films, privately tell
their friends about ones they don’t recommend so that they don’t miss them.”
Now, really. Does he honestly believe that? He says himself that “good taste is the best
of censors.” Why does he think that we, too, cannot subscribe to that best of all criteria?
Perhaps he misses the point of our reviewing. He implies that we have the power of censor-
ship, which we neither have nor desire. But we know that we reach many who have similar
tastes with ourselves, and more than that, we reach parents who are distracted over the
movie problem for their children and those growing out of childhood into maturity. To these
the professional critic offers no help. And so in spite of the authority of Mr. Shippey’s column,
and those of his many confereres, we shall probably continue to take our “free seats” at the
Academy and to pay weekly at theatres to see and review these releases which are not
shown at the Academy (they are a large percentage, too!) and report our comments to
those who are interested in our opinion.
In this respect let us suggest several pictures which we think worthy of special notice.
“Little Women” is delightful. Its appeal is not because of its period setting nor because of
a glamorous star (although Miss Hepburn and her supporting cast add reality and sincerity
to the story), but because of its sweetness, its humaness, and its appeal to the emotions.
As a book it stood the test of several generations. The picture, through its taste in presenta-
tion, stands the test and satisfies our demands.
“Alice in Wonderland” will revive glowing emotion in adults and introduce a charming
Alice to youthful audiences. You must not miss it. Its absurdities will enchant you and its
satire delight. The best artists in Paramount have submerged their personalities to give us
this rare treat.
“I Am Susanne” is a delicate and beautiful production which will appeal especially to
Four Motion Picture Reviews
lovers of the unique and tasteful in films. We feel sure that there is a growing audience of
discrimination for pictures like “Berkeley Square,” “Zoo in Budapest,” and this one. The
theatres showing them need patronage and we feel that you will not be disappointed in the
offerings.
Mr. Arliss is again appearing in “Disraeli.” Many who witnessed it before and those
who missed this genuinely artistic and entertaining picture will welcome its return.
“Smoky,” of its type, deserves highest praise and Will Rogers’ genuineness (“Mr. Snitch”)
always appeals, although we wish that writers could adapt their vehicles so that distracting
superficialities might be eliminated.
These, we think, are the best of the month’s releases but others offer distraction of
varying excellence. Personal taste is difficult to measure, but even free seats at movies,
to return to Mr. Shippey’s complaint, come high to previewers who sit through some
productions.
FEATURE FILMS
ABOVE THE CLOUDS » » are as significant and as ridiculous as ever.
Dorothy Wilson, Robert Armstrong, Richard The costumes, sets and make-up are metricu-
Cromwell. Direction by Roy William Neill. lously clever and the whole is a joyous gift
to children aged six to one hundred.
Columbia.
Adolescents, 12 to 16 Children, 8 to 12
This is a mediocre picture of newsreel Excellent Excellent
reporters There are some interesting shots yr
and some amusing incidents but the story as a
whole is commonplace. The climax of the BY CANDLELIGHT » »
picture the crack-up of a giant dirigible,
is Elissa Landi, Paul Lukas, Nils Asther. Direc-
modeled after the tragedy of the Akron, with tion by James Whale. Universal Pictures
the two reporters taking pictures from inside
Corp.
the airship.
Adolescents, 12 to 16 Children, 8 to 12 This a sophisticated continental farce of
is
Doubtful No a prince his butler who aid and abet
and
one another in playing Casanova. The epi-
sode in which the two change places the —
ALICE IN WONDERLAND » » prince voluntarily playing butler to his but-
Charlotte Henry, W. C. Fields, Richard ler's prince is most amusing. The glamour
of a Monte Carlo background, the suavity
Arlen, Cary Cooper, May Robson, Alison
and dash of the principal characters and a
Skipworth, Jack Oakie, Roscoe Karns, Charles produce a
finesse in direction all combine to
Ruggles, Edward Everett Horton, Edna May gay and entertaining romance.
Oliver, Louise Fazenda, Skeets Gallagher, Adolescents, 12 to 16 Children, 8 to 12
From the book by Lewis Car- Too sophisticated Not suitable

Cary Grant.
roll. Direction by Norman McLeod. Para-
w
mount. CHRISTOPHER BEAN » »
We suppose there are people who do not RETITLED “HER SWEETHEART”

remember “Alice in Wonderland” and Marie Dressier, Lionel Barrymore. Based on
“Through the Looking Glass” with a warm the play, “The Late Christopher Bean.”
glow of recaptured fairy-land, but we hope Direction by Sam Wood. M-C-M.
they are few. The beloved fantasy now ap-
pears in picture form with its preposterous Greed is not an esthetic sedative, but when
characters so ingeniously presented and the this human weakness is cleverly held up to
two stories so cleverly combined, that it will ridicule in a satirical sense, it becomes amus-
be a rare spectator who will cavil at the ing. The fact that the original play was
rearrangement of the incidents or the loss of French and that it could be adapted to the
a favorite. “Alice in Wonderland” is not American scene with such success is ample
hilarious but it offers constant opportunity proof of its universal appeal. The plot con-
for delighted chuckles. The wit and satire cerns the sudden recognition of the work of
Motion Picture Reviews Five
an obscure, deceased artist and the subse- ning that the lovely heroine will cease to be
quent mad scramble to obtain those of his the predatory female and become coyly allur-
paintings which may be extant. That the one ing when she meets her match in the person
who finally gets them is the one who is most of a man canny enough to resist her usual
deserving, satisfies one’s sense of fitness. tactics. But who cares for subtleties? In the
Adolescents, 12 to 16 Children, 8 to 12 hands of Miss Chatterton and Mr. Brent a
Amusing Mature trashy story becomes a mildly entertaining
w picture.
COUNSELLOR-AT-LAW * *
Not recommended No
John Barrymore, Bebe Daniels, Doris Kenyon,
Onslow Stevens, Isabel Jewell. From the
play by Elmer Rice. Direction by William
FLYING DOWN TO RIO » »
Dolores Del Rio, Cene Raymond, Fred As-
Wyler. Universal.
taire, Raoul Roulien, Ginger Rogers. Direc-
This screen production of a very successful tion by Thornton Freeland. R-K.O.
stage play stands high on its own merit. It is
a dramatic and vivid portrayal of a tempes- An extravagant production in which Fred
tuous, brilliant and lovable Jewish lawyer, Astaire reaches stardom. It is a riot of gor-
the problems he faces, and the people he con- geous dance spectacles, several of them very
tacts in his office. Often the plot loses its lovely, but one, the “Carico,” open to im-
primary significance and becomes a back- provement by a liberal use of the cutting
ground for numerous interesting character shears. The story is unimportant, a charac-
sketches, but it remains coherent nevertheless. teristic of this type of spectacle. Our critic-
Although Mr. Barrymore loses some of the ism is that it is too elaborate and not always
sympathy which he might have developed in in good taste.
his because his interpretation lacks the
role Adolescents, 12 to 16 Children, 8 to 12
humor and characteristics of the Jew, he No No
gives an excellent performance. v
Mature No interest
THE FORGOTTEN MAN » »
Made by the Public Welfare Corporation.

w Arranged and edited by Samuel Cummings.
DANCING LADY » »
These are actual scenes taken on the battle-
Joan Crawford, Clark Cable, Franchot Tone. fields of the World War by camera men of
From the book by James Warner Bellah. different nations but chiefly by Americans,
Direction by Robert Z. Leonard. M-C-M. pictures which, until recently, were not per-
mitted to be shown to the public. The gran-
The work of a dancer is so intimately con- deur and power of the great nations is im-
nected with the theatre that there is a logi-
pressive but far more so is the picture of
cal reason in this picture for the development
glorious youth sent forth to overwhelming
of a backstage musical extravaganza. The
slaughter, a carnage so gruesome that only
theme concerns the determination of a dancer the indistinctness caused by the smoke and
to win her way to success. Miss Crawford
gas of battle makes it endurable. With Europe
does some splendid work, and Mr. Gable also
seething with hatred and unrest, one wishes
gives an excellent performance. The spec-
that this film might be given wide circulation
ialty and ballet numbers are beautiful in
in this country and abroad.
execution and effect, and Fred Astaire’s
dancing is to be particularly noted.
Educational Too harrowing
No. Too sophisticated No
•w FROM HEADQUARTERS » »
George Brent, Margaret Lindsay, Eugene
FEMALE » »
Pallette, Robert Barrat, Dorothy Burgess.
Ruth Chatterton, George Brent. Direction
Warner From the story by Robert N. Lee. Direction
by Michael Curtiz. Bros.
by William Dieterle. Warner Bros.
For many people there seems to be a never
failing fascination in watching the develop- In this rather ordinary story a rich society
ment of a plot in which a beautiful business man is murdered, and an art collector, a girl
woman succumbs to the rough and rugged and her brother are a few of the possible
charms of a strong man in a tweed suit. suspects. Though the audience will have little
“Female” conforms to the usual pattern of difficulty in pointing out the real criminal be-
such pictures. It is obvious from the begin- fore the denouement, more than usual in-
Six Motion Picture Reviews
terestis supplied by activities at police head- I AM SUSANNE » »
quarters where methods of crime detection Lilian Harvey, Gene
Raymond, Marjorie
are shown in detail.
Rambeau, with Podrecca’s Piccoli Marion-
ettes and the Yale Puppeteers. Story by
Fair No
•w Edwin Justus Mayer and Rowland V. Lee.
GIRL WITHOUT A ROOM » » Direction by Rowland V. Lee. Fox.
Charles Farrell, Marguerite Churchill, “I Am

Susanne” is delightful. The story
Charlie Ruggles. From the novel by Jack is unique and entertaining, the locale new,
and the introduction to a puppeteer’s work-

Lait. Direction by Ralph Murphy. Paramount.
shop, fascinating. Dainty little Susanne, a
Probably intended to burlesque modernistic pathetic puppet in real life, bitterly resents
painters and their work, this picture com- her lover’s
relationship to his exquisitely
mences rather propitiously, but it rapidly de- skilful creations until she understands. Like
generates to slapstick, and the stage business other productions of Rowland V. Lee, the
transcends the bounds of good taste. There story is not overbalanced by spectacle, but
are some funny situations but very few clever is smoothly woven into a sensitive and deli-
lines and the story is the old one of the young cate performance. Gene Raymond is excellent
American who is fleeced by the colony of and Lilian Harvey, in her gayer scenes, is
third-rate artists with whom he associates. again the charming comedian of “Congress
Possibly because the Latin quarter back- Dances.” We recommend this to your
ground has so often been used as an excuse attention.
for almost every sort of eccentricity and un- Adolescents, 12 to 16 Children, 8 to 12
conventionality, only a director as subtle as Good If it interests
Lubitsch or Mamoulian could have worked
this material into anything worthy of recom-
mendation. JIMMY AND SALLY » *
Adolescents, 12 to 16 Children, 8 to 12 James Dunn, Claire Trevor. Direction by
No No James Tinling. Fox.
•w
The plot is similar to that of other pictures
GOING HOLLYWOOD » »
in which James Dunn has played, a human
Bing Crosby, Marion Davies, Fit i D’Orsay, interest story with laughter, and no great
Stuart Erwin. Direction by Raoul Walsh. heights or depths. Jimmy, a young man with
M-C-M. exaggerated self-assurance, believes he can
make easy money by spectacular schemes
A musical comedy character-
pretentious which, however, end in a series of disasters.
ized by Bing Crosby’s crooning and some He finally accepts Sally’s doctrine of hard
unusually tuneful musical scores but lacking work and thrift as the means of advancement.
in any other outstanding quality. Costliness
is apparent in costumes and settings. Miss Yes No interest
Davies is conspicuous but unimpressive.
Fair Fair KING FOR A NIGHT » »
•sr
Chester Morris, Helen Twelvetrees, Alice
HAVANA WIDOWS » » White, George Stone. Direction by Kurt
Joan Blondell, Clenda Farrell, Cuy Kibbe, Neumann. Universal Pictures Corp.
Frank McHugh. Direction by Ray Enright.
Undoubtedly this picture is supposed to be
First National. a study in sincerity. How
the son of a small
This picture shows the most up-to-date town minister adopts prizefighting as a pro-
methods of blackmailing and gold-digging fession and atheism as a creed, and remains
as practiced by two ex-chorus girls and a true to his convictions even though he dies
drunken lawyer. It is supposed to be light in the electric chair protecting his erring
comedy, but the effort to make entertainment sister’s good name, is a theme replete with
of such obnoxious material seems both futile dramatic possibilities. Unfortunately the mo-
and depressing. tives of his sacrifice, while noble in them-
Adolescents, 12 to 16 Children, 8 to 12 selves, are not forcefully enough presented
Impossible No to make the story plausible. The presentation

is dull and feeble. Altogether it may be
•w
classed as just another poor melodrama.
HER SWEETHEART » » Adolescents, 12 to 16 Children, 8 to 12
See “Christopher Bean,” this issue. No No
Motion Picture Reviews Seven
MAN OF TWO WORLDS » » a mythical kingdom becomes mistakenly

Francis Lederer, Elissa Landi, Henry Ste- known as
the royal favorite. It is mildly
phenson, McDonald, Christian entertaining but neither Miss Harvey nor
J. Farrell Mr.
Boles will win much renown through
Rub. From the book by Ainsworth Morgan. the
picture.
Direction by J. Walter Ruben. R-K-O.
(Seen at a theatre preview.) ^ air If it interests
seems to us too bad that the public must
It 'w
endure cycles of films. After one success MR. SKITCH » »
producers deluge us with imitations. “S.O.S. Will Rogers, Zasu Pitts, Florence Desmond,
Iceberg” and “Eskimo” were photographed Harry Green, Rochelle Hudson, Charles
on location, and the beauty and majesty of Eugene Pallette. From the story
Starrett,
the background would have built up any story Green Dice by Ann Cameron. Direction
which was not too maudlin. But now R-K-0 by James Cruze. Fox.
offers “A Man of Two Worlds” using
painted sets and the same theme as “Eskimo” The picture, because of Will Rogers and
— the degeneration of the native under white
Zasu Pitts,refreshingly human and close
is
influence —
and doing it with little dignity. to the heart, and leaves one with
a buoyant
feeling of goodfellowship toward the world
A white cast use the Eskimo tongue which
at large. Those two comedians are so genu-
has to be translated for our enlightenment,
ine and real that even a weak story may
and the film is wordy and slow. Action de- be
pends upon the behavior of a “savage” in- forgiven. With fifty dollars and a broken
troduced into a sophisticated environment and down Ford as their only financial assets they
the drama of his unnatural attraction to a start for California with the twins, a small
white woman. Francis Lederer, playing the son and a young lady daughter. The daugh-
ter’s puerile love affair detracts from
lead, appears to great disadvantage. After a story
seeing Malo in “Eskimo” we realize that which offered a perfect opportunity for
physical beauty and distinction are not sole homely humor.
perogatives of the white race. Though this Adolescents, 12 to 16 Children, 8 to 12
review is written after seeing an unedited Good yes
preview, we still feel that the picture has •w
too great a handicap to recommend it as
THE PRIZEFIGHTER AND THE LADY » »
other than a very mediocre program film.
Myrna Loy, Max Baer, Primo Camera, Jack
Dempsey, Walter Huston, Otto Kruger.
Very little to recom- Better not
From the story by Frances Marion. Direction
mend it
by W. S. Van Dyke. M-G-M.
Fight fans, who comprise a large part of
MAN’S CASTLE » »
the masculine and an increasing percentage
Spencer Tracy, Loretta Young, Glenda Far-
of the feminine population, will enjoy the
rell, Walter Connolly, Marjorie Rambeau. pugilistic exploits of Max Baer and Primo
From play by Lawrence Hazard. Direction Camera on the screen. The championship
by Frank Borzage. Columbia. battle comes as the piece de resistance in the
story of the rise of a boxer to headline fame
Asentimental and ethically confused story with the ensuing conflict between his public
seems poignant and true because of the way
in which it is handled. Regarded as a sort
and his domestic life. Max Baer has a pleas-
ing, natural personality; Myrna Loy is excel-
of fairy story it will probably appeal to lent, and they are supported by very able a
many, but to the more literal or analytic it cast. It is exciting entertainment, above the
might appear that beautiful aspirations do average in interest unless prize fights bore
not necessarily thrive best in shanty-town you.
among the professional beggars and safe- Adolescents, 12 to 16 Children, 8 to 12
crackers and that motherhood in a box car
Good for boys No. Mature
is scarcely to be desired. •
w
Not recommended No ROMAN SCANDALS » »
Eddie Cantor, Edward Arnold, Alan Mow-
bray, Veree Teasdale, Ruth Etting, Gloria
MY LIPS BETRAY » »
Stuart. Direction by Frank Tuttle and Ralph
Lilian Harvey, John Boles, El Brendel.
Cedar. Sam Goldwyn Production-United
Direction by John Blystone. Fox. Artists.
Apleasant musical comedy romance in “Roman Scandals” is an excessively elabor-

which an entertainer in a beer garden of ate production in which a loafer of West
Eight Motion Picture Reviews
Rome stubs his toe and wakes up in the an- SMOKY » »
cient city populated
with pseudo-historical Victor Jory, Irene Bentley, Frank Campeau,
royalties, centurions, and ravishing damsels.
Hank Mann, Leroy Mason, Leonid Snegoff,
Between dodging lions and tasting poisoned
nightingales meant for the emperor’s palate, Will James. From the novel by Will James.
he leads a most precarious existence until Direction by Eugene Forde. Fox.
he escapes from the ancient days in a chariot
Here is the charming biography of a horse,
race more thrilling and entertaining than
which has the appeal of “Black Beauty” in
any race ever before made in films. Appre- book form. “Smoky” is born on the range
ciation of this musical extravanganza de-
and his life as a happy rollicking colt, then
pends upon individual taste. There are those as a cow pony, and on through the joys and
who dote upon pop-eyed Eddie Cantor and misfortunes of his life is told in a brilliantly
his racy comments, and again there are those
entertaining manner which will attract young
who do not. Anyhow, it’s a great show for and old.
the bald-headed row.
Adolescents, 12 to 16 Children, 8 to 12 Excellent Some scenes too exciting
Doubtful No for sensitive children
SHOULD LADIES BEHAVE » »

Lionel Barrymore, Alice Brady, Conway THE THUNDERING HERD » »
Tearle. From the play, “Vinegar Tree,” by
Randolph Scott, Judith Allen, Buster Crabbe,
Paul Osborn. Direction by Harry Beaumont.
Noah Beery, Raymond Hatton, Harry Carey,
M-C-M.
Monte Blue. From a story by Zane Grey.
Here is smart up-to-date comedy with
Direction by Henry Hathaway. Paramount.
sophisticated lines and enhanced
situations,
by and excellent stage technique.
fine settings While the plot treatment is not strong
The plot is complicated by the fact that one enough to place it in the class of the “Covered
man, a glamorous artist with a long record Wagon,” this is nevertheless an unusually
of philanderings, is the sentimental memory good Western. It is beautifully located, with
of one woman, the current lover of another, its background of mountains towering against
and the romantic ideal of a young girl. In the sky, and the lighting effects throughout
the end one chuckles at the deflation of so are exceptional in a picture of high action.
great an egoist. Alice Brady is particularly Interestis added in the photography of the
amusing as a scatter-brained mother who is park herd of buffalo, remnant of the multi-
unable to cope with the serious problem of tudes which once ranged the plains.
her own family. Adolescents, 12 to 16 Children, 8 to 12
Adolescents, 12 to 16 Children, 8 to 12 Good Exciting
Unsuitable theme No
MOTION
PICTURE
REVIEWS

LOS A N G E L E
|S CALIFORNIA
,
FEBRUARY 1934
THE WOMEN'S UNIVERSITY CLUB
WOMENS UNIVERSITY CLUB


at $1.00 a year each.
Name
Address

Motion Picture Reviews Three
MOTION * PICTURE * REVIEWS

Published monthly by
LOS ANGELES BRANCH
Mrs. Charles Ommaney, Preview Chairman Mrs. A. M. Marsh, Business Manager
EDITORS
Mrs. Palmer Cook Mrs. J. Allan Davis Mrs. George Ryall
1 Oe Per Copy - - $1.00 Per Year
Vol. V FEBRUARY, 1934 No. 2
EDITORIAL
The purpose of this bulletin is to give information on current motion picture
releases in order to further selective attendance not only for children but for those
of our readers who do not just “go to the movies,” and who may agree with our
opinion in the pictures reviewed. The value of reviews is timeliness, and in order
to give earlier information we are sending out in addition to the monthly “Reviews”
a mid-month advance supplement. We
hope that this service will be helpful to
our subscribers, many of whom live in eastern and southern states where the time
of release varies.
featureTilms
ALL OF ME » » ANGKOR » *
Fredric March, Miriam Hopkins, George Directed by George Merrick. Roy Purdin
Raft, Helen Mack. Based on the play, Producer.
“Chrysalis” by Rose Albert Porter. Direc- We are told that two explorers went to
tion by James Flood. Paramount. Cambodia in 1912 with the intention of
searching for the lost civilization of Ang-
The world would be better off without this kor and that this picture is inspired by their
melodramatic film. A rich young thing, records. It is not convincing as a travelogue
spoiled beyond endurance, dabbles in im- but contains some interesting material, pic-
morality with a luckless college professor tures of tropical animals, and illustrations of
and then turns her attention to a young the weird native beliefs and strange prac-
criminal and his common-law wife. Her in- tices of monkey worship.
terference results in death for both of them. Adolescents, 12 to 16 Children, 8 to 12
She is presumably reformed in the end, but No value No
it is doubtful if she is worth the sacrifice. T
When actors with such magnetic personali- BELOVED » »
ties as have Fredric March and Miriam Hop-
John Boles, Gloria Stuart, Albert Conti. Di-
kins take the leading parts, the play is bound
to demand attention and wreak no small rection by Victor Schertzinger. Universal.
amount of moral havoc. This is the story of four generations of

Adolescents, 12 to 16 Children, 8 to 12 musicians struggling against odds to maintain
Pernicious No the integrity of their art. The early scenes
are laid in Austria in 1838 and the ending CONVENTION CITY » »
comes at a concert for the fund for unem- Adolphe Menjou, Guy Kibbe, Mary Astor,
ployed musicians in New York at the present
Frank McHugh. Dick Powell. Direction by
time. It is a touchingly beautiful story, and
Archie Mayo. First National-Warner Bros.
the spirituality of its theme and treatment
makes unusually satisfying entertainment
it After seeing this picture no one will ever
for discriminating audiences. again cherish any illusions about how the
Adolescents, 12 to IS Children, 8 to 12 average salesman spends his time when he
Interesting but mature No interest attends a convention at Atlantic City. It is
crisp, fast, coherent, funny, and directed with
amazing facility, but it is also one of the
rowdiest productions we have seen.
THE BIG SHAKEDOWN » » Adolescents, 12 to 16 Children, 8 to 12
Charles Farrell, Bette Davis, Ricardo Cor- No No
tez, Glenda Farrell. From the story “Cut
Rate’’ by Engels and Busch. Direction by CROSBY CASE » »
Warner
(Formerly Called “SPECIAL INVESTIGATOR”)
John Francis Dillon. Brothers.
Onslow Stevens, Wynne Gibson, Alan Dine-
Racketeers again, this time with a new
hart. Direction by Edward Marin. Univer-
and even more alarming racket, the prac-
tice of counterfeiting labels on trade-marked sal Pictures Corp.
drugs and replacing important remedies with When a doctor is murdered the mystery is
worthless or deadly imitations. While point- solved without undue thrills or horrors and
ing the moral that racketeers sometimes are the criminals are punished. The picture is
sentenced to hard labor, this picture never- fairly entertaining in that it shows the tech-
theless features the underworld and its ac-
nique of crime detection.
tivities and is replete with viciousness. We Adolescents, 12 to 16 Children, 8 to 12
wonder how long it will be before a diet of Passable No
sordid crime stories will produce mental
indigestion in the movie-going public.
Adolescents, 12 to 16 Children, 8 to 12 CROSS COUNTRY CRUISE » »
No No Lew Ayres, June Knight, Alice White, Alan

Dinehart. Direction by Edward Buzzell.
'w
Universal.
BOMBAY MAIL » »
judging from advance advertising we are
Shirley Grey, Edmund Lowe, Ralph Forbes, due for another cycle of pictures with themes
Hedda Hopper. Direction by Edwin L. similar to this one which recounts the ad-
ventures of a heterogeneous group of passen-
Marin. Universal.
gers on a transcontinental bus. Among the
A harmless mystery play. It is slow in passengers are a bigamist, a near bigamist,
tempo, ordinary in treatment and not unusual a young woman who is “dead headed” by
except in its setting which is the Bombay successive drivers because of her obvious
Mail Express. charms, and of course the two young people
Adolescents, 12 to 16 Children, 8 to 12 who fall in love. A murder is committed by
Harmless Slow and not in- one of the group and solved by the ingenuity
teresting of the hero. Though the situations and dia-
V logue are what might be expected and many
distasteful vulgarities are introduced for
CHARMING DECEIVER » » comedy, the illusion of traveling in a bus is
Constance Cummings, Frank Lawton. Di- cleverly created and the character roles are
well acted.
rection by Monty Banks. English Produc-
tion. Majestic Pictures. Unpleasantly sophisticatec No
A facile comedy about an attractive mo- V
diste who mistaken for a movie star and
is
a mysterious young man who is always ap- EAT ’EM ALIVE » »
pearing on the scene in different guise. The Direction by Harold Austin. Photographed
English cast and foreign settings add to the by JayTurner. Independent Film Distributors.
entertainment value.
An unusual and starkly realistic portrayal
of the struggle for existence of reptilian life
Good Little interest on American deserts. Entertainment value is
debatable because many individuals frankly Life and return to civilization depend upon
confess to a horror of snakes, but it is un- their strength and ingenuity and the film is
doubtedly fascinating and exciting and con- concerned with the physical experience of
tains a great amount of very interesting the four. Because the setting is authentic,
natural lore for those who would learn about the photography excellent and the cast hu-
desert life without the discomforts and per- man and satisfactory, it provides a measure
haps the dangers of exploration. The photo- of entertainment. But it isn’t very deep and
graphy is excellent. it offers no real character studies. The fact
Adolescents, 12 to 16 Children, 8 to 12 that it also lacks emotional melodrama is,
Strong but instructive No —too strong after all, a little surprising and disappointing
•w in a DeMille production.
EICHT GIRLS IN A BOAT » »
Douglass Montgomery, Dorothy Wilson, Kay
Not recommended No
•w
Johnson, Jean Rouverol. Direction by Wil-
liam Walker. Paramount. HOLD THE PRESS » »
Tim McCoy, Shirley Crey. Direction by

The heroine of this story is a tender,
wistful young girl, a boarding student in Phil Rosen. Columbia.
a school on Lake Geneva. At a dance Perhaps to movie audiences the
selling of
she meets and falls in love with a student paroles is a new angle
of our much pub-
at a neighboring college. The story of her licized war against crime. Tim, as an am-
betrayal by her lover and its effect upon bitious young reporter with a “nose for
herself, her family and her school associates news,” brings a crooked parole board and a
is told with sympathetic brilliance and under- gang of racketeers to justice. It is banal
standing of the various points of view. The melodrama of slight interest.
technique of the picture closely resembles Adolescents, 12 to 16 Children, 8 to 12
that of “Maedchen in Uniform” in its rising Better not No
climax and its background, but the story is ~w
one which perhaps has more general interest.
The cast exceptionally good, and beautiful
is HIPS HIPS HOORAY » »
photography accentuates the charm of the Bert Wheeler, Robert Woolsey, Dorothy
drama. Lee, Thelma Todd, Ruth Etting. Direction
by Mark Sandrich. R-K-O.
Not recommended No
w Twocompeting beauty establishments em-
ploying numerous semi-nude operators form
FOG » »
the backdrop for the antics of Wheeler and
Mary Brian, Donald Cook, Reginald Denny. Woolsey. The music and banana eating con-
Direction by Albert Rogell. Columbia. tinue at the same level as in other produc-
tions by these artists, and there is the usual
When an eccentric old millionaire is
strangled on an ocean liner, the tell-tale large dose of suggestive dialogue.
finger of suspicion points in turn at each Adolescents, 12 to 16 Children, 8 to 12
surviving member of the company, all ac- Not recommended No

cording to the best traditions of mystery T
films. Plot and acting are not exceptional,
FUGITIVE LOVERS » »
and there are several episodes too gruesome Robert Montgomery, Madge Evans, Ted
for anyone who is at all squeamish, but what
Healy. Direction by Richard Boleslavsky.
lends distinction to the production is the fog-
drenched atmosphere which is tremendously M-C-M.
effective in creating fear and suspense.
The cross country bus comes into its own
Adolescents, 12 to 16 Children, 8 to 12 now as setting for romance and adventure,
Perhaps Not at all
and certainly timid souls will not be inspired
v to confidence in their fellow travellers if the
FOUR FRIGHTENED PEOPLE » » stories are accepted seriously. In this, an
Claudette Colbert, Herbert Marshall, Mary escaped convict, a chorus girl and a gang-
ster create the excitement, and a happy end-
Boland, William Cargan, Leo Carrillo. From
ing is achieved by a noble rescue of children
novel by E. Arnot Robertson. Direction by
in a blizzard. It is tiresome, unwholesome
Cecil B. DeMille. Paramount. sentimentality which is recommended to no
This is the story of four individuals who one’s attention.
are suddenly thrown upon their own re- Adolescents, 12 to 16 Children, 8 to 12
sources in an almost impenetrable jungle.
'
No No
GALLANT LADY » » IF I WERE FREE » »
Ann Harding, Clive Brook, Otto Kruger, Irene Dunn, Clive Brook, Nils Asther,
Tullio Carminati, Janet Beecher, Dickie Vivian Tobin, Henry Stephensen. Direction
Moore. Story by Gilbert Emery. Direction by Elliott Nugent. R-K-O.
by Gregory LaCava. Twentieth Century In this suavely acted and deftly directed
Production. United Artists. film the problem of the love of a woman and
a man who is not free to marry her, is pre-
“Gallant Lady” offers Ann Harding an
sented with restraint and understanding.
intelligent and sympathetic role in a story
Pathos is nicely balanced with wit and the
of a woman’s readjustment after tragedy.
The situation is interesting and appeals to urbane characters are a pleasant relief after
the hoodlums of the underworld who seem
audience emotions, but it is handled with
to crowd most of our current entertainment.
tasteand delicate skill and the dialogue is
so spontaneous and amusing, that it never
Too mature No interest
becomes too poignant to be entertaining.
Clive Brook, as the loveable self-effacing Dan
whose human weaknesses are so real, is an THE LAST ROUND-UP » »
exceedingly happy choice, and even the minor Randolph Scott, Barbara Fritchie, Monte
roles are executed with finesse. It is an Blue, Fred Kohler. From a novel by Zane
adult theme which is not appropriate for "The Border Legion.”
Grey, Direction by
children.
Henry Hathaway. Paramount.
Not recommended No Beautiful photography, hard riding and
v very acceptable acting make this a better than
usual western. Its conventional plot is based
HiS DOUBLE LIFE » *
on conflicts between bad men and good,
Lillian Gish, Roland Young, Montague Love.
miners and outlaws, with the obvious happy
From the novel and play by Arnold Bennett. outcome for the hero and heroine.
Direction by Arthur Hopkins. Paramount. Adolescents, 12 to 16 Children, 8 to 12
Arnold Bennett’s story of the celebrated Good Exciting
artist who exchanges identities with his de- w

funct valet is most entertainingly brought to LET’S FALL IN LOVE » »
the screen. The
incidents in themselves are
Gregory Ratoff, Ann Sothern, Edmund
amusing, and the character of eccentric
Lowe, Miriam Jordan. Direction by David
Priam Farrel as played by Roland Young
is a delicious character study, the highlight Burton. Columbia.
of the picture. Distracted by the temperament of a Swed-
Adolescents, 12 to 16 Children, 8 to 12 ish star, a director stops work on his picture
Good Little interest and tries to find a substitute for her. The
hoax which is finally resorted to forms a
HOUSE ON 56th STREET » » pleasantly amusing plot for this romantic
Kay Francis, Gene Raymond, Ricardo Cor- comedy. It is a Cinderella theme in an up-
to-date setting, satirizing Hollywood and in-
tez. Direction by Robert Florey. Warner
troducing catchy tunes when a musical com-
Bros.
edy is produced in furtherance of the plot.
The story of this picture proceeds upon Gregory Ratoff, as the Jewish producer, is
the general outlines of many another mother excellent as usual.
love drama. A
mother is separated from her Adolescents, 12 to 16 Children, 8 to 12
little girland by coincidence meets her again Good light Of little interest
just in time to save her from a fate as sor- entertainment
did as her own. Due to the good cast and
the atmospheric background of the New York
smart world in 1905 the production is en- LONC LOST FATHER » »
tertaining. The opening sequences have John Barrymore, Helen Chandler, Alan
sparkle, charm and originality, but unfortu- Mowbray, Donald Cook, E. E. Clive. From
nately as the picture progresses much of it
the novel by G. B. Stern. Direction by
is a trite echo of former scenarios and the
coincidences are too obviously manufactured Ernest Schoedack. R-K-O.
to be plausible. An artificial and lightweight comedy of
Adolescents, 12 to 16 Children, 8 to 12 debonair sophisticates whose human qualities
Not recommended because No interest finally assert themselves. Mr. Barrymore
of confused ethics as the father who meets his daughter after
years of neglect, gives a whimsical, amusing handled with restraint, that it emphasizes
portrayal of a middle-aged dilettante and the cooperation of all forces of the law in
adventurer whose paternal instincts are at running down the offenders, and that in
last aroused. The story, however, is incon- punishment the limit of penalty is recom-
sistent and unconvincing and the cast can- mended. On the other hand it suggests a
not save it from mediocrity. close parallel to the Lindberg case which was
Adolescents, 12 to 16 Children, 8 to 12 probably one of the most emotional crises the
Ethically poor No — and American public has ever experienced. Even
uninteresting today the subject is not one which sensitive
persons select for entertainment and conse-
quently reactions to the picture will vary ac-
LOVE, HONOR AND OH BABY » *
cording to prejudice. Miss Wieck’s role of
Zasu Pitts, Slim Summerville. Universal. passionate mother seemed overacted to us,
Vulgar and worthless slapstick comedy of or at least unsympathetic, in comparison with
an attempt to frame a breach of promise the more human and understanding one
suit. played by Alice Brady.
Adolescents, 12 to 16 Children, 8 to 12 Adolescents 12 to 16 Children, 8 to 12
Impossible No Not recommended No
MADAME SPY » »
Fay Wray, Nils Asther, Edward Arnold, MOULIN ROUGE
John Miljan. Direction by Karl Freund. Constance Bennett, Franchot Tone, Tullio
Universal. Carminati, the Boswell Sisters, Russ Co-
lombo. Direction by Sidney
A beautiful Russian spy dutifully marries Lansfield.
an Austrian officer to obtain messages of Twentieth Century Productions-United Ar-

war and then complicates matters by falling tists.
in love with him. The film offers the usual
glamor of the secret service in wartime and The titleof this picture should suggest to
adults the frothy nature of its theme. It is
evokes pleasant suspense, although secrets
a back-stage comedy which includes a num-
are unearthed with too much ease to com-
ber of songs and ballet sequences. Because
mand vital attention. It is interesting to note
of the introduction of these, the last quarter
that we have become so objective in our at-
of the play drags consistently and does not
titude towards the war that a Teutonic hero
maintain the lilt and dramatic action which
may be presented without offense.
Adolescents, 12 to 16
made the early scenes so interesting and
Children, 8 to 12
amusing. The plot, wherein a wife tests her
Harmless No
own charm and the constancy of her husband
while under a disguise, is suggestive of “The
THE MEANEST GAL IN TOWN » » Guardsman’’ and appeals to a sophisticated
Zasu Pitts, El Brendel, Pert Kelton, James sense of humor.
Gleason, Skeets Gallagher. Direction by Adolescents, 12 to 16 Children, 8 to 12
Russell Mack. R-K-O.

Sophisticated Mature, unsuited
Alove affair of ten years’ standing be-

tween Chris, the small town barber, and
Tillic, the owner of the Bon Ton Store, is THE POOR RICH » »
complicated by the arrival of a smart-Aleck Edward Everett Horton, Edna May Oliver,
from the city and a stranded chorus girl. Andy Devine, Leila Hyams. Direction by
The story is tenuous, some of the dialogue Edward Sedgwick. Universal.
is meager, and the production not half so
funny as one anticipates from the cast. When two penniless cousins, surrounded
Adolescents, 12 to 16 Children, 8 to 12 by a halo of elegance and distinction, return
No No from a sojourn abroad to their delapidated
v ancestral home, they find themselves in a
sad predicament. Their blundering attempts
MISS FANE’S BABY IS STOLEN » »
to manage the house, and the numerous en-
Dorothea Wieck, Alice Brady, Baby LeRoy, suing complications make a gay and enter-
Alan Hale, Jack LaRue, Dorothy Burgess. taining comedy. The combination of Mr.
Story by Rupert Hughes. Direction by Horton and Miss Oliver as foils for each
Alexander Hall. Paramount. other’s talents is particularly apt.
In defense of this portrayal of kidnapping Adolescents, 12 to 16 Children, 8 to 12
let us state that it is not sensational but is Excellent Yes
QUATORZE JUILLET (July 14) » » SHADOWS OF SINC SING » »
Annabella, Ceorges Rigaud, Pola I Mery, Mary Brian, Bruce Cabot, Grant Mitchell.
Paul Olivier, Raymond Cordy. Story and Direction by Phil Rosen. Columbia.
direction by Rene Clair. The son of a police official falls in love
The charm of the whole picture lies in its with a college girl whom he then learns is
living pictures of life and characters in the the sister of a notorious gangster. The con-
poorer quarters of Paris. The story itself is sequences of his involvement are serious and
slight —a pleasant little romance of two unhappy, resulting in a murder and the
young people who love and quarrel and young man's near conviction of the crime.
make up again; but the humor, gaiety and The only novelty in the picture is the method
beauty may be appreciated by anyone by which the real criminal is found and this
whether familiar with the language or not is not sufficiently important or interesting to
because of the directorial skill of Rene Clair. offset the triteness of the whole or its un-
To those who understand French or who pleasantly sinister suggestions of the power
have lived in France, the film is a gem of and luxury of gangland and the ease with
portraiture. which a young man of good standing might
Adolescents, 12 to 16 Children, 8 to 12 have been wrongly convicted of murder.
If it interests No interest
No No
rp
SON OF A SAILOR » *
Joe Brown, Thelma Todd, Johnny Mack
ROAD TO RUIN » » E.
Brown. Direction by Lloyd Bacon. Warner

Helen Foster. All talking version of old
Bros.
picture. Willis Kent Production. First
Division.
As an egotistical and blundering “gob”
Joe E. Brown gives an amusing characteriza-
However great may be the necessity for tion. It is fantastic, absurd and wholesomely
impressing parents with their responsibility laughable.
for more careful supervision of their adol- Adolescents, 12 to 16 Children, 8 to 12
escent children, we believe that sensational Yes Yes
films such as this are the last resort. This y
is a horrid compound of salaciousness and
clinical details that is neither entertaining TWO ALONE » »
nor scientific. (Formerly Titled “WILD BIRDS”)

Adolescents, 12 to 16 Children, 8 to 12 Jean Parker, Tom Brown, Zasu Pitts, Arthur
Impossible Impossible Byron, Beulah Bordi. Direction by E. Nugent.
From play by Don Totheron. R-K-O.
This is a stark, vividly acted drama of

cruelty and its tragic consequences, the too
SEARCH FOR BEAUTY » »
realistic of a brutish, domineering
study
Buster Crabbe, Ida Lupino, Robert Arm- farmer and the suffering he inflicts upon a
strong, James Cleason. Based on the play boy and girl who are in his power. Though
dramatically presented, depicts an abnor- it
by Schuyler E. Grey and Paul Milton. Di-
mal side of situations are
life, the moral
rection by Erie Kenton. Paramount.
questionable, and it is too depressingly
If you enjoy seeing pretty girls by the sombre in tone to please many audiences.
and handsome, well-formed athletes, Adolescents, 12 to 16 Children, 8 to 12
score,
Harmful in effect Certainly not
and if you hold to the theory of exercise as
a guide to beauty, you may be momentarily v
entertained by this picture. It tells the story
of two Olympic winners made editors of a
WALTZ TIME » »
Schultz. by
Direction
“Beauty and Health Magazine.” When they Evelyn Laye, Fritz
discover that it is in reality one of the cheap William Thiele. Adapted from opera by
Johann Strauss. British-Gaumont Produc-
“confession” periodicals they work to cancel
tion.
their editorial contract and clear their names
by other health activities. It is needlessly Romantic operetta with pleasing music,
vulgar and suggestive at times, but on the some excellent characterizations, and a gay
other hand it stresses its moral. inconsequential story. Lightly entertaining.
Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12
Not recommended No Passable Little interest
Motion Picture Reviews Nine
THE WOMEN IN HIS LIFE » » YOU CAN’T BUY EVERYTHING » »
Otto Kruger, Isabel Jewell, Ben Lyon, Una (Formerly Titled “OLD HANNIBAL”)
Merkel. Direction by George B. Seitz. May Robson, Jean Parker, Lewis Stone.
M-G-M. Direction by Charles F. Riesner. M-C-M.

Otto Kruger is given the unsympathetic This is the story of an avaricious woman
role of a clever but dissolute lawyer who is financier who is spectacularly successful in
brilliantly successful as a defender of crimi- amassing a fortune, only to discover that in
nals and heartless in his personal relation- achieving her ambitions she has lost every-
ships. It is melodrama in the extreme, the thing in life that is worth having. May Rob-
plot hinging upon a belated repentance and son gives a convincing characterization, the
change of heart after a severe illness. In theme is well developed and the sum total
other hands than Mr. Kruger’s the picture is substantial and satisfying entertainment.
would be utterly worthless, but in his, the Adolescents, 12 to 16 Children, 8 to 12
perfection of detail and the line interpreta- Good Mature
tive acting makes the character study fairly
interesting to adult audiences.
No No
SHORT SUBJECTS
CHINA SHOP » » makes the cartoon less suitable for younger
Silly Symphony. Walt Disney Production. audiences. It is not so original as we ex-
United Artists. pect from this studio.
Attractive fantasy of the adventures of Yes Exciting
two Dresden figures whose nocturnal minuet
is disturbed by a Jade devil. The China
v
shop is wrecked. TUNISIAN TRAVELS » »
Adolescents, 12 to 16 Children, 8 to 12 Magic Carpet. Fox.

Yes Little appeal
Very interesting travelogue, beautifully
•w photographed.
SHANGHAIED » » Adolescents, 12 to 16 Children, 8 to 12
Walt Disney Production. United Artists. Excellent Good
Mickey and Minnie have blood curdling

adventures with villainous sailors which
MOTION
PICTURE
REVIEWS

MARCH 1934
WOMEN’S UNIVERSITY CLUB


Name
Address


LOS ANGELES BRANCH
Mrs. A. M. Marsh, Bus. Manager Mrs. Chester A. Ommanney, Preview Chairman
Mrs. Lucile R. Eastham, Circulation Manager
EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall
I Oe Per Copy - - $1.00 Per Year
Vol. V MARCH, 1934 No. 3
FEATURE FILMS
ADVICE TO THE LOVELORN » » with a variety of dancing partners, and the
Lee Tracy, Sally Blane, Sterling Holloway. one detour on his road to fame is the World
Direction by Alfred Werker. Twentieth War shown in realistic pictures of bursting
shells and toppling figures. The story, how-
Century Pictures. United Artists.
ever, is of secondary importance. It is only
Lee Tracy seems destined always to play a link between various dance numbers cli-
the same type of character, and his name maxed by the final bolero. Unfortunately this
heading the cast is a pretty reliable index is disappointing. The nature of Ravel’s com-
to what sort of entertainment is offered. In position requires a far more subtle inter-
this picture, a hard drinking, brilliant and pretation than the one given by George Raft
audacious newspaper reporter is detailed to and his partner. The picture is enjoyable
the advice-to-the-love-lorn column and in his enough but falls short of its aim if it was
resentment, tries to wreck the column by the intended to eclipse others of its kind.
outrageous flippancy of his advice. The re- Adolescents, 12 to 16 Children, 8 to 12
sults of his policy are many and complicated. No; ethically uncon- No interest
He gets into trouble with a gang and in- ventional
directly causes the death of his own mother, •w
but as usual his bumptiousness brings him
out on top, and in spite of tragic incidents THE CAT AND THE FIDDLE » »
the picture is boisterously comic. Ramon Novarro, Jeannette MacDonald,

Adolescents, 12 to 16 Children, 8 to 12 Frank Morgan, Charles Butterworth, Jean
No No Hersholt. From the play by Jerome Kern
and Otto Harbach. Direction by William
BOLERO » » K. Howard. M-G-M.
George Raft, Carole Lombard, Sally Rand. Though the film does not measure up to
From a story by Carey Wilson and Kubec the stage production this is a delightful effer-
Glasmon. Direction by Wesley Ruggles.
vescent bit of nonsense with light music and
mischief-making which pleasantly tickles the
Paramount.
sense of humor and leaves the brain just as
There is nothing particularly novel in the pleasantly dozing. The story of two song
plot of this picture. It depicts the life story writers and a manager is undeniably banal
of a supremely egotistical young Belgian who but it is offset by the freshness of the humor,
sets out to convince the world that he is a catchy songs and picturesque settings. The
great dancer and succeeds after a struggling picture is good entertainment.
ascent from beer garden to fashionable Paris Adolescents, 12 to 16 Children, 8 to 12
night club. The map of his progress is dotted Yes No interest
CAROLINA » » COMING OUT PARTY » »
Janet Caynor, Lionel Barrymore, Robert Frances Dee, Gene Raymond, Harry Green,
Young, Stepin Fetchit. From “The House Alison Skipworth. Direction by John Bly-
of Connelly” by Paul Green. Direction by stone. Lasky Production. Fox.
Henry King. Fox.
This is a delightful and appealing story
The charm of the picture lies in delightful of the struggle of two young people for their
characterizations, pleasant refreshing humor, fundamental right to love and marriage in
and a simple love story. The introduction opposition to the conventions of “high society”
shows a proud southern family in their hey- which bind the girl. The love story is old
day before the Civil War. The plot later but the settings and the satirical quality
centers about the romance of the scion of this make the picture vivid and alive. It should
family and a northern girl who rents the land have wide appeal, for it graphically portrays
for tobacco farming. Family pride and re- the futility and dullness of conventional so-
sentment towards the northern interloper cast ciety life in contrast with the ardour and
many obstacles in the path of the young romance of youthful love. The whole is
lovers but all works out for a happy ending. treated with subtlety and restraint and
The picture is so satisfying in most respects Frances Dee is charming as the young society
that one hesitates to pick flaws, but we can- girl.
not help remarking that at times one detects Adolescents, 12 to 16 Children, 8 to 12
a slight flavor of propaganda for tobacco in- Interesting No interest
terests. Much is made of women smoking at xr
a period when it seems an anachronism, and
the story is not furthered thereby.
DAVID HARUM » »
Will Rogers, Louise Dresser, Evelyn Ven-
able, Kent Taylor, Noah Beery, Stepin
Entertaining Harmless but
Fetchit. From novel by Edward Noyes
mature
Westcott. Direction by James Cruze. Fox.
David Harum, owner of a bank in Home-

CATHERINE THE GREAT » »
ville, survives the ’83 depression because he
Elizabeth Bergner, Douglas Fairbanks, Jr.,
“balances a man’s character with his col-
Flora Robson. Direction by Paul Czinner.
lateral and then gives him half what he asks
London Film Productions, Ltd. United
Artists.
for.” He is also a shrewd horse trader.
Will Rogers blends his own inimitable per-
In Catharine of Russia we watch the evo- sonality with the role to give us one of his
lution of an empress, the glory and splendor best characterizations. The book which was
as well as the struggle, the bitterness and well-loved several decades ago is equally
anguish which take a gentle German girl effective on the screen reviving the spirit
and day by day strengthen and harden her of the nineties with its old fashioned home
character until she is ready to dominate the life, genuineness of characters, true pathos
widest realm in Europe. It is a magnificent and kindliness of humor. There is an opti-
court which is spread before us, Russia in mistic tone which never becomes preachy, and
the middle of the eighteenth century, spark- David Harum on the screen is the exponent
ling with jewels, rustling with gold-weighted of the same homely philosophy of life that
fabrics, lighted with countless tapers, albeit has made his sayings a by-word in many
a court ruled by the eccentric Empress Eliza- homes. It is great entertainment and gen-
beth and later by her nephew Peter who uinely funny.
gradually grows stranger and more mad. Adolescents, 12 to 16 Children, 8 to 12
The actors live their parts. Elizabeth Berg- Excellent Yes
ner as Catharine is sincere, deeply expressive, v
maintaining her stateliness in spite of a
rather fragile beauty; Douglas Fairbanks,
DEATH TAKES A HOLIDAY » »
Fredric March, Evelyn Venable, Sir Guy
Jr., plays the Emperor Peter with fire and
Standing. From the play by Alberto Casella.
again with great delicacy and charm, his
Direction by Mitchell Leisen. Paramount.
greatest achievement in films. Flora Robson
is a grand personage as the old Empress. Into a gay house-party comes Death dis-
Historically, while the period covered has guised as a young and attractive man. He
been compressed from seventeen to a few imposes upon his host the obligation to keep
years, the main outline has been followed, his identity a secret during the period of his
and the play is an experience of the gorgeous stay, for he wishes to discover why mortals
court life of another century which is long cling to life and fear death. In the empty
to be remembered. round of social gaieties he finds no answer
Adolescents, 12 to 16 Children, 8 to 12 until he falls in love. The phantasy is in-
Very fine Too heavy teresting, undeniably so, but while it solves
the riddle for Death it does not attempt to socialite. The near failure of their marriage
—
answer it for us the living. There is one is the logical sequence and their final re-
beautiful line, “Has it ever occurred to you conciliation, the expected denouement.
that death is often easier than life and in- Adolescents, 12 to 16 Children, 8 to 12
finitely more kind? which seems a sugges- Not recommended No interest
tion for some, but not for all, and through-
out the play we receive a mysterious, sinister
impression which even the attractive human FASHION FOLLIES OF 1934 » »
form of Death cannot dispel. The play has William Powell, Bette Davis, Veree Teas-
elements of charm and beauty blended with
dale. Direction by William Dieterle. War-
mysticism but offers no philosophy on the
problem to which we all seek a satisfactory ner Brothers.
answer. The unusual nature of this theme Racketeering in fashions is the theme of
would be impossible of production except in this elaborate conglomeration of singing,
the hands of artists. Fredric March makes dancing, love interest and fashion revue. It
the human emotions of the character, Death, is light and farcical in tone and concerns a
understandable and Evelyn Venable is the Paris style thief who stops at nothing, even
personification of the lovely, spiritual girl blackmail, to make a fashion scoop. Probably
hovering on the borderline between life and the most striking sequence of the picture is
death. Sir Guy Standing plays the Italian a fan dance, beautifully done, though perhaps
nobleman with graciousness and dignity. At too scantily dressed for some tastes. Humor
times the mystical and prosaic are so merged depends largely upon Hugh Herbert’s slightly
that one feels a slight shock, but on the whole intoxicated foolery.
the caustic wit and sombre subject matter
are brilliantly integrated.
No value No
Too mature No
GOOD DAME » »
DEVIL TIGER » »
Sylvia Sidney, Fredric March. From a story
Marion Burns, Kane Richmond, Harry
Direction by Marion
by William R. Lipman.
Woods. Direction by Clyde Elliott. Fox.
Gering. Paramount.
There have been several outstanding wild Arraigned before the judge of a night
animal pictures with the result that we ex- court, a chorus girl and a card
stranded
pect a more remarkable exhibition each time. shark declare their mutual love and are mar-
“Devil Tiger” adds few new thrills. It is ried then and there. We gather the impres-
chiefly interesting because of the vivid im-
sion that they are supposed to be entering a
pression of the Malay Jungle and the en- state of perpetual happiness. Thus ends a
counters between oddly-assorted creatures: tiresome photoplay picturing the vicissitudes
lion and crocodile, monkey and land crabs,
in the lives of carnival troupers. It is a
malay bear and hyena, water buffalo and cheaply sentimental story of uninteresting
python, and the horror is mitigated because
characters.
the conflict never ends in slaughter. The
addition of a crude love motive makes the
Bad No
film a cross between adventure tale and
travelogue.
HI-NELLIE » »
Good Exciting
Paul Muni, Glenda Farrell, Ned Sparks.
Direction by Mervyn Le Roy. Warner Bros.

EVER SINCE EVE » »
George O’Brien, Mary Brian, Herbert Mun- Because he refuses to join in condemna-
tion of a bank president whose name has
din, Betty Blythe. From “The Heir to the
come under suspicion, the managing editor of
Hoorah” by Paul Armstrong. Direction by
a newspaper is demoted and becomes “Nellie
George Marshall. Fox. Nelson” the head of a heart-throb column.
Unfortunately the director has confused In the conduct of his new duties he acci-
comedy with vulgarity in one or two se- dentally uncovers the truth about the bank
quences and has thus detracted from the official and is reinstated. The cast and di-
value of this picture for family audiences. rection are good and the picture is interesting
It has otherwise a sentimental, stereotyped
entertainment for adults.
plot of some appeal. A gullibleyoung man Adolescents, 12 to 16 Children, 8 to 12
from the west marries a pampered New York Not recommended No

HOLD THAT GIRL » » I WAS A SPY » »
James Dunn, Claire Trevor. Story by Dudley Madeline Carroll, Herbert Marshall, Conrad
Nichols and Lamar Trotti. Direction by Veidt, Gerald Du Maurier. British Gaumont
Production. Fox.
Hamilton McFadden. Fox.
An unusually entertaining story of espion-
Entertaining romance of a girl reporter age during the World War, done with as
and a detective. It is fast moving and has fair an attitude to both German and Allied
plenty of excitement and good fun. sides as possible. Technically it is only fair;
Adolescents, 12 to 16 Children, 8 to 12 the reproduction of the voices is not very
Harmless No interest good, and the photography will not stand
•v
comparison with American pictures, but
I BELIEVED IN YOU » » story, direction and acting combine to hold
Rosemary Ames, Victor Jory, John Boles. keen interest throughout.
Direction by Irving Cummings. Fox.
Interesting Too mature
It is all rather fun if taken as a modern
fairy tale, this story in which a young man
of fabulous wealth hands over the financial IT HAPPENED ONE NIGHT » »
keys of success to a group of self-styled ar- Clark Cable, Claudette Colbert, Walter Con-
tists of Greenwich Village, none of whom nolly. Direction by Frank Capra. Columbia.
has time or inclination to discover the door. There is one dull moment from
never
The fair-haired girl who has interceded for start to finish. A head-strong young heiress
them and believed in them, alone wins dives off her father’s yacht at Miami and
laurels, a part played by lovely ethereal escapes to a New York-bound bus where
Rosemary Ames. John Boles favors the she immediately comes under the solicitous
audience with only one song, but he plays and exasperating care of a stray newspaper
the hero with joyousness mingled with sin- reporter who recognizes her as a “scoop.”
cerity quite in keeping with the spirit of The bus comes into its own as a diverting
the play. means of transportation, but during the
Adolescents, 12 to 16 Children, 8 to 12 stop-overs situations arise which are saved
Doubtful No interest from offensive intimacy only by the com-
bined efforts of a charmingly insouciant
I COT YOUR NUMBER » » Claudette Colbert, a breezy Clark Gable and
Joan Blondell, Pat O'Brien, Glenda Farrell, a director with a real and felicitous sense
Eugene Palette. Direction by Ray Enright. of humor.
Warner Brothers.
Misleading No
Aracy and rather rough comedy melo-
drama of the adventures of a telephone line-
man in his daily round of visits to repair KEEP ’EM ROLLIN’ » »
Walter Huston, Frances Dee, Minna Gom-
phones.
bel. From the story “Rodney.” Direction
by George Archainbaud. R-K-O.
Questionable No
The devotion of a rough, irresponsible
THAT WAY » » sergeant to his spirited horse “Rodney” and
I LIKE IT
the love of the horse for his master form the
Gloria Stuart, Marian Marsh, Roger Pryor.
theme of this picture of army life. They are
Direction by Harry Lachman. Universal.
heroes together in the World War when,
A wholly disreputable night club offers both wounded and despairing, they carry
opportunity for cheaply unpleasant scenes in forward a big gun to save the American
this story of a “sure-fire” insurance salesman line; together they grow old in the service,
and his love affairs. His younger sister sur- meet neglect and hardships until once again
reptitiously dances in the club’s chorus; the their worth is recognized. Towards the last
girl he loves is the star entertainer, and the the picture becomes so poignant it is almost
evil manager provides the incentive for mis- unbearable. Huston’s characterization is ex-
understandings and incriminations. It is cellent. It is a good story for all who love
banal in plot and stereotyped in treatment, horses and military life; the officers are por-
and yet there is sufficient charm in the ap- trayed as real people rather than rigid dis-
pearance and acting of the principals to make ciplinarians, and the artillery races are par-
it particularly objectionable for youthful ticularly interesting to watch.
audiences. Adolescents, 12 to 16 Children, 8 to 12
Adolescents, 12 to 16 Children, 8 to 12 Excellent Not for the
No No emotional
Motion Picturb Reviews Seven
THE LINE UP » * girl inherits one of the ships, they unite

William Cargan, Marion Nixon, Paul Hurst, efforts,but competition is transferred to their
John Miljan. Direction by Howard Higgins. hopes of winning the girl. The motion pic-
Columbia. ture team of McLaglen and Lowe connotes
Another crook and detective story — trite in a certain type of rough and burly, often
telling —in which a detective and a girl, vulgar humor. In this picture they continue
true to form. Crowded with incident, as it
innocent tool of a fur-stealing gang, bring
Negative is, some of it is bound to be funny, but the
the lawbreakers to justice. in
value. crude sailor types, the very poor English,
Adolescents, 12 to 16 Children, 8 to 12 the euphemisms in lieu of swearing and the
No No stress which is placed on sex as the all
w absorbing leisure time interest, detract from
the entertainment value. Its only touch of
LOOKING FOR TROUBLE » »
originality is its scenes of diving and under-
Spencer Tracy, Jack Oakie, Constance Cum- sea photography.
mings. Direction by Schenk. Twentieth
Century.
No No
Agenerous mixture of comedy, romance, v
and melodrama which is fast moving, funny NINTH CUEST » *
and exciting. Two telephone “trouble Donald Cook, Genevieve Tobin, Nella
fixers” have various experiences repairing
Walker. Direction by Roy William Neill.
the lines and finally locate wire tapping
Columbia.
which involves the innocent sweetheart of
one. Safe robbing, fire, murder, are all Eight people convene for the evening at
combined, and the Long Beach earthquake man who secretly wishes
the invitation of a
provides a thrilling climax. The dialogue to exterminate them all. Because each of
is at times rather coarse but it is funny, and the eight clearly represents some form of
the action is thrilling. vice the plot might be considered allegorical
Adolescents, 12 to 16 Children, 8 to 12 illustrating how man may become the vic-
Yes No tim of his own weaknesses. This theme, how-
•v ever, is not fully developed but becomes ob-
scured by gruesome details of the murder or
THE LOST PATROL » »
suicide of each of the guests. The picture
Victor McGlagen, Boris Karloff, Reginald is unwholesome in the extreme and unmoral
Denny, Wallace Ford. From the story in that it is preoccupied with the evil motives
“Patrol” by Philip MacDonald. Direction of the characters.
by John Ford. R-K-O. Adolescents, 12 to 16 Children, 8 to 12
Atragic incident in the Mesopotamian Absolutely not Horrible
Campaign of the World War is presented in
this film. It is the story of ten men sur-
rounded by hostile Arabs and without pos- ONCE TO EVERY WOMAN » »
sibility of escape. Their ranks are gradu- Fay Wray, Ralph Bellamy, Walter Con-
ally depleted until one man is left to be res- nolly. From original story by A. J. Cronin.
cued by a scouting party. The patrol is made Direction by Lambert Hillyer. Columbia.
up of men representative of various types, Hats off to the director of this picture!
and while they await rescue their person- He has done a beautiful piece of work and
alities and life stories are revealed. The deserves full credit. The main plot is not
whole is an extraordinarily sincere piece of remarkable (it is the love story of a charm-
work without a discordant note. The desert ing and capable head nurse in a hospital
scenes form a fascinating ever-changing
and a brilliant young surgeon), but there is
background of light and shadow, and no less an intensely dramatic minor plot revolving
beautiful is the musical accompaniment about the performance of a difficult opera-
which sets the emotional tempo throughout. tion. Action takes place within the hospital
Too mature
where there is ample material from which
Very interesting
•w to supply human interest, and the atmosphere
is perfectly conveyed to the screen. The
NO MORE WOMEN » »
scene in the operating room may be too
Edmund Lowe, Victor McLaglen, Sally Blane, strong for some people. The characters are
Minna Gombel. Based upon “Underseas” finely drawn, the incidents well chosen, the
by John Mikale Strong. Direction by Albert motivation sound and the whole nicely re-
Rogell. Paramount. strained. The finished product is one of the
Two deep sea divers on rival salvage best rounded, smoothest pictures we have
ships are belligerent competitors. When a reviewed. Another and no less noteworthy
virtue of the production is its ethical tone. honeyed cleverness of the French sophisticates
The leading characters are people of fine and requires a mature judgment and dis-
perceptions and high ideals. It is the kind count.
of picture which leaves one better satisfied Adolescents, 12 to 16 Children, 8 to 12
with one’s fellow beings. Mature No
Very good Too mature
SING AND LIKE IT » »
Zasu Pitts, Pert Edward E. Hor-
Kelton,
PALOOKA » »
ton. From the story "So You Won’t Sing,
Jimmy Durante, Stuart Erwin, Lupe Velez. Eh?” by Aben Kandel. Direction by William
Based on Ham Fisher’s comic strip. Direc- Seiter. R-K-O.
tion by Benjamin Stoloff. United Artists. Annie Snodgrass singing “Who took your
This is type of comedy which will
the part, who’s in your heart? Your mother,”
certainly be designated as a “wow” by many painfully and with much feeling, starts the
audiences, especially masculine ones. Like tears rolling down the cheeks of a head gang-
the cartoons which inspired it, it presents a ster. Strong-arming theatrical producers and
critics, the gangster proceeds to put little
little drama, some melodrama and much
hilarious nonsense. The noisy dialogue is Annie on Broadway. This is an absurd bur-
double edged, the comedy is never subtle, lesque of Broadway production methods and
but there are irresistible shouts of boisterous gangster activities. It is sometimes rather
laughter in this story of a country bumpkin ponderous but Ed Horton and some funny
who is led into prize fighting and learns lines furnish a modicum of laughter.
sophistication through one of the most thor- Adolescents, 12 to 16 Children, 8 to 12
oughly vulgar gold diggers whom Mr. Hays No No
has permitted us to meet on the screen. '
Jimmy Durante and Stuart Erwin divide the SPITFIRE * »

comedy honors and the cast including Mar- Katherine Hepburn, Robert Young, Ralph
jorieRambeau, Robert Armstrong and Wil- Bellamy. From the play “Trigger” by Lula
liam Cagney give good support. Vollmer. Direction by John Cromwell.
Adolescents, 12 to 16 Children, 8 to 12 R-K-O.
No No
This is the story of a deep religious faith
'w expressed by Trigger, a quick tempered, un-
civilized mountain girl whose childish, self-
QUEEN CHRISTINA » »
less prayers effect cures among her sick
Greta Garbo, John Gilbert, Ian Keith, Lewis
neighbors. Her power fails her at a time
Stone, C. Aubrey Smith. From original
when hate and bitterness confuse her. It is
story of Salka Viertel and Margaret P. Lev- a thought-provoking theme to which per-
ino. Direction by Rouben Mamoulian. sons are likely to react differently, but it
M-C-M. never becomes a moral preachment. Miss
Hepburn develops the character with ar-
“Queen Christina” is humanized history tistryand sincerity, the cast is well chosen,
with interest focused on a romantic love so and the poverty and ignorance of the moun-
soul stirring in quality that a queen is willing tain people is faithfully depicted. It is quite
to renounce her kingdom for it. While it out of the ordinary and leaves one moved
does not coincide with the character of the by the spiritual suggestion.
actual Christina, Greta Garbo has given to Adolescents, 12 to 16 Children, 8 to 12
her conception of the sovereign a power and Good Beyond them
beauty and dignity which makes this the out-
standing work of her career. As Christina
W
she is a great actress, and Mamoulian has SONS OF THE DESERT * »
supplied her with gorgeous trappings. It is Laurel and Hardy. Direction by Wm. A.
an exceptionally beautiful picture with fine Seiter. M-G-M.
composition and a tonal quality which sug-
gests the canvases of the old masters. The
Two henpecked husbands deceive their
supporting cast is very good with the excep- wives order to get to a convention. Accept-
in
tion of John Gilbert who plays Don Antonio

ing this as material for comedy, followers
in too inconsequential a manner for a grand
of Laurel and Hardy’s fun will not be dis-
passion. Because the film has so much to appointed in their frantic efforts to cover up
their duplicity.
recommend it, one hesitates to ban it for
young people, and yet the big act which is
the crux of the whole drama is done with the Not recommended No
SIX OF A KIND » » THE TEMPEST » »
Charlie Ruggles, Mary Boland, W. C. Fields, Emil Jannings, Anna Sten. Dialogue in
German; English titles. Produced by U.F.A.
George Burns, Gracie Allen, Alison Skip-
worth. Direction by Leo McCarey. Para- Emil Jannings, always an artist, gives an-
other convincing characterization in this sor-
mount.
did German picture, but the production of-
A wholly nonsensical comedy which will fers little else to recommend it. It tells an
amuse or bore audiences according to their unpleasant story covering the experiences of
liking for the combination of comedians in a forger from the day of his release from
the cast. It concerns the absurd adventures prison until he is rearrested for attempting
of two couples westward bound in an auto- to murder his sweetheart’s new lover. In-
mobile. cidentally he has already hurled another
Adolescents, 12 to 16 Children, 8 to 12 rival into the lake. Though the minor char-
Amusing but not acters are excellent and the picture has none
elevating Mature of the jazzy glamour of American gangster
films, it is nevertheless ugly and distasteful.
No Impossible
w
THE SONG YOU GAVE ME * »
THIS SIDE OF HEAVEN » *
Bebe Daniels, Victor Varconi. From “The Lionel Barrymore, Fay Bainter, Mae Clarke,
Song Is Ended.” Direction by Paul Stein. Tom Browne, Una Merkel. From the novel
by Margery Paradis. Direction by William
British Production. Columbia.
K. Howard. M-C-M.
One or two catchy songs rendered by the During the passage of twenty-four hours,
principals, one or two amusing incidents and matters of vital importance happen to each
a good deal of pretty dull dialogue; these member of the Turner family: the most de-
are the inadequate ingredients of what ought vastating being the accusation of embezzle-
to have been a lively concoction. Miss Dan- ment brought against the father of the
iels is well suited to her part, that of a family, the most heart rending the rejection
charming and temperamental diva and Mr. of the son by a fraternity. Fay Bainter shows
Varconi is smiling and agreeable as her great understanding as mother and wife.
private secretary who is of course in love The characters are people who react in a
with her. But the movie technique of mix- natural way to human situations, and real
ing more or less serious acting with occa- comedy is interspersed with the serious
sional bursts of song produces neither a good events; it is a well staged and well directed
musical comedy nor a good play. drama of a modern family.
Harmless No interest Perhaps, but sophis- No
ticated in part
Ten Motion Picture Reviews
SHORT SUBJECTS
THE CRASSHOPPER AND THE ANT » » RIN TIN TIN JR. » »

Walt Disney Silly Symphony. United Artists. The Wolf Dog. Mascot. All Star Serial.
An intriguing little fable, exquisite in col- The story of attempts of a gang of

the
oring and rhythm as usual, in which the im- crooks to compel an inventor to give up his
provident grasshopper is saved from starva- invention of an electric radio ray which is
tion by the busy little ant colony and its able to destroy ships at sea. For twelve
gracious queen. chapters a young boy (played by Frankie
Adolescents, 12 to 16 Children, 8 to 12 Darrow) and a radio operator assisted by
Good Good Pal, the cleverly trained police dog, go after
this gang and bring it finally to justice. The
acting is generally stereotyped, except for
CAMPING OUT » »
Sarah Patten’s. The story is fairly well de-
Mickey Mouse. veloped but full of sensational thrills and
Mickey and Minnie go camping with a exciting climaxes. Cruelty was stressed in
few friends, and have a wild, hilarious and the attitude of the step-father toward the
exciting battle with the mosquitoes, who are boy and the whole picture is unsuited for
finally routed. All very clever and diverting. sensitive children.
Good Good Perhaps No
MOTION
PICTURE
REVIEWS

APRIL 1934
WEBBCRAFT PRINTERS, 2509 WEST WASHINGTON BLVD., LOS ANGELES

MO TION • PICTURE • REV I E WS

LOS ANGELES BRANCH
EDITORS
Vol. V APRIL, 1934 No. 4
EDITORIAL
At the risk of being thought persons with “one track minds” we again reiterate the
purpose of this magazine, which is to provide patrons of motion pictures with reliable
information on current releases and their audience suitability. It is a little amazing to
have even members of the organizations taking part in the reviewing of films still ask,
“But what do you think you are accomplishing? You censor films and yet they are no better.”
Let us clearly state again: we have no power of censorship. We see only the finished pictures
and comment on their artistic and from our point of view.
social value
We feel that we are expressing the opinion of all the organized women’s groups which
preview films, when we say that we feel definitely that our constant efforts in this line
extending over a period of years, our futile attempts to secure consistently good material
for junior matinees, and the instigation and encouragement of Better Films Councils over
the country have stimulated public opinion to such an extent that educational developments
today are made more possible because of these efforts.
Parents have been at last aroused to the truth that motion pictures are one of the
most sensational problems in relation to children which must be considered today. No one
questions their instructional and educational value, but the abuse of the cinema is disaster
for them.
When women’s groups began previewing they had no scientific data to back up their
own opinions onwhat was bad or what was good for children to see. In 1927 the Motion
Picture Research Council was organized and financed by the Payne Foundation to study the
problem and prove through expert scientific research exactly what the product of the studios
was doing to children. Today the results of this study are available and should convince
any intelligent person that we cannot have children frequenting the cinema when they like
and without direction.
Mere legal prohibition will probably never be the solution in America. In Europe
children are prevented by law from attending adult performances. Here we are not yet
really awakened to the danger: we are also constitutionally averse to laws which prohibit
and inhibit unless we are convinced of their righteousness, and so we are feeling our way
to know how best to handle this question of the 28,000,000 minors who attend weekly
(11,000,000 under fourteen) many of whose physiques are conditioned and whose ideas of
life are patterned by too frequent indulgence in this form of entertainment. are not We
condemning movies for anyone. They are too important a part of our leisure time. But
we are saying that pictures should be carefully selected for children and young people,
that they should be shown under ideal hygienic conditions, not too frequently, and that
programs should be of a specified length of time. To quote Dr. Mario Bernabei, Assistant
Professor, Chair of Pedagogy at University of Rome, “Evil has never been anything else
but a degeneration of good; the abuse of the most healthy things may prove as harmful
as a use of dangerous things.”
During the past year or so, definite plans have been offered as solutions of this problem.
Blind booking and block booking are suggested as being the greatest handicap with which
communities contend in any attempt to regulate programs. Certainly the custom of double
billing is one which gives parents unconscionable trouble. An immediate plan of the Motion
Picture Research Council is a campaign to end block booking, and if the many councils
scattered over the country approve this move, undoubtedly their approval and backing will
carry weight in the movement.
But another very significant step is being taken which we believe will be even more
important because it will mould public opinion for the future, create a nicely judicious
audience in the next generation and assure the world of parents who will be critical of what
their children see in the movies. Motion picture appreciation is to become a regular part
of school instruction and is endorsed by national and state heads of instruction. To quote
Mrs. Sarah Mullen of Lincoln High School, Los Angeles, who is in charge of a series of
these projects throughout the West, “Under the direction of George Frederick Zook, National
Commissioner of Education, five state superintendents are endeavoring to determine whether
motion picture appreciation, taught on the same basis as the established courses in music
and art appreciation can bring a more discriminating taste on the part of students.”
California is fortunate in having Superintendent Vierling Kersey approve the plan,
and the State Board of Public Instruction has established demonstration centers in various
schools and teachers’ colleges for instruction on the subject. It is already being given in
Whittier, Pasadena, Glendale, Fullerton, Orosi, Tracy, Oakland, Berkeley, Sacramento and
Los Angeles. Three teachers’ colleges at San Jose, Santa Barbara and the extension division
of the University of California are offering classes to train instructors. Portland, Seattle
and Butte are other western cities in which high schools and junior high schools are offering
courses to the students. Those who are interested in this work report amazing interest and
cooperation from the students; they tell of the keen analytical judgment which these young
persons give to the pictures they are asked to review, and of the noticeable growth of taste
in their voluntary selections as the classes progress. Dr. Edgar Dale of Ohio State University,
in his connection with the Motion Picture Research Council is author of the one text book
on the market, “How to Appreciate Motion Pictures." It is a manual for high school students
and will interest adults equally. We
recommend it for anyone interested in this subject. It is
not to be supposed that these young students are given carte blanche in what they are to
review in these classes. The instructors select special current releases and prepare the
subject as in any other class work. Mrs. Mullen’s manual for “Alice in IVonderland" and
Mary Allen Abbott’s on “Little IVomen" are examples of brilliant outlines for the class
work approved by the National Council of Teachers of English.
It is in this connection that it has been suggested to us that our bulletin may be of special
service. It is impossible for anyone to see the great monthly output of the studios in order
to make selections of worthwhile films. Our bulletin reviews from thirty to forty new releases
monthly. The reports appear bi-monthly and are as up to date as it is possible for us to
make them. Sixty trained women are constantly at work and the reports are the opinion
—
not of one person but the consensus of five or more. Dr. Edgar Dale writes us: “Motion
Picture Appreciation classes are being encouraged throughout the country and an accurate
source of information for such classes about motion pictures is very desirable. The bulletin
will help to fill that need.”
We suggest also that you who are subscribers to our magazine help to place this
bulletin on the high school reading tables (with, of course, the consent of the high school
principal) as this will spread information on current releases and encourage selective
attendance. We find that many young people are now turning to our bulletin voluntarily
because they, too, wish to see only the best and avoid the boredom of the others. No work
of this kind has value if it is limited to a few readers. Only through the spread of information
on pictures, through intelligent box office support of the better films can any definite influence
be brought to bear on the output of the studios. Constant organized effort is needed, and
everyone can help constructively if he will lend a hand.
Motion Picture Revibws Five
COME ON MARINES * » THE CRIME DOCTOR » »

Richard Arlen, Ida Lupino, Roscoe Karns, Otto Kruger, Karen Morley, Nils Asther.
Crace Bradley. Story by Philip Wylie. From the story “The Big Bow Mystery” by
Adapted by Byron Morgan and Joel Sayre. Israel Zangwill. Direction by John Robert-
Direction by Henry Hathaway. Paramount. son. R-K-O.
The United States Marines come in for so This is an absorbing mystery story full of
much hard treatment in the movies that our action and with an unusual ending. rec- It is
national conception of them is beginning to ommended as an entertaining novelty for
be colored thereby. We
see them as physically adult detective story fans.
brave, vulgar, coarse, and in their lighter Adolescents, 12 to 16 Children, 8 to 12
moments entirely preoccupied with the con- Not recommended No
quest of women of any hue or caste. In the
present story “Lucky Davis,” as played by
Richard Arlen, is demoted because of a con-
spicuous affair with a cheap cafe dancer. DARK HAZARD » »
Sent to the Philippines to recover his chevrons Edward C. Robinson, Genevieve Tobin, Gor-
he is detailed to rescue some shipwrecked
don Westcott, Glenda Farrel. Direction by
boarding school girls who resemble a Follies
Alfred Green. First National.
chorus at rehearsal. The absurdities from
this point are unrestrained to the happy-ever- Gambling fever and its consequences might
after ending. be pictured in an interesting way, but in this
Adolescents, 12 to 16 Children, 8 to 12 case it is the basis of a mediocre, rather flashy
By no means No story about unpleasant people. It is of no
great interest to any audience.
No No
THE CONSTANT NYMPH » »
Brian Aherne, Victoria Hopper, Peggy Blythe.
From the novel by Margaret Kennedy. Di-
CEORCE WHITE SCANDALS » »
rection by Basil Dean. British-Caumont.
Rudy Vallee, Jimmy Durante, Alice Faye,
It is not often that we are thoroughly satis- Gregory Ratoff, Cliff Edwards, Richard
fied tosee one of our favorite books trans-
Carle and others. Direction by George
lated to the screen, but the charm of this
delightful story is completely preserved in its White. Fox.
new form. It is an exquisite film possessing a In this musical comedy, a story of back-
rare combination of intellectual, emotional stage intrigue is skilfully woven into the
and artistic appeal. Sanger, the musical stage numbers to hold the show together. The
genius and his three daughters live again on costumes are scanty but gorgeous, the songs
the screen, the atmosphere of their unusual are tuneful, the entertainers really talented
and erratic menage is faithfully reproduced in their respective fields, but the black and
and the tragic story of Tessa and her beloved white medium of the films seems to lack the
Lewis beautifully and poignantly enacted. charm necessary to give repeated dance rou-
Enchanting scenes of the Tyrol and sym- tines and choruses the same appeal they have
phonic music by the London Orchestra still behind the footlights.
further enrich this interesting production. Adolescents, 12 to 16 Children, 8 to 12
Adolescents, 12 to 16 Children, 8 to 12 Very sophisticated No
Doubtful —
mature No
CHOST TRAIN * »
COUNTESS OF MONTE CRISTO * » Cecily Courtneidge, Jack Hulbert. Direction
Fay Wray, Paul Lukas, Patsy Kelly. Direc- by Waller Forder. Gainsborough Production.
tion by Karl Freund. Universal.
A group of travelers is marooned overnight
During the taking of a picture, a movie in a littleEnglish wayside junction in a hard
extra costumed as a countess impulsively storm. A superstition which terrifies them
speeds away from the scene in a fine car and combined with the inclement weather pro-
spends an eventful week-end at a resort hotel. vides a dramatic and unexpected denouement.
This is a clever farce, fantastic, highly im- It is not technically very good but is a fair
probable, lightly entertaining. mystery story.
Amusing No interest Not worth much Too exciting
CLAMOUR » » It tells the story of a chicken fancier and a

Constance Cummings, Paul Lukas, Phillip school teacher who are each sold the same
Reed. From the novel by Edna Ferber. Di- ranch by a real estate sharper. Their diffi-
culties are straightened out, strangely enough,
rection by William Wyler. Universal.
through a gold inlay lost from a tooth. It is
By dint of self-confidence and perseverance full of slap stick and horse play, innocuous
an ambitious chorus girl becomes a stage suc- perhaps but tiresome.
cess, but makes a failure of marriage and Adolescents, 12 to 16 Children, 8 to 12
motherhood. When
tragedy at last brings her Not recommended Not recommended
conscience to she tries to atone for her
life
shortcomings. Edna Ferber’s story has be- s
come a picture which is well enough done to

LOVE IN MOROCCO
merit attention from readers of Ferber books.
Rex Ingram, Rosita Garcia, Pierre Batclieff.
Too mature No Direction by Rex Ingram and Alice Terry.
Gaumont-British Production.
LAZY RIVER » » TheAfrican setting, exquisitely photo-

Jean Parker, Robert Young, Ted Healy, Nat graphed, is the recommendation for this pic-
Pendleton. From a play by Lea David ture, otherwise it is undistinguished. A
French soldier falls in love with a native
Freeman, adapted by Lucien Hubbard. Di-
girl and the consequences of this unethical
rection by George B. Seitz. M-G-M. procedure provide motif for the action.
We are offered here the genial companion- Adolescents, 12 to 16 Children, 8 to 12
ship of three ex-convicts who play “Robin- No No
hood” for the benefit of a family in distress.
The novel and interesting setting of Louisiana
shore life cannot balance the sordid action
nor the unethical atmosphere. It is dull enter- MANDALAY » »
tainment. Kay Francis, Ricardo Cortez, Lyle Talbot,

Adolescents, 12 to 16 Children, 8 to 12 Ruth Donnelly. Direction by Michael Curtiz.
Poor Poor Warner Bros.
v
The picture holds none of the allure that
LET’S BE RITZY » »
its title would indicate. It is the story of a
Lew Ayres, Patricia Ellis, Isabel Jewel, prostitute, a woman of infamous character.
Frank McHugh. Direction by Edward Lud- Although the scenes are laid in and about
wig. Universal. Mandalay and Rangoon there is none of the
charm of the Near East, none of the tang of
When newlyweds within the
try to live Kipling, nothing in fact but the complete sor-
limits of a small same time
budget and at the didness of dock scenes and “dives.” Even
keep up the pretense of a large income, diffi- Miss Francis’ glamorous personality fails to
culties present themselves. Hovering between
lift this picture out of the class of mediocrity.
farce and comedy, the actors had no clear It is not recommended for any audience.
idea of the amount of truth or exaggeration Adolescents, 12 to 16 Children, 8 to 12
needed to portray their respective parts. The
result is uneven, indecisive and often arti-
No No
ficial. A
lack of subtlety in the direction of
the picture contributes toward a loss of force,
and in consequence its little message becomes MASSACRE » »
ineffectual. In spite of these limitations, it is Richard Barthelmess, Ann Dvorak, Dudley
fairly entertaining and wholesome withal.
Digges, Sidney Toler. Direction by Alan
No interest No interest Crossland. Warner Bros.
The
hero of this tale is an educated Ameri-
can Indian, a young man who becomes fired
LOVE BIRDS » »
with zeal to right the wrongs suffered by his
Zasu Pitts, Slim Summerville, Mickey
people at the hands of government officials.
Rooney. Direction by William Seiter. Uni- The picture is propaganda but has enough
versal. story interest to avoid becoming ponderous.
It is lavishly produced and the photography
Zasu Pitts’ charm and talent deserve a real
is beautiful.
comedy, but unfortunately we usually find
her cast in something like this farce silly, — Adolescents, 12 to 16 Children, 8 to 12
rather vulgar, and thoroughly unintelligent. Yes, interesting No

MORGENROT (Dawn) » » MELODY IN SPRING » *
Adele Sandrock, Rudolf Forster, Fritz Gen- Lanny Ross, Charlie Ruggles, Mary Boland,
schow. Direction by Custave Ucicky. Pro- Ann Sothern. Direction by Norman Mc-
duced by Leo Brecher. German dialogue and Leod. Paramount.
English titles. This is a comfortably entertaining comedy
interspersed with song. There are the usual
A
simple enough story is made magnificent
number of preposterous situations with a
by the absolute sincerity of theme and acting.
All the tragedy and futility of war is pictured
vague attempt at unity of disparate ele-
life back of the
ments. Humor ranges from slap-stick to pas-
through the scenes of village
movement
of troops to the sably clever witticisms. Soothing music and
lines, the constant
picturesque backgrounds complete the en-
front, and warfare in the submarine service.
semble rendering it light, innocuous and un-
It is depressing and yet enormously inter-
disturbing.
esting.
Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12
If mature enough No Good Little interest
•w
NO GREATER GLORY * »
George Breakston, Ralph Morgan, Frankie

THE MYSTERY OF MR. X » »
Darro, Jackie Searl. From Molnar’s “The
Robert Montgomery, Elizabeth Allan, Lewis
Paul 1 1 Street Boys," adapted by Jo Swer-
Stone, Ralph Forbes. Adapted from the
ling. Direction by Frank Borzage. Columbia.
novel “Mystery of the Dead Police” by
Philip MacDonald. Direction by Edgar Sel-
This is an unusual picture, consistently
well done, vivid, dramatic and swift in ac-
wyn. M-G-M.
tion, a testimonial to Director Borzage’s
Scotland Yard is baffled by a series of mur- power to reach audience emotions, to senti-
ders of policemen but eventually “Mr. X” mentalize and romanticize until brutal sub-
is captured through the cunning of a master ject matter is made to seem vital and in-
—
jewel thief a gentlemanly “Raffles.” This spiring. Thepicture opens with a diatribe
adventurous yarn is told with a deftness and against war, but the plot is concerned with
lightness of touch which makes it thoroughly a battle between two rival gang of boys over
entertaining. Mystery tales are not to be a playground and the story is developed in
taken too seriously —
if they hold interest, such a manner as to make this miniature war
maintain suspense, and entertain also, they an opportunity for childish heroism. The
apparently serve their purpose. This one is futility of the whole struggle is supposedly
particularly successful. illustrated by the tragic and ironical ending
Adolescents, 12 to 16 Children, 8 to 12 but we believe that younger audiences will
Depends upon Too intense and fail to discern either the analogy of this gang
maturity mature fight to real warfare or the ironical intent
of the ending. Whatever interpretation adults
may wish to read into it our feeling is that
the lasting impression is that it is glorious to
MURDER IN TRINIDAD » »
fight and die for one’s comrades.
Nigel Bruce, Heather Angel, Victor Jory. Adolescents, 12 to 16 Children, 8 to 12
Vandercock. Direction by Not recommended Undesirable

Story by John
Louis King. Fox.
story concerns smuggling of precious

The NANA » *
stones and the murders attendant upon the

Anna Sten, Phillips Holmes, Lionel Atwill,
Richard Bennett. Adapted from novel by
deception. Suspicion is leveled at every per-
Emil Zola by Willard Mack and Henry
son concerned in the plot up to the final de-
—
nouement a perfect set-up for a good detec- Wagstaff
Arzner.
Cribble.
Sam Goldwyn
Direction
Production.
by Dorothy
United
The background is unusual: Trini-
tive story.
Artists.
dad with its swamps and jungles and an
atmosphere of British Colonial intrigue. The Nana resembles the book from
closely
cast isexcellent, especially Nigel Bruce, who, which derived, not only in the story but
it is
with his monkey and trail of peanut shells is in the interplay of emotions, even in the
a cleverly individual type. This is another whole stock of morals which belong to the
mystery story to recommend. Paris of Zola’s day. Nana is the courtesan,
Adolescents, 12 to 16 Children, 8 to 12 as many of those heroines were, and by her
Excellent if type beauty raises havoc among men. The great
interests Too exciting irony of it is that through debasing the stan-
dards of one man who opposes her, she de- Tracy presents to perfection the character of
stroys herself and loses the one commanding the loud-mouthed bluffing “show off.” It is
love in her life. Anna Sten, whether gay or absurdly humorous.
wistful, never seems conscious of guilt. She Adolescents, 12 to 16 Children, 8 to 12
is simply a pawn moved by fate. The picture Yes Yes
is open to criticism for some of the stilted
dialogue and theatrical treatment of emo-
tional scenes, but we must remember that SPEED WINGS » »
these also were characteristic of some of the Tim McCoy, Evalyn Knapp, William Bake-
pre-mauve decade. It is interesting because
well, Vincent Sherman. Story by Horace
of Anna Sten’s unusual beauty and the fact
that she brings a new personality to the McCoy. Direction by Otto Brower. Colum-
screen; and it derives charm from the quaint bia.
costumes, glamorous settings and lovely
In the manner
of a melodramatic serial,
photography. While it is not a distinguished
this film the story of rival groups of
tells
production, the theme is handled with excel-
aviators striving to be the first to manufac-
lent taste and it contains a number of in-
ture a plane which will capture the world
teresting features.
speed record. Foul play is pitted against
heroism, villain against hero, and love and
No No honesty triumph in the end. Though very ele-
sr
mentary mental fare for adults, it is unob-
ONE IS GUILTY » » jectionable and will no doubt entertain an
Ralph Bellamy, Shirley Crey. Direction by air-minded younger generation.
Lambert Hillyer. Columbia. Adolescents, 12 to 16 Children, 8 to 12
Yes Exciting
For those who enjoy detective stories, this
is a good one. It is unique in presentation,
full of unexpected (but not horrible) action,
light relieving comedy, and pleasant ro-
THIS MAN IS MINE » »
Irene Dunne, Constance Cummings, Ralph
mance which is not forced into the story.
The plot concerns the solution of the murder Bellamy, Kay Johnson, Charles Starrett.
of “Kid Roberts,” champion prize fighter. From the play “Love Flies in the Window"
Adolescents, 12 to 16 Children, 8 to 12 by Anne Morrison Chapin. Adapted by
Not bad Unsuitable; too
Direction by John Cromwell.
Jane Murfin.
exciting
R-K-O.
SHE MADE HER BED » » This

is an unusually well presented story
of a domestic entanglement. It has the advan-

Richard Arlen, Sally Eilers, Robert Arm-
tage of really clever dialogue and interesting
strong. Adapted from “The Baby in the
types, deftly portrayed. The unscrupulous
Ice Box" by James M. Cain. Direction by and pretty husband-stealer, the socially ac-
Ralph Murphy. Paramount. cepted gigolo, the lovable and unwary hus-
band, the intelligent wife driven to use un-
This is a highly colored melodrama of life
familiar tactics in order to save her marriage,
in an auto camp. The title is derived from
and last but very important for the enter-
the situation that arises when a young wife
tainment value, Kay Johnson as the wife’s
finds that her husband is unworthy and de-
confidante. The working out of the situation,
cides to try to remain loyal to him. A melo-
though not new, is skilfully handled, the
dramatic climax is reached in a battle with whole picture unusually diverting.
a tiger and a terrific fire. It is fairly well
done but pictures such a sordid side of life
Doubtful
that it probably lacks general appeal. No
very mature
Adolescents, 12 to 16 Children, 8 to 12 sr
No By no means
THREE ON A HONEYMOON » *
Charles Starrett, Zasu Pitts.
THE SHOW-OFF * > Sally Eilers,
Spencer Tracy, Madge Evans, Henry Wads- Direction by James Tingling. Fox.
worth. From the stage play by George
A society girl and a mid-western librarian
Kelly. Direction by Charles F. Riesner.
find adventure and romance on a Mediterran-
M-C-M. ean cruise. Much
of the comedy is accredited
Without essential alteration this once pop- to Zasu whose hand-waving and wide-
Pitts,
ular stage comedy has been transposed to eyed amazement considerably heightens the
the screen, and it still entertains. Spencer effect of contrast between the two romances.
Though not particularly clever, it is never- Paris he jokes, sings and introduces his en-
theless pleasant entertainment. tertainers in his inimitable way, and audi-
Adolescents, 12 to 16 Children, 8 to 12 ences will welcome his return. The elaborate
Questionable No dance ensembles and the popular cast will
•w also attract. The plot is not novel for it re-
WHARF ANGEL » » sembles “Grand Hotel” in treatment and

sophistication. It pictures one night’s per-
Victor McLaglen, Dorothy Dell, Preston Fos-
formance at the cafe where drab and tragic
ter, Alison Skipworth. Based on play by
climaxes are reached in the lives of several
Wm. Cam-
Frederick Schlick.
eron
Direction by
Menzies and George Somnes. Para-
—
persons then the show is over, scrub women
mount.
arrive and another day begins. believe We
that because the production lacks the gaiety
This picture will probably be of interest and spontaneous hilarity of other recent
to some because at least it is an honest and Warner Brothers musical releases it will not
well-acted portrayal of pretty drab subject hold their lasting popularity.
matter. It tells of the influence of love on Adolescents, 12 to 16 Children, 8 to 12
various people, the spiritualizing as well as No. Too
degrading forces. The characters involved sophisticated No. No interest
are a girl who has been a common prosti-
'W
tute, a rough, quick-tempered seaman, and
a young socialist with his love and faith in
humanity. Both acting and direction show YOU’RE TELLING ME » »
a nice restraint. The ugliness of the atmos- W. C. Fields, Joan Marsh, Larry “Buster”
phere is not minimized but on the other hand Crabbe, Adrienne Ames, Louise Carter. Di-
it is not emphasized, and the human emo- rection by Erie C. Kenton. Paramount.
tions are skilfully depicted. But it is not
pleasant nor relaxing entertainment.
An absurd farce about the poor girl who
lives on the wrong side of the tracks, and the
rich boy whose mother is a social snob. It
Unsuitable No
is superficial and vulgar and redeemed from
v oblivion only by the clowning of W. C. Fields,
WONDER BAR » » who, with his companions is continuously im-
Al Jolson, Richard Powell, Dolores Del Rio, bibing. Some will find it full of laughs but it
Kay Francis, Ricardo Cortez, Cuy Kibbee, is more amusing in seeing than in remember-
Hugh Herbert, Louise Fazenda. From play ing.

by Herczeg, Farcas and Katscher. Direction Adolescents, 12 to 16 Children, 8 to 12
by Lloyd Bacon. Warner Bros. No; pretty vulgar No
Al Jolson is himself in “Wonder
Bar.” As
the proprietor of a gorgeous night club in
SHORT SUBJECTS
ARCTIC » » BEAUTY AND THE BEAST * »
Merry Melody. Warner.
Atravel picture in color showing the last
MacMillan expeditions into Labrador, Nova A cartoon in color suggested by the well-
Scotia and the northern waters. It is inter- known fairy tale but not following the story.
esting and instructive. It is rather too scary for little folks.
Yes Yes Probably not Depends on child


1
Name
Address

I
MOTION
PICTURE
REVIEWS

MAY 1934
WEB BCR A FT PRINTERS, 2S0» WEST WASHINGTON BLVD., LOS ANGELES


LOS ANGELES BRANCH
~~
_
EDITORS
Address all communications to The Women’* University Club, 9+3 South Hoover St., Los Angeles, Calif.
Advance Supplement is published and mailed approximately the 15th of each month.
Vol. V MAY, 1934 No. 5
EDITORIAL
There is a saying “Though the mills of God grind slowly yet they grind exceeding
small.”
The Motion Picture Theatre Owners of America in their 14th Annual Convention
meeting in Hotel Ambassador, Los Angeles on April 10th,
the 11th, 12th, hung the
following banners across the front of the Convention Hall:
Mr. Producer —
Exhibitors want you to make more pictures suitable for the entire family
that will have BOX OFFICE APPEAL.
Committee on Public Relations.
Mr. Director —
If you would put as much thought and energy back of the family type of picture
as you do the sophisticated type of picture, the BOX
OFFICE appeal will be
greater.
Mr. Exhibitor —
Are you coperating with the Better Films Council in your town by having a
Family Night at your theatre?
On Monday, May the National Council of Catholic Women, meeting in Los Angeles
1st,
in connection with Catholic Action Week, adopted a resolution urging all Catholics to
“withhold patronage” from theatres exhibiting films which “flaunt indecency; glorify the
criminal and his crime condone sex sins and scoff at the sanctity of marriage and the
;
home.” The resolution adapted read:

“Be it resolved, that this regional conference of the National Council of Catholic IV omen
declares its purpose to oppose by every means in its power the attendance
of Catholics at
motion picture exhibitions which flaunt indecency ; glorify the criminal and his crime con-
;
done sex sins and scoff at the sanctity of marriage and the home.
Because the most effective way to stamp out the production of these films is to with-
hold patronag e from them, we urge Catholics everywhere to remain away from theatres
where they are shown.
Parents in particular are urged to make certain that the films offered for their chil-
dren s entertainment give no offense to Christian morality or the accepted standards
of
decency and good taste.”
Those of us who have watched this Better Film movement grow, who have been laughed
at because we have kept to which we believed right, although no progress

a plan of action
seemed apparent, are at feeling a glow of pride that a small step forward has
last justly
been achieved. Ten years ago, and even less, exhibitors told us our recommendation to
the public “killed a picture.” Today thefr banners carry another tale. The Industry has
claimed, and still claims, that it makes only what the public wants, that the box office
gives the answer. Today the exhibitors who are closer to the public pulse than the producers
can ever be, ask for cleaner pictures which they can sell to this public.
The objective of Better Films Committees is still far from attainment. The majority
object to national censorship or legal prohibition of children’s attendance at motion pictures,
but the fact remains that the public is still apathetic and curiously criminal in its attitude
toward the attendance of children and particularly adolescents at motion pictures. Men and
women who are prominently identified with social problems in their respective communities
still take their families to pictures they think they personally may enjoy, and allow their
young people to go alone and without regard to what they are to see or the emotional
reactions they may receive from the experience. It is a shocking indictment of American
parents. This move of the National Council of Catholic Women is therefore extremely
significant.
One of the suggestions emanating from the results of the Payne Fund studies carried
out by the Motion Picture Research Council, is to train young people in high schools to be
discriminating in selection. Hundreds of schools are inserting appreciation courses into
the curricula because parents and educators have approved the plan. And it is particularly
disturbing to have Nelson L. Greene in an editorial in his publication “The Educational
Screen,” decry the move as theoretical, dangerous, unintelligent. He is especially alarmed
because Mr. Will Hays offers cooperation in the work and he says, “It is certainly time
for the educators to pause and reflect a bit on what has been started and in the significance
of industry-approval of one work.”
We irrational to be suspicious of all moves for cooperation which

think it is quite
come from the Industry.Let us analyze this one. Children are not stimulated to “pro-
miscuous moving-going,” nor are children recommended to attend outside the group “to
study the picture for class,” as Mr. Greene suggests. The outline of study has been made
out by a faculty member. The plan of criticism of each film has been discussed in class,
the group attends en masse and returns to the class room for discussion. In Los Angeles
cooperation has been given schools, by allowing the class to attend certain specified films
gratis — a real necessity in neighborhoods where the admittance price might keep many
students away. The outlines of study, for the finer productions were made after weeks of
preparation on the part of teachers and in some instances through cooperation again with
the studios who permitted the teachers to read the script and later see the film as com-
pleted before it was released to the public. Why
is this necessary? Not necessary perhaps,
but certainly an advantage because of the time element. It is wise to keep the young people
interested in new films because they are new in subject matter, new in technique and vital
in interest. To have the working outline ready when the film reaches the neighborhood
theatre thus especially advantageous. The way is prepared for the application of critical
is
judgment. You will say that this is not possible in all communities. No, but the National
Council of Teachers of English have accepted outlines furnished here at the coast for
some of the finer productions. They do not tell <what to say about a film. They only sug-
gest a means of approach to known subject matter. In other communities cooperation may
come from the exchange which has the film ready for release or perhaps from the theatre
owners who permit teachers to see a film before the use of it in class work. This kind of
cooperation cannot hold a social danger, in our estimation.
Mr. Greene seems to feel that such study can only stimulate greater attendance on the
part of children and adolescents. He feels that it is impossible to raise the standajrd of
public appreciation because the human race chooses its entertainment on emotional grounds,
rather than on intellectual. And yet he goes on to say “Indeed, thorough knowledge of
technique of drama means good-bye to the old thrill of theatre-going. Intellectual analysis
replaces emotional surrender.” There, it seems, is the crux of the whole problem. We want
our children to cease to give themselves up completely to the emotional reaction of the
—
picture to apply a little intellectual discernment so that the falsities will be apparent. “The
superiority of the cinema is based on the law of least resistance. It takes us away from
—
rea lity interest lies in the story and in the subject of the film, not in certain technical de-
tails.” (The Cinema and Child Psychology, Dr. Victor de Ruette, International Review of
Educational Cinematography, January, 1934). But, if we can arouse interest in technique
we feel that it will not take away all interest in films, but it surely will arouse critical
judgment and make the emotional reaction less insidious.
Mr. Greene ends his editorial as follows: “The tragic fact behind it all is that the
educators of the country could do big things folr the motion picture and American youth
without the skilful cooperation of the mighty industry.” He does not offer a plan in place
of this one. We are looking for a constructive solution of the problem of the social value
of motion pictures, and destructive criticism is not helpful without some creative plan to
take its place. While we differ with Mr. Greene in his estimate of the value of these
student classes, we do not by any means consider them a panacea. We believe that they
build toward a future of greater discrimination on the part of the public. The immediate
problem is a realization of the importance of attendance at motion picture theatres. A
ticket at the box office is a vote for the type of film we see.
O
FEATURE FILMS
ALL MEN ARE ENEMIES * nant but not dramatic problems. But if one
Hugh Williams, Helen Twelvetrees, Mona has read the book, endorsement stops there.
Barrie, Herbert Mundin. From the novel by Jen’s love of the slow leisurely turn of the
seasons, her identification with the earth it-
Richard Aldington. Direction by George
self and the beauty and naturalness of her
Fitzmaurice. Fox.
relationship with Stan have been completely
Trying break from a life which binds
to lost: the inate nobility and inarticulateness
him, to a conventional pattern, Tony
definite, of the father, the love and respect with which
Clarendon goes to Capri where he meets his children regarded him, is not indicated
sweet Katha, a young Austrian girl. Their and the near tragedy of the unhappy, ambi-
love is great enough to survive the animosity tious young step-sister has been altered and
of the World War, the perfidy of another twisted to provide an unpleasant dramatic
woman and years of separation: love of a touch which will offend those who loved the
haunting, idealistic quality which pervades very lack of this in the book. The beautiful
the play. Foreign atmosphere is well sus- and telling significance of the novel has been
tained in the fine settings of Italy and Aus- lost in the pictured version, in which even
tria the acting is quietly effective.
; In fol- the country-side seems an artificial back-
lowing the novel, the play has possibly par- ground. If you are looking for simple, rather
taken too much of the leisurely motion of a pleasant entertainment, above the average,
book of many chapters, and the story seems go to “As the Earth Turns”; but do not ex-
too long in coming to a close, but it will pect a sincere translation of the book.
linger in memory when many pictures are Adolescents, 12 to 16 Children, 8 to 12
forgotten. If it interests No interest
Adolescents, 12 to 16 Children, 8 to 12 •v
Good, if it interests them No
•w THE BLACK CAT » »
Boris Karloff, Bela Lugosi, Jacquelyn Wells,

AS THE EARTH TURNS » »
David Manners. From the short story by
Jean Muir, Donald Woods, Russel Hardie,
Edgar A. Poe. Universal.
Dorothy Peterson, William Janney, Sarah
Padden. Adapted from the book by Gladys There is not much of importance in this
creepy mystery story, but it maintains an
Hasty Carroll. Direction by Alfred Green.
atmosphere of stealth, uneasiness and im-
Warner Bros. pending disaster calculated to give the de-
It is with real reluctance that we criticize sired thrill to mystery addicts. It concerns
adversely this adaptation of a book whose one night spent in a mysterious house where
quiet, natural dignity and beauty so recently three travelers seek refuge. Black cats, dun-
captured popular fancy. Judged as a picture geons and wax images, the necessary props
alone it is undoubtedly a wholesome enough, in this sort of production, are presented in
slow moving story of farm life in a backward this one which takes its name from the well-
rural district, which the characters are
in known omen of evil.
real, human and generally lovable; and the Adolescents, 12 to 16 Children, 8 to 12
action is interesting in its portrayal of poig- No No
BOTTOMS UP » » standards of a good film because of the sur-
Spencer Tracy, Pat Patterson, John Boles, prising weakness of the story. Six-thousand-
Herbert Mundin, Harry Green, Sid Silver, dollars-a-year boarding schools of the type
Thelma Todd. Direction by David Butler. pictured are scarcely sufficiently widespread
Fox. to warrant exposure, and even if that were
A new variation of an old theme; crashing the case it is disappointing to have the love of
the gates of moviedom. An ex-convict and two young people of high ideals turned into
the usual sordid channels. In forcing a dra-
a pleasant, unspoiled young girl, aided and
abetted by a shady promoter, pose as an
matic ending, good taste and the sincere re-
actions of the characters are dispensed with.
English lord and his daughter, and by one
It is recommended chiefly for the careless
ruse after another win a place for the girl
mother who turns over all responsibility to a
in films. Although the play borders on the
fashionable school.
farcical, it condones a conciliatory attitude
towards forgery. On the whole it is light
Poor. No.
and fairly amusing, and it contains some
"V
good satire on the methods of the picture
industry. THE GHOUL » »
Adolescents, 12 to 16 Children, 8 to 12 Boris Karloff, Dorothy Hyson. Direction by

Fair Little interest Hayes Hunter. British Gaumont.
v The Ghoul presents the latest in horror
CRIMINAL AT LARGE » » stories and one of the wildest.
Boris Kar-
Emlyn Williams, Cathleen Nesbit, Norman loff is so terrifying that the children who see
McKinnel, Gordon Harker. From Edgar him will probably scream in the dead of
Wallace’s novel, “The Frightened Lady.” night. He personifies a wealthy fanatic who
Direction by Hayes Hunter. A Gainsborough is buried alive by an Egyptian who under-
Production. stands the mysteries of keeping people alive,
A slow moving, somewhat confused por-
though underground, and at odd moments
Karloff, the ghoul, prowls around the castle
trayal of a mystery play which has been pop-
ular on the stage. While the denouement is
and raises considerable havoc. It is too re-
volting to be recommended in spite of the
unexpected the plot is not clearly enough
excellence of its production.
developed to satisfy American taste in this
iype of thrillers.
No Very bad
'
If it interests. No.
THE HOUSE OF ROTHSCHILD » »
George Arliss, Boris Karloff, Florence Arliss,
THE DOUBLE DOOR » »
Loretta Young, Robert Young, Helen West-
Mary Morris, Evelyn Venable, Kent Taylor, erly. Direction by Alfred Werker. Asso-
Sir Guy Standing. Direction by Charles ciate Director, Maude T. Howell. Twen-
Vidor. Paramount. tieth Century Picture. United Artists.
A study in abnormal psychology, this pic- At last Mr. Arliss has another role worthy
ture depicts the intellectual dominance of an of his ability, and a really satisfying picture
insane elder sister over her younger sister is presented for the enjoyment of even the
and brother. It is impressive but morbid and most particular audiences. Inevitably this
melodramatic, creating a sense of fear and production will be measured by the standard
horror which is a tribute to the powers of set by “Disraeli,” and it will not suffer in
the cast and director but may be objection- the comparison. It has a wider scope; is
able to audiences. Mary Morris gives a more adapted to the possibilities of the mo-
remarkably able performance in the leading tion picture, covering a greater period of
role. time, a wider variety of locale and affording
Adolescents, 12 to 16 Children, 8 to 12 a background rich in the atmospheric and
Too morbid Absolutely not historic details of the Napoleonic era. Mr.
sr Arliss appears in two roles, that of Mayer
Rothschild and later of Nathan, head of the
FINISHING SCHOOL » »
five Rothschild banking houses located in
Frances Dee, Billie Burke, Bruce Cabot, Beu- European centers of finance. Confronted
lah Bondi, Ginger Rogers. From a story by with gentile prejudice and persecution,
David Hemstead. Direction by Wanda Nathan nearly wrecks his fortune in an at-
Tuchock and George Nichols, Jr. RKO. tempt to avenge an insult to himself and his
With the best of direction, unusually pleas- people, but eventually patriotism, combined
ing cast, fine acting and a number of clever with astute business insight, prompts him to
lines, Finishing School falls short of the come to the rescue of his country’s ex-
checquer. As always Mr. Arliss is perfect not only of the country, but also of the life
in a play which depends for its climaxes and philosophy of the Swedish people. The
upon the shrewdness and wit of its leading action carries one from New York to Sweden
character. A charming romance between and back, and is packed with details which
Nathan’s lovely daughter and a young Brit- in spite of their interest make the picture
ish officer is woven into the plot. All the somewhat too long. The narrator cannot
characters maintain a high degree of excel- avoid the usual lapses in taste in trying to
lence, particularly the matriarch played with amuse, but when serious, keeps the dialogue
memorable distinction by Helen Westerly. appropriate to the subject matter and the
The final sequences in color are glamorous exquisite color photography.
and beautiful in composition. As the ambi- Adolescents, 12 to 16 Children, 8 to 12
tious Jew, desirous of the freedom of his Entertaining but long Too long to hold
people, that they may “walk in dignity,” attention
peace loving, yet relentless in fighting for
his conception of justice, Mr. Arliss gives an
ideal characterization which seems designed
LAUGHING BOY * »
Ramon Novarro, Lupe Velez. From the novel

to awaken sympathetic understanding of a
by Oliver La Farge. Adapted by John Col-
problem which again confronts the world.
ton and John Lee Mahin. Direction by W.
Beyond
S. Van Dyke. MGM.
Depends upon their un- their appre-
derstanding of the ciation. In an attempt to interpret the life of a
problems involved. people deeply alien to our own in terms of
•v universal values, the screen adaptation of
this well-known book over-emphasizes and
I’LL TELL THE WORLD » »
sentimentalizes the love story. This will dis-
Lee Tracy, Gloria Stuart, Lawrence Grant. appoint those who read the book, for they
Direction by Edward Sedgwick. Universal.
will miss the delicate hand of Mr. La Farge
A moving picture with Lee
fantastic, swift and detect the heavy one of Hollywood.
Tracy as a cocksure United Press reporter. However, it is interesting as a picture be-
It carries him to a mythical kingdom in cause of its unusual theme, its rugged and
Europe, where he tracks down his story and beautiful scenic background of butte, mesa
becomes an important factor in the intrigues and canon in the Painted Desert, and its rep-
about the throne. The action suggests inter- resentation of some of the customs and habits
esting sidelights on press assignments and the of the Navajos. The tragedy of the play is
adventure and romance behind the making social rather than individual for it involves
of the daily newspaper. It is all rather good the maladjustment of a super-imposed cul-
fun. ture on a self-sufficient one, telling the story
Adolescents, 12 to 16 Children, 8 to 12 of an Indian girl who is neither adapted to,
Yes. Mature. nor wanted by either White or Indian people.
•w Adolescents, 12 to 16 Children, 8 to 12
Unsuited. No.
JIMMY THE CENT » »
•w
James Cagney, Alan Dinehart, Bette Davis,
Alice White. Direction by Michael Curtiz. MANHATTAN MELODRAMA * »
Warner Bros. Clark Gable, William Myrna Loy,

Powell,
Leo Carillo. Direction by W. S. Van Dyke.
Our herois a “semi-respectable racketeer,”
MGM. Seen in preview.
if there such an hypostasis. He is a shyster
is
lawyer who hunts down those who die alone, This film presents an appalling distortion
friendless, and apparently heirless, and who of social and ethical values. Two boys are
then provides an heir. In competition with rescued from a burning steamer on the East
another legal firm as disreputable as his own, River by a priest and given equal opportuni-
his incredible operations cannot stand too ties in life. By tremendous effort James
critical analysis on the ground of realism. Wade becomes a noted trial lawyer, district
It is just another rough, loud, and slangy attorney and finally governor of New York
comedy. state, while Blackie becomes a notorious gam-
Adolescents, 12 to 16 Children, 8 to 12 bler and killer. Blackie, who has only one
Nothing to recommend it. No. made the hero through-
fine quality, loyalty, is
w out, and Wade’s
adherence to the public
good appears hollow and mean by contrast.
LAND OF THE VIKINGS » »
In this return to an underworld role, Clark
Feature length. John W. Boyle Producers.
Gable has shed the sinister mannerisms of
Narration by Wilfred Lucas.
his earlier portrayals and is charming as
A
travelogue which holds unusual interest only Clark Gable knows how to be charm-
because of the panoramic impression it gives ing; he is probably the most attractive crimi-
nal in the annals of cinema, and the picture nique. But it is distinctly disappointing.
is therefore singularly dangerous in its influ- It is the story of a man who craves wealth
ence on modern youth. and power at any cost, and when he has
Adolescents, 12 to 16 Children, 8 to 12 achieved his objective finds that he has paid
Pernicious. Bad. too highly for his sordid materialism. The
•v story is depressing; but aside from this, the
character development is uncertain and il-
MOON OVER MOROCCO > »
logical and the ending is unconvincing.
Rene Lefebvre, Rosine Dorean, Harry Bauer,
Robert Le Vican. Direction by Julien Du-
vivier. French Production.
No value. Unsuitable.
sr
Well developed mystery story, photo-
graphed in actual locale, with authentic
SCARLET EMPRESS » »
Marlene Dietrich, Gavin Cordon, C. Aubrey
scenes of native ceremonials and sports which
Smith, Louise Dresser. Original by M. Kom-
are more interesting to us than the actual plot.
roff. Direction by Joseph Von Sternberg.
The pantomime easily explains the action,
Photography by Bert Glennon. Paramount.
but the dialogue is French.
(Seen at a studio preview.)
Probably tiresome unless Tiresome, It isinevitable that the two films written
a French student about Catherine II of Russia will be com-
•w pared, and yet it is beside the mark to com-
pare them from the same point of view, for
NOW I’LL TELL » *
Miss Bergner’s “Catherine the Great” is a
Helen Twelvetrees, Spencer Tracy, Alice
realistic portrayal of a flesh and blood
Faye. From a novel by Mrs. Arnold Roth-
stein. Direction by Edwin Burke. Fox.
woman and her environment; the “Scarlet
Empress” is an impressionistic pattern of the
Ahorrid portrayal of trickery, deceit and mood of Russia of that period and a sugges-
vice. Spencer Tracy convincingly portrays tion of the character of a woman as it is
the gambler who marches steadily to his in- moulded by circumstance. Miss Dietrich
evitable doom. does not attempt realism. Her portrayal is
Adolescents, 12 to 16 Children, 8 to 12 magnificent in her painting of the changing
By no means No nature of the unsophisticated German girl,
•w a soul which is brought in contact with
RIP TIDE » » cruelty and intrigue and necessarily forced
Norma Shearer, Robert Montgomery, Her- into the form which can exist in its surround-
bert Marshall, Mrs. Patrick Campbell. Writ- ings. Those who decry the passing of the
ten and directed by Edmund Coulding. silent films will find Joseph Von Sternberg’s
MCM. production more nearly a return to this form
of art than anything in recent years. It is a
Norma Shearer’s glamorous sophistication,
gorgeous spectacle which uses dialogue
her personal charm, and her skill as an ac-
sparingly and which could have omitted even
tress are disarming in this ultra-modern
that without loss. The settings and use of
social drama. She completely wins audience
crowds and pageantry are pictured with
approval in spite of the character she por- stunning effect by director and photographer,
trays. As a most attractive woman with a and the remarkable musical accompaniment
checkered past, we resent the suspicion her
sets the perfect emotional tempo. The musi-
husband is justified in feeling toward her,
cal setting is most important to the film.
and we countenance her reaction to his be-
Withal it is a very unusual production to
havior. The play is directed with subtlety
which we call your attention as an artistic
and distinction, but is nevertheless completely
achievement of real worth.
unethical in import. It requires adult dis-
count to be acceptable.
—
No too sophisticated
"ST
Unsuitable
By no means. No.
SISTERS UNDER THE SKIN » »
SUCCESS AT ANY PRICE » » Joseph Schildkraut, Frank Mor-

Elissa Landi,
gan, Doris Lloyd. Story by S. K. Lauren.
Douglas Fairbanks, Jr., Colleen Moore, Frank
Direction by David Burton. Columbia.
Morgan, Cenevieve Tobin. Direction by J.
Walter Rubin. RKO. When a retired business man decides to
This picture has the qualities which should have Europe, his wife should doff
his fling in
make an excellent production. It is well her social engagements and middle-aged
cast, sincerely acted, has clever and suitable viewpoint and accompany him, or else he will
dialogue and is finished in settings and tech- discover a young, captivating actress to share
his adventures. It highly

sounds
a like the point. The suggested Mexican atmos-
sophisticated plot, and
but it is tem-
it is, phere the only interest
is in this mediocre
pered almost to the point of pathos when production.
one considers that the man is really in love Adolescents, 12 to 16 Children, 8 to 12
with his youth of twenty years ago. So, too, No. No.
with the little actress, youth calls to youth,
and it all winds up as it should. Dialogue TWENTY MILLION SWEETHEARTS * »
is good, and the whole play entertaining of Pat O’Brien, Allen Jenkins, Grant Mitchell,
itstype. Dick Powell, Joe Cawthorn, Ginger Rogers.
Adolescents, 12 to 16 Children, 8 to 12 Direction by Ray Enright. First National
Better not No Warner Bros.
•w
A musical comedy romance which uses a
TARZAN AND HIS MATE » » radio setting and tells of the struggles and
Johnny Weismuller, Maurine O’Sullivan, Neil final success of a young crooner. In love too,
Hamilton. Direction by Cedric Gibbons. he has his problem in his fear of alienating
MCM. his sweethearts of the air by marrying a girl
contrast “Wild Cargo” (reviewed he meets when broadcasting. The story is

In to
this issue), we have
here an adventure tale very light but it serves as a vehicle for some
of the jungle in which cruelty, savagery, and
pleasant songs which are so emphasized that
bestiality would seem to preclude its enter-
were it a radio play we feel that spectators
tainment value for any but the most thrill- might be tempted to dial elsewhere occasion-
seeking audiences. Two men, bent on find- ally.
ing and looting a hidden source of ivory, go Adolescents, 12 to 16 Children, 8 to 12

into the jungle with a safari, are set upon Wholesome, but No interest
by frightful cannibals who torture their vic- unimportant

tims, are tracked by savage beasts, and fin- •v
ally destroyed in fearful deaths. Tarzan
UNCERTAIN LADY » »
and the white girl who has become his mate,
Genevieve Tobin, Edward Everett Horton.
also have terrifying experiences in which
Directed by Karl Freud. Universal.
Tarzan defends her from lions, rhinos, and
alligators. Swinging through the trees, yod- A wife who is also a business woman,
eling his shrill unmelodic call and followed discovers her husband’s predilection for a
by his faithful and amusing friends, the apes, siren and offers him his freedom if he finds
he seems always answering the panic-stricken her a new husband to meet specifications. The
shrieks of the girl in danger. The thrill of play is as sophisticated as may be imagined
adventure is over-balanced by distressing but it is so light in treatment that it will
scenes of horrible danger and cruelty, torture have little effect on adults. However, it can
and violent death to men and beasts. Sound offer nothing for youth but confusion of
is a distinct disadvantage here because the morals and it fails to be as funny as one
roar of combat is almost continuous, and it expects it to be.
is nerve wracking. The picture is banal for Adolescents, 12 to 16 Children, 8 to 12
adults, and particularly objectionable for No No
children. w
Not for the discrimi- Dangerous, VIVA VILLA » »
nating. Wallace Beery, Katherine DeMille, Leo
w Carillo, Pedro Rigas,
Joseph Schildkraut,
Stuart Erwin, George E. Stone. From the
THE TRUMPET BLOWS » »
novel by Edgcumb Pinchon. Direction by
George Raft, Adolph Menjou, Frances Drake.
From a story by Porter Emerson Browne
Jack Conway. MGM.
and J. Parker Read, Jr. Direction by Ste- This film of Pancho Villa, Mexican revo-
phen Roberts. Paramount. is hardy, tumultuous melodrama in
lutionist,
Adolph Menjou’s skill as an actor makes which the brutalities and cruelties make it
him convincing even as a reformed Mexican suitable only for stout-hearted adults. Wal-
bandit, but George Raft, as his younger lace Beery is not always convincing as the
brother educated in an American college, glorified hero-villain, at times ferocious,
would be more believable in a gangster role brutal, vengeance dealing, again loving and
to which his diction, behavior and appear- child-like. By contrast Stuart Erwin as a
ance seem more suited. The plot is not sig- sane young American newspaper reporter,
nificant, apparently revolving merely around is as refreshing as
a drink of cool water.
the question of which brother is the braver. The photography beautiful of country-side,
is
Both eventually enter the bull ring to prove clouds and sky, mass effects of soldiers and
peons, views of Mexico City. It is an inter- strange hostelry on the Dover Road. The
esting spectacle but disappointing after the subsequent episodes are unusual, improbable
anticipatory notices. and entertaining. The choice of players is
Adolescents, 12 to 16 Children, 8 to 12 delightfully apropos, and each makes the
No No best of lines which are light and occasion-
•<r ally witty. At times the plot progresses
WILD CARGO » » slowly and deliberately. This is perhaps
the more apparent because of the absence of
Based on the book "Wild Cargo" by Frank
Buck and Edward S. Anthony. any highly dramatic sequences.
Narration
by Frank Buck. Direction by Armand
Denis. RKO. Too mature for apprecia- Unsuited
tion of philosophy
This picture has noplot in the usual sense.
It is, rather, a series of incidents and ex-
periences in the life of Frank Buck. The THE WITCHING HOUR » »
action takes place against a background of Sir Guy Standing, John Halliday, Judith
Malayan jungle and concerns the ruses and Allen, Tom From the stage play
Brown.
tricks used to secure alive, the dangerous, by Augustus Thomas. Adapted by Anthony
the queer, the harmless, the unique, the little Veiller and Salisbury Field. Direction by
known animals which find their homes even- Henry Hathaway. Paramount.
tually in our zoos. There are tense encoun-
ters with man-eating tiger, deadly cobra and
A murderis committed by a young man
a long of similar adversaries; yet it is

list
who under the influence of hypnotic sugges-
is
tion and he is acquitted when it is proven
pleasantly free from revolting scenes of
that he was the involuntary instrument in
carnage. It combines thrilling adventure
the fulfillment of the thought of another per-
with comedy and fascinating photography.
Not the least of its value lies in the contrast son. The play was written in a period when
between the superb courage of the hunter hypnotism was less widely accepted than it
himself and his unemotional manner of nar- is today. Consequently the eldritch qualities
ration. associated with thought transferrence are
stressed and can be recognized as belonging
Children, 8 to 12
Absorbing. to a different period of the theatre, of science
Exciting.
and of popular acceptance. In spite of the
subject matter, the characters of the play are
WE RE NOT DRESSINC » » good people, with good motives and because
Bing Crosby, Carole Lombard, George Burns, of their charm and honesty have made fairly
Gracie Allen. Story by Benjamin Clazer. interesting entertainment.
Screen play by Horace Jackson, Francis Mar- Adolescents, 12 to 16 Children, 8 to 12
tin and George Marion, Jr. Direction by Questionable No
Norman Taurog. Paramount.
This slap-stick comedy concerns the fan-
tastic adventures of a yachting party which SHORT SUBJECT
is wrecked on a desert island. The helpless
rich, wrestling with the fundamental prob-
lems of existence, furnish some mildly amus- THE BIG BAD WOLF » *
ing and some really good comedy. For the With Little Red Riding Hood, the Three
most part it is trivial fare made up of a suc- Little Pigs and Grandma. Walt Disney, Silly
cession of manufactured incidents and an Symphony. United Artists.
indiscriminate jumble of various elements
each worn thin from extensive previous use. A delicious adaptation of the Little Red
Adolescents, 12 to 16 Children, 8 to 12 Riding Hood story which will delight all
Poor No interest audiences.

Cood Good
WHERE SINNERS MEET » *
Diana Wynyard, Clive Brook, Billie Burke,

Reginald Owen. Adapted from the play,
"The Dover Road,” by A. A. Milne. Direc-
tion by J. Walter Ruben. RKO.
A sophisticated farce which so carefully
evades the immorality which is its focal point,
that it remains inoffensive. A man and wife,
each eloping with a new love, meet at a

Name
Address

MOTION
PICTURE
REVIEWS

JUNE 1934
WOMENS UNIVERSITY CLUB
WKBBCRAPT PRINTERS, 2*09 WEST WASHINGTON Bl VO., L08 ANGELES


LOS ANCELES BRANCH
EDITORS
Address all communications to The Women’s Univereity Club, 943 South Hoover St.. Los Angeles, Calif.
Vol. V JUNE, 1934 No. 6
EDITORIAL
The California State Division of the American Association of University Women at
the convention, May 25-26, meeting at Palo Alto passed the following resolution:
Realizing the potent effect of moving pictures upon adolescents and children, and facing the facts
brought forward by the various surveys on moving pictures
BE IT RESOLVED: That the California Division of the American Association of University
Women, through their local branches, strive to make effective the findings of these surveys
THAT, by education, through publicity, and by withholding patronage from theatres showing pictures
which undermine the best teaching of the home and school, we strive to bring to the attention of the
moving picture industry and the public in general, the determination of the Association of the University
Women to demand better films
This is a significant move for study of the problem of motion pictures. It will become
a project for each of the sixty California Branches and will contribute definitely to the
moulding of public opinion already aroused on the subject.
In last month’s bulletin we mentioned the resolution approved by the National Council of
Catholic Women urging all Catholics to “withhold patronage” from theatres exhibiting films
which would degrade public morals. The National Council of Parents and Teachers went
on record as approving legislation to abolish Blind selling and Block buying. In May at the
Biennial Convention of the Young Women’s Christian Association the National Board gave
itsapproval of the activities of the Motion Picture Research Council and voted to support
any legislation which would abolish Blind and Block bookings.
These moves show the state of mind of organized women who feel perturbed over the
situation as it now exists. The Industry has had years of opportunity to see the slow trend
and to meet it half way.
The previewing groups represented in Hollywood have so far been against censorship
or legislative regulation of the marketing of films. They have always been hopeful of com-
munity cooperation with exhibitors which would at least control the type of films available for
children and young people over the week-end.
In a publication just sent out by C. C. Pettijohn, General Counsel of the Motion Picture
Producers and Distributors, which is entitled “The Case Against Federal Regulation of
Motion Pictures, an Argument in Opposition to Political Censorship of the Screen,” he gives
a number of excellent reasons, with which most of us will agree, for opposing one bill. How-
ever he offers as one argument against legislation local community success in “adjusting the
theatre program to the needs of children.” And in this we must fVankly face our failure.
Even three years ago in Southern California we could proudly point to a measure of success
of a number of towns and neighborhoods where local groups in cooperation with their theatre
exhibitors arranged satisfactory programs meeting their tastes. Now this is impossible.
Exhibitors plead “depression,” double billing, lack of family pictures, and distributing prob-
lems as excuses. The public, long apathetic, is apparently suddenly stirring. What will the
next year bring about?
O
FEATURE FILMS
A VERY HONOURABLE GUY » » is soon penniless, his only asset being a
Joe Brown, Alice White, Robert Barrat,
E. former cavalry horse, which quite unexpect-
Alan Dinehart. Direction by Lloyd Bacon. edly recoups his owner’s losses. It is a sim-
First National. ple, moral comedy with an exciting if wholly
improbable climax.
The fans of Joe E. Brown will probably
feel that this partis not noisy enough or char-
Fair Passable
acteristic enough to give their favorite full
scope for his powers. The story is one that
v
should be a combination of comedy and CHANGE OF HEART » »
pathos, but the acting and the direction are Charles Farrell, Janet Gaynor, James Dunn,
not sufficiently subtle to give it the pathos Ginger Rogers. From a story by Kathleen
which is needed to make it convincing. Eth- Norris. Direction by John C. Blystone. Fox.
ically the picture might be questionable for
it deals with gamblers on Broadway, but it is
Four college graduates go to New York
cast in a light, humorous vein, similar to that to seek their fortunes. The
picture deals with
their attempts to gain renown and the vicis-
of “Lady for a Day.” Unfortunately, how-
ever, it is a departure from Mr. Brown’s situdes which throw first one and then an-
usual policy of steering clear of underworld other of the couples together. In the face
themes. of difficulties, they maintain their ideals and
appreciate spiritual over material values, but
the story loses some of its charm because it
Hardly No
-w is so deliberately planned and so lifelessly
machine-made.
AFFAIRS OF A GENTLEMAN » » Adolescents, 12 to 16 Children, 8 to 12
Paul Lucas, LeilaHyams, Murray Kinnell, Harmless No interest
Patricia Ellis, Onslow Stevens. Direction by
Ed L. Marin. Universal.
This is murder mystery with an unusual

DR. MONICA » »
Kay Warren William. Direction by

Francis,
technique. Starting with the finding of the
William Keighley. Warner Bros.
victim it jumps backward to an earlier period
and pictures events in the life of the mur- This rather weak picture with a hack-
dered man to explain his death. Dealing neyed and melodramatic plot concerns a
with so called “society” and indulging in woman obstetrician who is called upon to de-
smart talk, it is well acted and diverting liver the child of her husband’s paramour.
enough to disguise somewhat the inherent In spite of some excellent work by Kay Fran-
trashiness of the plot. cis, the play is not at all convincing. Though
Adolescents, 12 to 16 Children, 8 to 12 evidently not intended to illustrate the plati-
No No tude that a woman, otherwise intelligent,
•w may blindly adore a man unworthy, this is
CALL IT LUCK » » the impression given. Warren William is
merely “the doctor’s husband,” which ob-
“Pat Patterson," Herbert Mundin, Charles
viously, was not the intention of the writer.
Starrett. From a story by Dudley Nichols
One feels that the play would have been
and George Marshall. Direction by James
equally effective if he had been simply “a
Tinling. Fox.
voice off-stage,” and would thus have es-
A guileless cabby wins a large sum of caped the slightly ludicrous effect which his
money and through the wiles of clever crooks wooden presence gave to certain scenes. A
more careful working out of plot and char- been livened up considerably to suit our mod-
acters would have resulted in a play reveal- ern tempo, one cannot fail to recognize that
ing the ability of women to achieve and to it is outmoded. A bogus deacon, actually a
suffer in silence, but content, apparently, with card shark, enters a small town and by his
the making of a fairly entertaining “pro- skill and generosity is able to smooth out a
gram picture,” the producers have left much series of highly involved situations.
to be desired. When all is over, one won- Adolescents, 12 to 16 Children, 8 to 12
ders whether, after all, such flabby domes- Doubtful No
ticity was worth suffering for.
No No HEART SONG » »
Lilian Harvey, Charles Boyer, Mady Chris-

tians, Maurice Evans. Eric Pommer Pro-
HANDY ANDY » »
duction. Fox Caumont.
Will Rogers, Peggy Wood, Conchita Mon-
tenegro, Mary Carlisle, Robert Taylor. From A charming, romantic musical comedy with
the play “Merry Andrew” by Lewis Beach. delightful bits of acting and song. The set-
Fox. tings are so lovely and the details so effec-
tive that one regrets that more masterly direc-
In a laughable and often hilarious fashion, tion could not have made it completely
Will Rogers shows us the predicament of a satisfying. It is incoherent at times and slow
business man forced to retire at the insistence in action, but on the whole enjoyable.
of a socially-ambitious wife. His minor and Adolescents, 12 to 16 Children, 8 to 12
major pecadillos become so numerous that Good Little interest
he is the despair of his household; even golf
and the New Orleans Mardi Gras fail to
consume his bottled-up energy. Meanwhile
he has time for trenchant observations on the THE JOURNAL OF A CRIME » »
failings of the average American. Good fun Ruth Chatterton, Adolphe Menjou, Claire
for all. Dodd. From the novel by Jacques Duval.
Adolescents, 12 to 16 Children, 8 to 12 Direction by William Keighley. Warner
Good Good Bros.
A wife shoots her husband’s mistress, and

thereupon follows a most unpleasant psy-
HOLLYWOOD PARTY » » chological exposure of the mental and moral
Jimmy Durante, Laurel and
Hardy, Jack disintegration of a murderess who cannot
Pearl, Lupe Velez, Charles
Butterworth, bear the hidden knowledge of her guilt. It
Polly Moran. Animated cartoon sequence is a distressing spectacle for any audience.
by courtesy of Walt Disney Productions. Adolescents, 12 to 16 Children, 8 to 12
Direction by Allan Dwan. M-C-M. Absolutely not Absolutely not
With such a collection of so-called come-
dians, it is strange that anything as com-
pletely vacuous as “Hollywood Party” could LITTLE MISS MARKER » »
have been produced. It is an indiscriminate Adolph Menjou, Dorothy Dell, Charles Bick-
hodge podge of comic sequences and songs ford, Shirley Temple. From the story by
framed by the slightest suggestion of a story. Damon Runyon. Direction by Alexander
Interpolated Mickey Mouse and Silly Sym- Hall. Paramount.
phony cartoons stand out exquisitely above
the stupidity and vulgarity of the rest of the
An old plot which has for its theme the
axiom that a little child shall lead them. It
picture,but these only accentuate the bore-
attempts to illustrate that the most hardened
someness of the whole.
characters can be softened by innocence, and
to do this, injects the unwholesome atmos-
Not recommended Not recommended
phere of a race track and the persons who
are attached to it. The child adopts the jar-
gon and behavior of those with whom she
HALF A SINNER » »
comes in contact, and Shirley Temple is very
Berton Churchill, Sally Blane, Joel McCrea, clever in her response to directorship. It is
Mickey Rooney. From the play “Alias the amusing in its way, occasionally very senti-
Deacon” by Leroy Clemen and John B. mental, but undoubtedly vivid enough to have
Hymer. Direction by Kurt Neumann. Uni- popular appeal. However, it is not exactly
versal.
worthwhile.
This is an adaptation of the stage play Adolescents, 12 to 16 Children, 8 to 12
“Alias the Deacon,” and while it must have Perhaps No
MEN IN WHITE » » MERRY WIVES OF RENO » »

Clark Gable, Myrna Loy, lean Hersholt, Eliz- Margaret Lindsay, Glenda Farrell, Donald
abeth Allen, Otto Kruger. From the play Woods, Hugh Herbert, Guy Kibbe, Ruth
by Sidney Kingsley. Direction by Richard Donnelly. Story by Robert Lord. Direction
Boleslavsky. MGM. by Bruce Humberstone. Warner Bros.
Taken from this year’s Pulitzer Prize play, There is nothing to recommend this film
this is a picture which is much
better than in technique, or entertainment value.
story,
the average “movie.” It is the dramatic In addition, the treatment of marriage and
story of the conflict between a young doc- divorce are shockingly crude; humor is based
tor’s personal desires and his devotion to the on vulgarity and immorality. It is an insult
profession to which he has dedicated his life. to audience taste and intelligence.
The setting is a large metropolitan hospital Adolescents, 12 to 16 Children, 8 to 12
the atmosphere of which is realistically por- Injurious No
trayed. The picture, like the play, is not in- •w
tended to be light entertainment. It is sin-
MURDER AT THE VANITIES » »
cere, thought-provoking, sometimes tragic;
Carl Victor McLaglen, Jack Oakie,
Brisson,
and the idealism of the fine old doctor is
Kitty Carlisle. Based on the play by Earl
inspiring. From the point of view of some
Carroll and Rufus King. Direction by Mit-
audiences, the emphasis upon details of hos-
chell Leisen. Paramount.
pital technique will detract from the interest
of the drama and will seem an unnecessary This story of love and hate behind the
elaboration of the stage play. scenes is cleverly interwoven with an extrav-
Adolescents, 12 to 16 Children, 8 to 12 aganza which is being shown simultaneously

Too mature No interest on the stage. The plot is full of action and
vr suspense with glamorous scenes, settings and
costumes. The musical score and lyrics are
MANY HAPPY RETURNS » »
good and the photography and acting, ex-
Grade Allen,George Burns, Guy Lombardo,
cellent. The director has shown a sense of
Joan Marsh, Veloz and Yolanda. Based on fineness and and a remarkable abil-
of fitness
the story by Lady Mary Cameron. Direction
ity to portray intense drama and contrast it
by Norman McLeod. Paramount. with exquisite fantasy. At any rate here is
This collection of froth and Tom-foolery —
something new murder with music.
depends for its risibility content on the indi- Adolescents, 12 to 16 Children, 8 to 12
vidual’s reaction to the super “Dumb Dora” Sophisticated No
part invariably enacted by Grade Allen. •sr
Children would probably enjoy her nonsense THE PARTY’S OVER » »

in this film as much as they do over the
Stuart Erwin, Ann Sothern, Arline Judge,
radio. The picture is embellished by a num- Chic Chandler, Patsy Kelly. From a play
ber of competent entertainers such as Guy
by Daniel Kussell. Direction by Walter
Lombardo and his orchestra and some good Lang. Columbia.
dance teams who take their turns as they
would on a vaudeville circuit. A hard working, successful young business
Adolescents, 12 to 16 Children, 8 to 12 man, who has renounced all his secret ambi-
Good Yes tions, finally tells a parasitic family to sup-
port themselves. The problem is nicely de-
veloped although an improbable feature
MURDER ON THE BLACKBOARD » »
makes the solution easier than it would have
Edna May James Gleason, Bruce
Oliver,
been in life. The characters are slightly
Cabot. From a story by Stuart Palmer.
overdrawn to accentuate the types they por-
Direction by George Archainbaud. RKO.
tray,and while the tempo is slow, interest is
In an attempt to furnish novelty this mur- maintained.
der mystery has taken for its locale a school Adolescents, 12 to 16 Children, 8 to 12
house and for its characters the principal, the Mature No
teachers and the janitor. The bad taste it w
leaves is due not so much to the incidents as
to the fact that most of us who have inate
PRIVATE SCANDAL » »
respect for teachers and schools object to Mary Brian, Phillips Holmes, Lew Cody, Ned
Sparks, Zasu Pitts. Direction by Harry Joe
seeing teachers portrayed as tawdry women
of the underworld. It is a serious lapse of Brown. Paramount.
tact if not of decency to choose them as the Ned Sparks with his studious manner and
subject of this type of picture. constant humor, and Zasu Pitts of the pathetic
Adolescents, 12 to 16 Children, 8 to 12 voice distinguish this murder mystery story
Certainly not Pernicious from the many others with similar plots.
Otherwise it is only a fair example of its SORRELL AND SON » »
type. H. B. Warner, Peter Penrose, Hugh Wil-

Adolescents, 12 to 16 Children, 8 to 12 liams. Direction by Jack Raymond.
Not recommended No Anyone who did not care for Mr. Deeping’s
•v
novel will probably not like it in the form
REGISTERED NURSE » * of a motion picture. It is quiet, deliberate,
Bebe Daniels, Lyle Talbot, John Halliday. very English, rather sentimental, somewhat
Direction by Robert Florey. Warner Bros. monotonous. The theme, however, is one
First National. which possesses wide appeal, the devotion of
father and son: the self-sacrifice of one for
The medical profession usually comes in the other, and the suffering of sensitive hu-
for a good deal of punishment in the hands
man beings in crudely unsympathetic sur-
of the movies, and this production is no ex-
roundings. Because it is not in the ultra
ception. The nurses are rowdy, vulgar or
smart, modern manner, it offers to many
immoral; one doctor is a cad; hospital pro-
audiences the kind of entertainment that is
cedure is far from realistic. believe even We eminently satisfying. It depends for interest
the least discerning public will appreciate
entirely upon the solidity of character and
its falsity and fail also to be interested in
high aspirations of its principals.
the story of the unhappy heroine who has
several suitors, but must have her husband
Yes Too mature and sad
conveniently commit suicide to clear the way
for her ultimate happiness.
No No STAND UP AND CHEER » »
Warner Baxter, Madge Evans, James Dunn,
SADIE McKEE » » John Boles. Story idea suggested by Will
Joan Crawford, Gene Raymond, Franchot Rogers and Philip Klein. Direction by Ham-
Tone. From the story by Vina Delmar. ilton McFadden. Fox.
Direction by Clarence Brown. M-G-M.
A New York
theatrical producer is ap-
It isgenerally conceded that Joan Craw- pointed Secretary of Amusement by the Pres-
ford has ability and that she appeals to ident, the duty of his office being to amuse
many audiences. She is, however, rarely the public and extricate them from the de-
given a story which is not so preposterous pression blues. The idea is an unique one
and cheaply melodramatic that it is offensive. but it falls short of its possibilities. The
As Sadie McKee, daughter of a cook, she story becomes subordinate to a series of the-
elopes, is left stranded, marries a debauched atrical spectacles and dwindles to such in-
millionaire, divorces him for another man significance that at times it is lost in a wide
and of course, reaches her heights through assortment of specialty acts.
the usual, “easy” path of cabaret dancer. Adolescents, 12 to 16 Children, 8 to 12
There is no character development and no Mediocre Trivial
moral intended. It offends the intelligence
and bores emotionally.
Very objectionable No SUCH WOMEN ARE DANGEROUS » »
•w Warner Rosemary Ames, Rochelle
Baxter,
Hudson, Mona Barrie, Herbert Mundin, Hen-
SPRINGTIME FOR HENRY » »
rietta Crosman, Irving Pichel. From the
Otto Kruger, Nancy Carroll, Nigel Bruce,
Heather Angel, Herbert Mundin, Arthur story “Odd Thursday” by Vera Casparty.
Holt. Direction by George Tuttle. Fox. Direction by James Flood. Fox.
This an ultra sophisticated modern farce,

is
The various loves which fall to the lot
of the successful novelist are revealed: the
taken from a stage play of the same name,
idolatrous love of the young girl which
in which Henry, a philandering bachelor, fin-
sweeps on towards tragedy, the vain-glorious
ally meets his match when he falls in love
passion of the concert singer, and the com-
with a still more heartless young woman.
prehensive, never-failing devotion of the
Considered seriously it would be offensive,
but it is impossible nonsense and should be
woman who knows him best of all. Warner
taken with more than a grain of salt. Un- Baxter as the novelist has sufficient mag-
fortunately it has missed the lightness of netism to make it all plausible; dialogue is
touch necessary to the success of this type bright, situations often clever, and the action
of picture. rises to a strong crescendo at the end.
Not recommended No Yes, if it interests Too mature
STINCAREE » » it does not fit the picture which is conserva-
Richard Dix, Irene Dunne, Mary Boland, tive in treatment, and on the whole rather
Conway Tearle, Andy Devine. Original interesting. It concerns a family in which
story by E. W. Hornung. Direction by Wil- each member is a defective of some type.
liam Wellman. RKO. It isnot a treatise in favor of sterilization,
for its misuse is the crux of the drama, and
This a stirring tale of adventure in Aus-
is
this will find ready sympathy from unin-
tralia the ’70s; of a “gentleman” bandit
in
formed spectators. It is not a socially sig-
who befriends a girl and gives her the nificant film, for the subject is not scien-
chance to become a world-famous singer. The
tifically handled. It is evidently just another
picture has a gay charm and romantic un-
effort to find new story material.
reality because of the settings and charac-
ters. The story is utterly improbable and
No No
does not seem to relate to present day ethics. -v
It is a fairy tale which entertains
glorified
and assures particular interest because of the TWENTIETH CENTURY » »
charm of Miss Dunne. John Barrymore, Lombard, Walter
Carol
Adolescents, 1 2 to 16 Children, 8 to 12 Connolly, Roscoe Karns. From the stage
Probably very entertaining If it interests play by Ben Hecht and Charles MacArthur.
v Direction by Howard Hawks. Columbia.
THE THIN MAN » » “Twentieth Century,” a perfectly mad

William Powell, Myrna Loy. From the satire,is a thoroughly entertaining version of
novel by Dashiell Hammett. Direction by the stage play. The cast is splendid. John
W. S. Van Dyke. M-C-M. (Seen at a Barrymore has a rich role as the egomaniac
theatre preview.) producer who turns a little shop girl into a
star. Carol Lombard has never given a
Dashiell Hammett’s novels are among the
better performance. It is sparkling, hilari-
best in the line of detective stories, never
ous, hysterical and exhausting, probably be-
stereotyped, always mystifying and intriguing
cause there is no let down in the tempo since
in interest. One thing the reader is assured, both Mr. Barrymore and Miss Lombard have
he is relieved of the necessity of knowing
to keep to the same high pitch throughout.
the characters or hearing the astonishingly
direct dialogue. The film adaptation for- Very sophisticated No
tunately softens the latter for censorship re- •w
quirements, and the plot is just as fast moving
and as entertaining as the novel. Mr. Powell UPPERWORLD » »
and Miss Loy are excellently cast even Warren William, Mary Astor, Ginger Rogers,
though they are continuously waving glasses Andy Devine, Dickey Moore. Direction by
of liquor to stimulate the action. Roy Del Ruth. Warner Bros.
Neither original nor subtle, this is a prob-
Rather too sophisticated No
•w lem play dealing with the rich man who is
neglected by a society minded wife and
THIRTY DAY PRINCESS » » therefore becomes involved, through associa-
Sylvia Sidney, Cary Grant, Henry Stephen- tion with a chorus girl, in an underworld
son. From a novel by Clarence Budington murder mystery. It is competently acted and
Kelland. Direction by Marion Gering. Para- carries a certain amount of conviction.
mount. Adolescents, 12 to 16 Children, 8 to 12
No No
Anyone in search of light, pleasing enter- •w
tainment will welcome charmingly ro-
this
mantic tale of a mythical kingdom and an WILD COLD » »
obscure actress who doubles for the princess John Boles, Claire Trevor, Harry Green,
with highly satisfactory results. Sylvia Sid- Monroe Owsley. Direction by George Mar-
ney is especially winning, and though the plot shall. Fox.
is thin and perhaps timeworn, the production
“Wild Gold” is a melodrama of western
provides a much needed type of diversion.
life which harks back to the impossible stories
Little interest
and lumbering technique of the early days
Entertaining
of the films. The atmosphere is unwhole-
some, inebriation is the chief source of humor,
TOMORROW’S CHILDREN » »
and in spite of continuous action, the general
Byron Foy Production. effect is boring.
Sensational advertising will prove a boom-
erang for “Tomorrow’s Children,” because Very poor No
WHIRLPOOL * » his own daughter who eventually discovers

Jack Holt, Jean Arthur, Lila Lee, Allen Jen- the status of affairs, which can only culmi-
kins. Direction by Roy Wheil. Columbia. nate in disaster. In view of this melodra-
matic plot, the treatment is fairly satisfac-
A man who has become a convict through
tory, and unpleasant details have been held
a miscarriage of justice is impelled by a to a minimum.
mistaken sense of nobility to trick his wife Children, 8 to 12
into the belief that he is dead. In the
No No
course of time she marries again, and it is
O
SHORT SUBJECTS
MRS. BARNACLE BILL » » the bravest. Good fun for all. Good for
All-star comedy. M-G-M. Junior matinees.
A dull slapstick comedy. Adults.

CANGWAY » »
Featuring Joe Penner. Warner Bros.

BIG CITY FANTASY » »
Melody Master. Vitaphone. A silly comedy of gangsters mingling with
society at a costume ball. Not elevating nor
An Italian peasant girl in NewYork.
entertaining. Not for children.
Charming music and lovely photography.
Family.
COING TO HEAVEN ON A MULE » »
BOSOM FRIENDS » » Merrie Melody. Warner Bros.
Treasure Chest. Fox. A

darky whose taste for liquor is too much
A delightful portrayal of animals of vari- for him, rides to his idea of heaven, where
ous types living together in tolerance and angels and the devil fight over him. Only
fair and for adults only.
harmony. Excellent family film. Good for
Junior matinees.
•w GOLDILOCKS AND THE THREE BEARS »
Oswald Cartoon. Universal.
CIRCLE OF LIFE OF THE ANT * »
One of the Tolhurst "Microscopic Studies.” Based on the familiar tale but introduc-
Principal Pictures Corp. ing some unnecessary vulgarity as comedy.
It lacks the taste and originality of the Dis-
This is a microscopic study of the life of
the marsh-fly, showing the stage at which he
ney cartoons. Family.
•w
becomes a “doodle bug” and cleverly traps
his prey. Family. A GOOD SCOUT » »
Tom Howard. Fox.
FREAK FISH OF THE SEVEN SEAS » » Western scouts knock out Indians one by
Principal Pictures Corp. one. Pointless melodrama; poorly produced.
While not presented in as Family.
manner as some of the marine
interesting a
pictures, this
v
film adds to the general fund of information. GOOFY MOVIES » »
Electric eels, pilot fish and trigger fish are Pete Smith narrator. M-G-M.
shown in their briny habitats. Family. Screen souvenirs of absurd inventions once
•w thought useful and a revival of an old melo-
FUNNY LITTLE BUNNIES » » drama. Amusing for family.
Silly Symphony. Walt Disney. United Ar- •w
tists. I’LL TAKE VANILLA » »
A which the
lovely, imaginative cartoon in Charlie Chase. M-G-M.
Easter bunnies prepare for a gay Easter. Charlie plays nursemaid with exciting con-
Exquisite in thought and execution. Family sequences. A
matter of taste. Family.
and junior matinees.
w LUCKY ANGLERS » »
FIRST ROUNDUP » » Sportlight. Paramount.
Our Gang Comedy. Hal Roach. M-G-M. A Grantland Rice portrayal of adventurous
When the gang goes camping the littlest fishing experiences. Excellent family film.
boy proves to be the most forehanded and Junior matinees.
THE LOST JUNGLE » » RHYTHM ON THE ROOF » »
First Episode Mascot Serial. Novelty musical. Paramount.
Clyde Beatty is shown training animals for Featuring Anson Weeks’ orchestra and Bob
the circus. It is very interesting and enter- Crosby, who is a close competitor of his
taining. However we cannot recommend the famous brother, Bing Crosby. Very good of
serial as a whole until more chapters are type. Family.
reviewed. yr
•w
SCREEN SOUVENIR » »
MRS. MORTIMER JONES PREPARES No. 11. Paramount.
DINNER FOR EICHT Interesting revival of old movie scenes de-
Principal Pictures.
picting events and people of about twenty
Demonstration of electrical equipment for years ago, including a melodrama made in
kitchen, done in color photography. Inter- 1906 which is very amusing. Family film.
esting. Family.
MILLS BLUE RHYTHM BAND » » STORY CONFERENCE * »
Lillian Roth. Warner Bros.

Melody Master. Vitaphone.
An amusing burlesque of a story confer-
Colored entertainers in a night club. Arti-
ence in a motion picture studio. Pretty girls
ficialand tiresome. Adults only.
and music add entertainment. Family.
-w
•w
MIRO-UNCA » »
» »
Independent. THIS LITTLE PICCIE
Featuring “Singin' Sam." Paramount.
Interesting scenes of rare monster seals
found occasionally in Mexican waters. Fam- Singin’ Sam invites the audience to follow
ily and Junior matinees.
the bouncing ball and join in a community
song. Very good. Family.
MRS. W’S LITTLE CAME » »

Alexander Wolcott. Paramount. THOSE WERE THE DAYS » »
George Meyer. Direction by Roy Mack.

An amusing little comedy in which a novel
Warner Bros.
game is invented. Family.
"V Illustrated songs, pleasant reminiscences of
old familiar tunes sung by good voices.
MOSCOW TODAY » »
Family.
Amkino Travelogue.
An unusual atmospheric portrayal of this THE WISE LITTLE HEN * »
modern Soviet depicting its spirit of
city Walt Disney Silly Symphony. United Artists.
commercial life. Excellent sound effects.
An original fable in Hen,
which Little
Interesting for family.
forced to plant and harvest her corn crop
~w
without the help of Pig and Duck, punishes
NEWS HOUNDS » » their laziness most effectively. These imagi-
Eugene Palette, Walter Catlett. Direction native and exquisite cartoons should become
by Del Lord. Paramount. a part of every child’s experience. Perfect
for Junior matinees.
An exceedingly vulgar picture concerning
two newspaper reporters who want a gang-
w
ster’s picture for their paper and who be- WORLD’S FAIR » »
come involved with his “moll.” Not recom- Cooperative.
mended to any audience.
•w Interesting portrayal of Chicago Fair.
Family.
REDUCING CREAM » » sr
Willie Hopper cartoon. M-C-M.
THE WORLD’S EIGHTH WONDER » »
Willie tries reducing cream on himself and
Major Production.
on the cat. An inane and pointless cartoon
for adults. Too noisy for a children’s audi- An interesting and instructive subject on
ence. the activities at Boulder Dam. Family.
Motion Picture Reviews Eleven
INDEX JANUARY TO JUNE, 1934
FEATURE FILMS Ghoul, The May

GirlWithout a Room January
A Glamour April
Above the Clouds

Advice to the Lovelorn
... January
March
Going Hollywood
Good Dame
January
March
Affairs of a Gentleman June H

Alice in Wonderland January
All Men are Enemies May Half a Sinner June
All of Me February Handy Andy June
Angkor February Havana Widows January
As the Earth Turns May Heart Song June
Her Sweetheart January
Hi-Nellie March
Hips Hips Hooray February
Beloved February His Double Life February
Big Shakedown, The February Hold That Girl March
Black Cat, The May Hold the Press February
Bolero March Hollywood Party June
Bombay Mail February House of Rothschild, The May
Bottoms Up May House on 56th Street February
By Candlelight January
c I Am Suzanne January
Call It Luck June I You
Believed in March
Carolina March I Got Your Number March
Cat and the Fiddle, The March I Like It That Way March
Catherine the Great March I’ll Tell the World May
Charming Deceiver February I Wasa Spy March
Change of Heart June If I Were Free February
Christopher Bean January It Happened One Night March
Come On Marines April
Coming Out Party March I
Constant Nymph, The April
Convention City February Jimmy and Sally January
Counsellor-at-Law January Jimmy the Gent May
Countess of Monte Cristo April Journal of a Crime, The June
Crime Doctor, The April
Criminal at Large May K
Crosby Case F ebruary
Cross Country Cruise F ebruary Keep ’Em Rolling March
King for a Night January
D
L
Dancing Lady January
Dark Hazard April Land of the Vikings May
David Harum March Last Round-Up, The February
Death Takes a Holiday March Laughing Boy May
Devil Tiger March Lazy River April
Doctor Monica June Let’s Be Ritzy April
Double Door, The May Let’s Fall in Love February
Line Up, The March
E Little Miss Marker June
Long Lost Father F ebruary
Eat ’Em Alive February Looking for Trouble March
Eight Girls in a Boat F ebruary Lost Patrol, The March
Ever Since Eve March Love Birds April
Love, Honor and Oh Baby F ebruary
F Love in Morocco April
Fashion Follies of 1934 March M

Female - - January
Finishing School May Madame Spy February
Flying Down to Rio January Mandalay April
Fog - February Manhattan Melodrama May
Forgotten Man, The January Man of Two Worlds January
Four Frightened People - F ebruary Man’s Castle January
From Headquarters January Many Happy Returns June
Fugitive Lovers - February Massacre April
Meanest Gal in Town, The February
c Melody in Spring April
Lady
Gallant ... - February
Men in White
Merry Wives of Reno
June
June
George White Scandals
Ghost Train ... -
-
.
April
April
Miss Fane’s Baby is Stolen
Moon Over Morocco
February
May
Ttvelve Motion Picture Reviews
Morgenrot (Dawn) April Song You Gave Me, The . March
Moulin Rouge February Son of a Sailor - February
Mr. Skitch January Sons of the Desert March
Murder at the Vanities June Sorrel and Son June
Murder in Trinidad April Speed Wings - April
Murder on the Blackboard June Spitfire - - - March
My Lips Betray January Springtime for Henry - June
Mystery of Mr. X, The April Stand Up and Cheer . June
Stingaree - June
N Success at Any Price - March
Nana
Ninth Guest
... . .
April
March
Such Women are Dangerous
T
June
No Greater Glory April

No More Women March Tarzan and His Mate May
Now I'll Tell May Tempest, The - March
Thin Man, The - June
0 Thirty Day Princess - June
This Man is Mine - April
One is Guilty - April This Side of Heaven . - - March
Once to Every Woman March Three on a Honeymoon - April
Thundering Herd, The - January
Trumpet Blows, The May
.....
-
P
Tomorrow’s Children - June
M arch Twentieth Century - June
Palooka
Party’s Over, The
Poor Rich, The
Private Scandal
....
....
-
June
February
June
Twenty Million Sweethearts
Two Alone
u
-
May
February
Prizefighter and the Lady, The - January

Uncertain Lady May
Q Upper World - June
Quatorze Juillet (July 14) - February
Queen Christina March w
R Very Honorable Guy, A June
Viva Villa - - - May
Registered Nurse June
Rip Tide May X
Road to Ruin February
Roman Scandals January Waltz Time February
We’re Not Dressing - May
C Wharf Angel April
d -
Where Sinners Meet - May

Sadie McKee June Whirlpool -
June
ScarletEmpress May Wild Cargo - May
Search for Beauty February Wild Gold - - - June
Shadows of Sing Sing February Witching Hour, The - May
She Made Her Bed April Women in His Life - February
Should Ladies Behave January Wonder Bar - - April
Show-Off, The April
Sing and Like It March Y
Sisters LTnder the Skin May
Six of a Kind March You Can’t Buy Everything - F ebruary
Smoky January You’re Telling Me - April


1
Name

<
MOTION
PICTURE
REVIEWS

JULY 1934
WOMEN S UNIVERSITY CLUB
WEBBCRAFT PRINTERS, 2509 WEST WASHINGTON BLVD LOS ANGELES

MOTION * PICTURE * REVIEWS

LOS ANGELES BRANCH
EDITORS
Vol. VI JULY 1934 No. I
EDITORIAL
Popular sentiment becoming more articulate daily with Regard to the type of motion
is
picture entertainment given week by week. It has always been the contention of the women's
groups that if the exhibitors could consistently offer a delightful family program weekly,
much of the agitation for censorship and legal control of attendance would die down, or at
least fail to have the wide backing which it is gradually gaining. Expressed public approval
of the Catholic “Legion of Decency” shows the trend which needs only a little more momentum
to become a concerted move toward legal control in many communities.
Better Films Committees have labored for years to get either family night programs or
junior matinees. Today they are farther from success than ever before and exhibitors give
various reasons for failing to comply. An article in “Parents’Magazine” by Marguerite
Benson, offers the public the hope that because of the specifications of new Motion Picture
Code, theatre managers can find it easier now to comply with community wishes. We
believe that as far as children’s welfare is concerned the situation is as impossible as ever.
Miss Benson says that a theatre manager is no longer “forced” to show a picture on
any given day of the week. This is true in theory but not in effect. Why? Because most
pictures are now sold on the percentage basis. This makes the distributor and the exhibitor
virtual partners in the deal. They know week-end dates are the best; they soon know
that
what pictures sell best to the public. It is business instinct to draw the drowd while playing
dates coincide with the availability of the film, whether the picture is suitable for family
audiences or not. Exhibitors approve the percentage arrangement. It is fairer in that they
do not take so great a chance on pictures. If the film fails they do not carry the load if it ;
succeeds they are willing to pay to higher rental. But also the distributor, who is more
closely connected with the producer, has more to say about playing dates. True, he cannot
“force” or “coerce by threat” but he now has more interest in the theatre and he can make
the film “available” on dates which are most prolific financially.
The exhibitor has always had the right, we understand, to refuse to play any film
which would be offensive to his community. But any better films committee must appreciate
that no exhibitor will fail to play a paying film. It is only through the box office that he
can feel the pulse of his community and know what actually is “offensive” to his patrons
and box office receipts are the only index by which he may surely judge public taste.
Double billing is the final blow to any immediate hope for family programs. As long
as this objectionable trade practice is legal it is impossible to arrange satisfactory bookings
for any but the least discriminating audiences. And the independent exhibitors, many of
whom claim to be on the verge of bankruptcy, cannot compete with any neighborhood theatre
which wishes to book two feature films. A large part of the public, still looking for bar-
gains, rush for two for the price of one, and who can blame showmen for thinking that
double billing is still acceptable to the general public?
A year ago Southern California theatre owners voluntarily attempted to do away with
the practice. Poor business tempted a few
break the agreement and immediately double-
to
billing became general again. Today the independent exhibitors are trying to revive the
agreement. It must be voluntary because we understand that no penalty can be enforced
legally. Organized women’s groups feel that such a gentleman’s agreement if successfully
carried out, would do much toward bringing about an adjustment of this social problem.
Recently the California Motion Picture Council, which includes representatives of the
National Previewing groups, (General Federation of Women’s Club, Daughters of the
American Revolution, National Society of New England Women, Los Angeles Branch,
American Association of University Women, National Council Jewish Women, International
Federation of Catholic Alumnae) met with the heads of the exhibitors of Southern California,
both chain theatres and independent owners. They requested that family programs be made
a policy in every theatre. Under the business conditions this was mutually decided to be
impossible. The Council then presented the following request —
i.e. that no theatre manager
attract children into his theatre by any advertising or special inducement. In other words,
since exhibitors announce that it is impossible to provide weekly programs suitable for
youthful audiences, the council requests that they agree to omit from their policy
1. —
Birthday clubs or giving of free tickets to children as prizes or gifts.
2. Candy or other door prizes.
3. Stage attractions, try-outs, or other programs planned and advertised for
children.
4. All serials: chapter films running ten or twelve weeks bought to attract children.
As the complementing program is not consistently suitable the Council requests
they be discontinued.
5. All advertising on screen, marquee or posters which suggest an appeal for
children’s attendance, unless the entire program is suitable on that particular
date.
The theatres are taking the request under advisement —a procedure which takes times
in reaching all managers.
Some immediate policy must be outlined by exhibitors and producers and also by indi-
viduals to correct the present situation. We suggest that exhibitors adopt that of not exploiting
children (as outlined above). Next when the single billing is possible, that they show one
family program regularly each week. In the meantime we trust that the producers heed
the call of the public and exhibitors and sincerely apply the plan of renewed efforts of
adequate self-regulation which they have announced. The Catholic Bishops Committee
while encouraging the hope that this regulation will be effective still adheres to its purpose
of supporting only wholesome films “so that the producers may be constantly aware of the
demand for clean entertainment.” We believe this an admirable decision and urge that
everyone make a like pledge to himself to avoid all doubtful films; to know positively the
type to which he pays admission; and to realize constantly his responsibility to assist in
every possible way in outlining a plan to protect children from unsuitable films. We are in
the process of outlining a plan for community cooperation in children’s entertainment which
we hope may be helpful.
FEATURE FILMS
BABY TAKES A BOW » » FOG OVER FRISCO » »
Shirley Temple, James Dunn, Claire Trevor. Bette Davis, Donald Woods, Margaret Lind-
Direction by H. Lachman. Fox. say, Lyle Talbot, Hugh Herbert. Story by
George Dye. Direction by William Dieterle.
It is unfortunate that so delightful a child
Warner Bros.
actress as little Shirley Temple should have
to greet the public in such a mixture of melo- This isnot a good detective story. It is
drama and slapstick. Foolish as is the plot too confused and the incidents come too fast
in itself, the treatment is less comprehensible. to register clearly. Most stories of this type
The story commences as a sincere and opti- depend upon criminal impulses for motiva-
mistic picture of two ex-convicts trying to tion but this is particularly unpleasant be-
go straight in the heart-warming atmosphere cause a girl of social standing takes up thiev-
of an harmonious home. A
necklace is stolen, ery for fun and mingles with the underworld
the heroes are suspected, and the roguish for the thrill it gives her.
small daughter of one plays a few pranks Adolescents, 12 to 16 Children, 8 to 12
that complicate the situation. Then with a No No
frantic chase and Max Sennett humor the
whole changes to slapstick farce. know We EMBARRASSING MOMENTS » »
that Shirley Temple, with her charm, her
Chester Marian Nixon.
Morris, Story by
naturalness and her delicious sense of humor
will appeal to audences. Perhaps in time the
Wm. Anthony McGuire. Direction by Ed-
perfect, happy vehicle for this lovely, tal-
ward Laemmle. Universal.
ented child will be achieved. This is the story of what happened to a
Adolescents, 12 to 16 Children, 8 to 12 practical joker when
friends attempted
his
Fair No; too emotional a climax to cure him of his addiction. Though the
v farcical character and unreality of the pic-
ture save it from being offensive, it is only
CHARLIE CHAN’S COURAGE » »
second rate entertainment.
Warner Oland, Drue Layton, Donald Woods.
From novel by Earl Derr Biggers. Direc-
Worthless No
tion by George Hadden and Eugene Forde.
ijr
Fox.
A lovable oriental detective successfully de- THE GREAT FLIRTATION » »
livers a string of valuable pearls in spite of Adolph Menjou, Elissa Landi, David Man-
a mysterious conspiracy to defraud the owner. ners. Story by Gregory Ratoff. Direction
The picture is light, unpretentious, amusing by Ralph Murray. Paramount.
and unusually successful in furnishing sus- A sophisticated comedy concerning the
pense and drama without exaggerated scenes clashing temperaments of an actor and his
of horror. He finally
wife, who is also on the stage.
sacrifices his happiness for hers. It is pol-
Good Possibly mature
ished in acting, and amusing in dialogue, but
v is limited in general audience appeal.
COCKEYED CAVALIERS » » Adolescents, 12 to 16 Children, 8 to 12
Bert Wheeler, Robert Woolsey, Thelma No. Not worth while No

Todd, Dorothy Lee, Noah Beery. Story by w
Edward Kaufman and Ben Holmes. Direc- GROOM
HERE COMES THE » »
tion by Mark Sandrich. RKO.
Jack Haley, Mary Boland, Patricia Ellis,
After starting out as a delightful comic Neil Hamilton, Isabel Jewell. From a play
opera this picture becomes just the ordinary by Richard F. Flournoy. Direction by Ed-
slapstick one expects from Wheeler and ward Sedgwick. Paramount.
Woolsey, but it is nevertheless amusing in Mike Scanlo?i sets out to achieve a crime
its way. The time of the action is the eight- of headline dimensions in order to please a
eenth century. The characters are a klepto- “gal” who likes her men bad and bold; in-
maniac and his companion in trickery, and stead he gains notoriety by participation in
some royal personages with whom they fra- an elopement. Treated as farce with a meas-
ternize. It is absurd clowning mixed with ure of slapstick the situations are too absurd
some pleasing singing by Noah Beery. to be objectionable, although some of the
Adolescents, 12 to 16 Children, 8 to 12 lines are very broad for good taste. It rises
Matter of taste Passable above mediocrity because of facile direction
and the natural talent for comedy shown by I GIVE MY LOVE » »

various members of the cast. Paul Lukas, Wynne Gibson, Eric Linden,
Adolescents, 12 to 16 Children, 8 to 12 John Darrow. Original screen play by Vicki
Better not No Baum. Direction by Karl Freund. Universal.
Proving that an overworked theme may

still be woven into an absorbingly interesting
HIS CREATEST CAMBLE * »
picture, this film is so well directed and
Richard Dix, Dorothy Wilson, Bruce Cabot.
acted that it merits attention. It is the story
Direction by John Robertson. RKO. of a mother who sacrifices herself for the sake
A variation on the theme of self-sacri- of a son who has idealized her thinking her
ficing mother love (in and out of prison), is dead when in reality she was in prison. Upon
self-sacrificing father love (in and out of her return she realizes that her presence
prison). This film pictures a debonair gen- might shatter his ideal and she vanishes to
tleman who undertakes to bring up his little reappear years later when all is explained
girl after kidnapping her from her mother. and understood. It is heavy drama but
Having taken her to Monte Carlo he loses his satisfying in its sincerity.
last penny, accidentally causes the death of Adolescents, 12 to 16 Children, 8 to 12
his ex-mistress, and is sent to prison whence No, too mature No
he returns in time to play dcus ex machina 'w
for his daughter’s ultimate happiness. Strange KISS AND MAKE UP » »
to say the acting and direction are sufficiently Cary Grant, Helen Mack, Genevieve Tobin,
restrained to make the picture interesting. Edward E. Horton. From a play by Stephen
The charming little girl is very appealing, Bekeffi. Direction by Harlan Thompson.
and Richard Dix as the father is able to Paramount.
make one feel that his child was fortunate to
have shared his precarious kind of existence. When a handsome young doctor discovers
Adolescents, 12 to 16 Children, 8 to 12 the dubious value of his work in beauty cul-
Not recommended No ture, he
turns to scientific research. The
picture a ludricous, fast moving farce
is
which exposes the absurdity of artificial
beauty and extols the sincerity of natural-
HE WAS HER MAN » »
ness. A number of experienced players co-
James Cagney, Joan Blondell, Victor Jory.
ordinate in the interpretation of witty lines,
Direction by Lloyd Bacon. Warner Bros. among them Edward E. Horton, who is at
An heroic but double crossing gangster has his best. The direction is at once imagina-
a brief love affair in a California fishing tive and ingenious. On the whole it is amus-
village with a girl with a shady past. He ing, sophisticated film fare.
then returns to the gang’s vengeance; she Adolescents, 12 to 16 Children, 8 to 12
to her unsuspecting fiance, a prosperous and Mature Unsuitable
XV
decent fisherman. Picturesque scenery and
an excellent cast are merely a new disguise LET’S TRY AGAIN » »
for the same old poison. Diana Wynyard, Clive Brook, Arthur Hoyt,
Adolescents, 12 to 16 Children, 8 to 12 Helen Vinson, Theodore Newton. Adapted
No No from the play by Vincent Lawrence. Di-
rection by Worthington Miner. RKO.
“Let's Try Again” is a charming picture
HELL CAT » »
enacted by a fine cast and with a worthwhile
Ann Sothern, Robert Armstrong, Henry postulate underlying the theme. It is done
Kolker. Story and screen play by Adele with distinction, pleasing restraint and a
Buffington and Fred Niblo, Jr. Direction nicety of taste. It is the story of how
two people up their minds to try
make
by Al Rogell. Columbia.
to have their marriage from shipwreck,
This is apparently just a “pot boiler” and and it is told remarkably well. Direction
as such will actually harm the movies. It is has made something interesting from ma-
the romance of a conceited reporter and a terial which might not have seemed to possess
spoiled society girl who needs lessons in great dramatic possibilities. Those who en-
deportment. Probably intended as a modern joy social drama with pleasing dialogue and
version of “Taming of the Shrew,” it lacks diction and harmonious surroundings will
originality and depth, is undesirable ethically like it very much, although it will scarcely
and bores. appeal to youthful audiences who may not
Adolescents, 12 to 16 Children, 8 to 12 appreciate the plausibility of the situation.
Poor No Acting honors go to Diana Wynyard and
Clive Brook and to Arthur Hoyt, who makes LET’S TALK IT OVER » »
his role of butler outstanding. Chester Morris, Mae Clarke. Direction by
Adolescents, 12 to 16 Children, 8 to 12 Kurt Neumann. Universal.
No; requires older viewpoint No; uninteresting
A flippant society girl makes a bet that
she can civilize a very rough “gob” and in
turn is “tamed” by him. The picture is
LITTLE MAN WHAT NOW? » » characterized by the unwholesome atmos-
Douglass Montgomery, Margaret Sullavan, phere of a bored younger generation search-
Alan Hale. Adapted by William Anthony ing for thrills via the alcohol route.
McGuire from novel by Hans Fallada. Direc- No No
tion by Frank Borzage. Universal. w
In our opinion this picture is a particularly MOST PRECIOUS THING IN LIFE » »
felicitous adaptation of a depressing novel. Jean Arthur, Cromwell, Donald
Richard
It is not a happy story at any time because
Cook. Story by Travis Ingham. Direction
it deals with the insecurity of modern eco- by Lambert Hillyer. Columbia.
nomic life and, while the setting is Germany,
the widespread international interest in the Although probably this story could never
book proves its relevancy to any post-war really happen in real life, as it unfolds on
locale. may cavil at the changed
Critics the screen, its improbabilities are not appar-
ending, but we
believe that it is more fitted ent because it presents familiar situations,
to this medium. If we are thoughtful, we family crises, college problems and personal
may wonder whether permanent security can reactions so sincerely and constructively. It
ever be realized by the little family, but at is a new slant on romance between a poor
least the hope is offered here. The philo- girl and a rich boy, and it is appealingly told
sophy of the picture is that life should not and well acted. Its setting in a college
crush the individual. It is beautifully cast town makes it especially interesting for the
and directed. Douglass Montgomery gives family.
an excellent performance as the loving, sensi- Adolescents, 12 to 16 Children, 8 to 12
tive and weak husband, and Margaret Sulla- Yes Harmless
van is equally skilful in making his charm-
ing girl-wife believable in her influence for THE MERRY FRINKS » »
developing the best in him. Alan Hale is Aline MacMahon, Guy Kibbee, Allen Jen-
perfect in the role of the likable rogue kins, Hugh Herbert. Direction by Alfred
Jackmann, and the others in the cast are es- E. Green. Warner Bros.
pecially well chosen. Spontaneous humor
prevents the picture from being sentimental. The “merry” Frinks are anything but
It is withal well worth seeing and will pro-
merry. They quarrel continuously and are
voke thought and interest. about the most unpleasant family group yet
present on the screen. Aline MacMahon plays
Very mature No the part of the patient loyal mother who
Hardly.
holds them all together and tries in vain to
v make something worthwhile of her hopeless
THE LOVE CAPTIVE » »
family. When escape is finally offered her,
her willingness to stay with them seems hard
Nils Asther, Gloria Stuart, Paul Kelly.
to understand. Except as a character study
Written and directed by Max Marcin. Uni- of types which we should like to believe are
versal. exaggerated, the picture offers little enter-
tainment. It is slapstick comedy, but its bit-
This rather unconvincing story of hyp-
ter essence makes it less amusing than it is
nosis has a few elements of entertainment
intended to be.
because it has the characteristics of a mys-
tery story. A quack doctor is brought before
Not recommended No
a medical board because of unethical pro- •v
cedures. The denouement at the trial is
dramatic and exciting. However fact the MURDER IN THE PRIVATE CAR » »
that several of the characters are under the Charlie Ruggles, Una Merkel, Mary Car-
spell of the hypnotist, whose general purposes lisle. Adapted by Harvey Thew from the
are never clearly defined, makes the plot am- play "The Rear Car” by Edward E. Rose.
biguous as well as grim and rather unwhole- Direction by Harry Beaumont. M-C-M.
some. Strange as may seem “Murder in the
it
Adolescents, 12 to 16 Children, 8 to 12 Private Car” not a gruesome story, but a
is
No No light and amusing farce with an exceedingly
breath-taking and melodramatic climax. It SHE LEARNED ABOUT SAILORS » »

is a return to the old-fashioned action thriller, Lew Ayres, Alice Frank Mitchell.
Faye,
but the exceedingly deft comedy of Una Based on a story by Randall H. Faye. Di-
Merkel and Charlie Ruggles subordinate the rection by Ceorge Marshall. Fox.
realism to the humor and make it very hilari-
In spite of its title this is an innocuous
ous entertainment.
Adolescents, 12 to 16 Children, 8 to 12 comedy. A sailor who has resolved to give
Very exciting Too exciting up his fiancee because he believes that he is
not good enough for her, is prevented from
carrying out his decision by a series of amus-
OPERATOR 13 » »
ing and rather violent contretemps brought
Marion Davies, Cary Cooper, Stuart Erwin, about by the pranks of his two absurd
Jean Parker. Direction by Walsh Bole- friends.
slavsky. Author Robert W. Chambers. Adolescents, 12 to 16 Children, 8 to 12
M-C-M. Harmless slapstick Yes
Here is a romantically stirring tale of es-
pionage during the Civil War, with heroine VIRGIE WINTERS » »
and hero allied with opposite sides. The plot Ann Harding, John Boles. From the story
is interesting, and the atmosphere well de- by Lewis Broomfield. Direction Al Santell.
picted. The unhappiness of war is stressed RKO.
in the suffering of the women, and great
care is taken to show both sides of the Not recommended because of unethical and
struggle fairly. Costumes, settings and cast immoral character of the plot. Further com-
add charm, and the whole is an entertaining ment will appear in the next issue.
picture. Adolescents, 12 to 16 Children, 8 to 12
Adolescents, 12 to 16 Children, 8 to 12 Absolutely not No

Good Mature
V VIRGIE WINTERS » »
STRICTLY DYNAMITE » » Ann Harding, John Helen Vinson,

Boles,
Jimmy Durante, Lupe Velez, Norman Fos- Betty Furness. From the novel by Louis
Bromfield. Direction by Al Santell. R-K-O.
ter. Direction by Elliott Nugent. RKO.
Fundamentally tragic but superficially sen-
A banal farce of radio entertainers and
timental, this is a triangle story in which
their ghost writers. It is a vulgar, dull
the mistress is the innocent victim of circum-
frame for Jimmy Durante and Lupe Velez
stances, the wife the villainness of the piece.
and is generally lacking in entertainment
qualities.
The picture is interesting in its attempt to
reproduce authentic backgrounds and dress.
It is crowded with incidents characteristic of
No No
another day and these help to turn back the
clock. The progress of the plot is fairly
SHOOT THE WORKS » » engrossing though unnecessarily unwhole-
Jack Oakie, Ben Bernie, Dorothy Dell, Arline some and improbable, and the character Miss
Judge, Alison Skipworth, Roscoe Karns. Harding portrays is so unbelievably “noble”
From a play by Ben Hecht and Cene Fow- that it loses dramatic force. Conventional
ler. Direction by Wesley Ruggles. Para- morality is offended by the illicit love story,
mount. and for discriminating audiences, skilful di-
rection does nothing towards ameliorating
Good-natured, comical Jack Oakie is the this feeling, though it goes gloss the unethical
promoter who swaggers constantly and gets situations for the general public. This is
nowhere, while the entertainers of his com- the type of picture that gives the Legion of
pany leave him, work hard and succeed. A Decency its brief.
number of incidents are grouped about this Adolescents, 12 to 16 Children, 8 to 12
central idea, giving Roscoe Karns a chance Unsuited No
to perform antics, Dorothy Dell to render
the theme song, Arline Judge to ogle the
antiquated spenders and Ben Bernie to fur-
WE RE RICH AGAIN » »
Marion Edna Mae Oliver, Billie
Nixon,
nish the audience with many lively tunes by
Burke, Reginald Denny, Buster Crabbe.
his famed orchestra. It is not an unusual
Original story by Alden Nash. Direction
picture of its type and has its dull moments,
but on the whole offers a fair amount of
by William Seiter. RKO.
amusement. A gay nonsensical farce without a serious
Adolescents, 12 to 16 Children, 8 to 12 moment, in which a country cousin, visiting a
Harmless Little interest family hard hit by depression, talks them in
and out of all sorts of dilemmas. The char- Miss Fixit” whose apparent breezy sophisti-
acters are absurdly funny: a giddy mother, cation is disarming.
nervous father, polo playing grandmother, Adolescents, 12 to 16 Children, 8 to 12
several ill-assorted young people and “Little Very amusing Accompanied by adults
O
SHORT SUBJECTS
ALLE2 OOP * » BUSINESS IS A PLEASURE » »
Buster Keaton (two reels). Fox. Colored Brevity. Vitaphone.
A bashful, absent-minded clock repairer How “crooning” brings trade to a failing

has to compete with a trapeze artist to win department store. Quite entertaining. Fam-
a girl. Absurd, but clean comedy. Family.
w
ily.
v
ANNIE MOVED AWAY » » EGYPT, KINGDOM OF THE NILE » »
Oswald the Rabbit, Cartoon. Universal. Travel Talk Series. M-G-M.

Oswald’s Annie is kidnapped on their wed- Exceptionally fine travelogue, well chosen
ding day and the rescuers include dogs, ani- subject matter, excellent photography, mono-
mated motorcycles, automobiles, etc. Fairly logue interesting and to the point. Family
amusing, guileless family entertainment. mature for young children’s interest.
v v
BETTY BOOP’S TRIAL » » GET ALONG LITTLE HUBBY » »
Paramount. Walter Catlett. Columbia.
An animated cartoon ridiculing court pro- Slapstick comedy concerning practical

cedures. Silly, vulgar, noisy and tiresome. joker; vulgar and inane. Unsuitable for
Adults only. children.
xt-
v
THE BIG IDEA » » GOOD SHAPE » »
Grantland Rice Sportlight. Paramount.
Healy and Stooges. M-G-M.
Demonstration of how athletic activities
Ted Healy imitates radio personalities; a
keep people in condition. Family and junior
matter of taste for family.
matinees.
BRAVE TIN SOLDIER » »

HIDDEN EVIDENCE » »
Technicolor cartoon. Allied.
Minute Mystery. Columbia.
Based on the fairy tale, and acceptable
Clues to an apparent murder are given the
but not wholly charming because of added
sophistication. Family.
—
audience and then the solution given. The
v film is too hurried to be dramatic and the
theme is unpleasant. Not for children.
BROADWAY GOSSIP » »
•w
United News Reel. Independent.
HOLLYV/OOD ON PARADE » »
Interviews with various celebrities includ- Paramount.
ing prison inmates. Fair for adults. Not
suitable for children. Presentation of motion picture celebrities at
v Producer’s conference. Fair. Adults.
xx
BROADWAY GOSSIP » »
United News Reel. Independent. KONKEY-DONKEY » »
Our Gang Comedy. M-G-M.
Washington, D.C., shown in pictures; ac-
companying monologue vulgar and in poor Our Gang’s adventure with a donkey. Very
taste. Adults. good fun. Family and Junior matinees.
•w xr
BUDDY OF THE APES » »
THE LION’S FRIEND » »
Looney Tune. Vitaphone. Terry Town Cartoon. Fox.
Diverting caricature of the Tarzan stories. A fair cartoon based on the old fable.
Family. Family.
T en Motion Picture Reviews
MOROCCO NIGHTS » » SHOEIN’ HORSES » »

Color Brevity. Vitaphone. Popeye Cartoon. Paramount.
Musical extravaganza set in night club. Harmless farcical cartoon which may ap-
Noisy and vulgar. Unsuitable for children. peal to children and “Popeye” fans.
w
OLD SHIP » » SHORT SHORT STORY » »
Chic Sale. Pete Smith Series. M-G-M. Paramount.
Chic Sales presents a moving picture of an An advertising trailer for the Mae West
old man who contemplates shooting his dog production, “It Aint No Sin” which, because
because he is old and rheumatic. As he re- of its vulgarity and suggestiveness, will com-
members their twenty years of companion- plete the uproar over the release.
•w
ship he realizes that he cannot do it. It is
sad but very well done. Family. Emotional UNDERNEATH THE BROADWAY MOON
for sensitive children in spite of happy end- Isham Jones and orchestra. Paramount.
ing.
^ A superior musical short of popular songs.
Family.
PANDORA » » w
Terry Town Cartoon. Fox.
VINCENT LOPEZ » »
A
wicked witch gives two happy children Music Master. Vitaphone.
a box out of which pops a flock of evil spir-
its.These create a reign of terror until a The music is engaging but the drinking
scenes are in bad taste. Adults.
good fairy disposes of them. It is rather
cleverly done, but it is too much of a night-
mare for sensitive children. Not junior mati-
Recent films selected as suitable family en-
nees.
v tertainment. Reviewed in June and July
PICTORIAL NOVELTY No. 12 » » bulletins:
Paramount. Fox
Life of humming birds and song makers “Charlie Chan’s Courage”
of the air. Interesting for family. “Call It Luck”
•w “Change of Heart”
“Handy Andy”
RASSLIN’ AROUND » »
“Heart Song”
Willie Whopper. M-G-M. “She Learned About Sailors”
A burlesque of wrestling. The action is “Baby Take a Bow”
coarse and tiresome. Very objectionable for R-K-0
children.
•w “Cockeyed Cavaliers”
“We re Rich Again”
SCREEN SNAPSHOTS » »
“Stingaree”
Columbia.
Paramount'
Harriet Parsons pictures screen celebrities
“Shoot the Works”
in Hollywood and at Agua Caliente in a way
“Thirty Day Princess”
which will interest many. Family.
M-G-M
SERVICE STRIPES » » “Murder in the Private Car”
Joe Penner. Vitaphone. “Operator 13”
An inane attempt at comedy portraying the Columbia

A.E.F. in France. It is vulgar and objection- “Most Precious Thing in Life”
able. Not for children. “The Party’s Over”
Please Detach and Mail ir, with You? Subscription

I am inclosing $ for. subscriptions to The Motion
Picture Reviews, from.... ...193 to 193

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MOTION
PICTURE
REVIEWS

AUGUST 1934
For practical use we suggest filing bulletins where they may
be easily accessible for reference. Films are not released simul-
taneously over the country. You will need these reviews for
constant reference.
FEATURE PICTURES REVIEWED Recent Films Selected as Suitable

Family Entertainment; Reviewed
IN THIS ISSUE
in June and July Bulletins
Bachelor Bait
Born to Be Bad FOX . . .
British Agent Charlie Chan’s Courage
The Cross and the Sword Luck

Call It
Elmer and Elsie Change of Heart

Friday the Thirteenth Handy Andy
Grand Canary Heart Song
Hat, Coat and Clove She Learned About Sailors
Jane Eyre Baby Take a Bow
The Key R-K-0 . . .
Ladies Should Listen Bachelor Bait

The Notorious Sophie Lang Cockeyed Cavaliers
Now and Forever We’re Rich Again
Of Human Bondage Stingaree
The Old Fashioned Way
Paris Interlude
PARAMOUNT . . .
Elmer and Elsie

The Personality Kid
Shoot the Works
Return of the Terror
Thirty Day Princess
She Loves Me Not
Stamboul Quest M-C-M . . .
Their Big Moment Murder in the Private Car

Whom the Cods Destroy Operator 1 3
COLUMBIA . . .
Most Precious Thing in Life
MONOCRAM . . .
Jane Eyre

LOS ANGELES BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN
943 South Hoover Street Telephone DRexel 2177
COPYRICHT NINETEEN THIRTY-FOUR WOMEN'S UNIVERSITY CLUB
WEBBCRAFT PRINTERS. 2509 WEST WASHINGTON BLVD., LOS ANGELES


LOS ANGELES BRANCH
Mrs. Chester A. Ommanney, Preview Chairman
EDITORS
Vol. VI AUGUST, 1934 No. 2
EDITORIAL
Any so called reform movement runs the risk of alienating the very people who are
expected to be most in sympathy with it. We mean by that that too stringent dictation or
censorship is always objectionable to American taste and even the laudable purpose back of
the Catholic Legion of Decency needs a clearer definition of its objectives and a broad
tolerance in taste to win the backing which will insure success over a period of time.
Undoubtedly the Hays office is dictating “clean pictures,” and for a time less sophisticated
subject matter and treatment will result. But for how long? The box office will be the
indicator, and at the final accounting films will probably be no better than the type which
popular acclaim has indicated through attendance.
Do not mistake our comments for criticism of the purpose of the Catholic boycott.
If the leaders are black listing such films as “Little Man What Now,” “Of Human Bondage”
and “It Happened One Night” for children’s audiences, they have a brief. But if they wish
all audiences to refrain from attendance at these pictures they lose the sympathy which their
strong stand has awakened. They are “sophisticated.” But that much abused term has been
used to cover “daring, vulgar and even dirty” in subject matter and treatment. These films
are not. They are mature themes treated with taste and intelligence. “It Happened One
Night” was delicious farce; the other two are mofe serious and less happy and will conse-
quently have a smaller appeal to the public, but they are none the less worth acclaim for
the taste with which in general the material has been handled.
It is essential that intelligent public opinion be unified. There is no doubt that the present
policy of the Industry to make all pictures appeal to the mass mind is suicidal. The belief
that all must appeal to the adult with a child’s mind is the cause of the present revolt on the
part of the more intelligent public. And it is
which cannot be pacified by a temporary
a revolt
reform. The public cannot be won back to
the old attendance in the heyday of silent films.
Talking pictures drew attendance for a time by the novelty of their mechanics. It was lost
again by the thoughtless belief that the public wanted the type of entertainment prevalent
on the New York Stage and released in tabloid newspapers, cheap periodicals and daring
novels. The Industry is not generally concerned with the social value of their product but
in the ready market. They try to appeal in all films to a national audience of many millions
and tohoped for millions in other countries also. Consequently they have made some few
films of rare tasteand distinction but many more which have been offensive in portraying the
flashy fast side of life, criminal activities and extramarital relationships.
It has taken a generation to awaken the public to the fact that motion pictures are not
what they were; that Mary Pickford is no longer making “Pollyannas,” that Douglas Fair-
banks is not flying through the air on magic carpets, that Harold Lloyd’s “Grandma’s Boy”
is now a museum relic, and that Mae Marsh, and Marguerite Clark and others are retired to
domesticity. Some of the men and girls who took their places are already on the retired
shelf because their films became too offensive to pass the censor boards, and suddenly the
public, long apethetic, has awakened.
We who have been in “Better Films” work for a decade or more have watched this
awakening with interest. Ten years ago most of our friends said, “Let’s go to the movies,”
and on Saturday, too, they hunted for dimes for children’s matinees without a question.
Now those friends search through the notices for special films and stay home with radios or
books after an experience at double bill. The published reports of the effect of motion
pictures on children issued by the Payne Fund is the answer
and few parents to that angle,
of any intellectual standing can afford to ignore the new feeling among their social groups
on this subject. Children are being kept at home and are forced to lose the very special
benefits which could be possible for them in this delightful entertainment medium.
For years we have tried through the exhibitors to reach the producers. We have insisted
that variety inprograms (of one type for the sophisticated audiences, simple and provincial
themes for others, and programs for children) would in great measure settle this question.
We have begged for family programs and of later years for single billing. We have not
entered into the discussion of “block booking” trusting that that problem could best be
handled by the Industry. Now that even exhibitors are objecting to the
present means of
selling films it women’s groups to take some stand. This subject of
will be necessary for
distribution and selling is so intricate that few lay persons are able to understand it. It will
be necessary for some fair minded group to study it and to suggest a fair and reasonable
substitution for the practice. Certainly the minds, which have built up so great an industry,
one which fills so definitely a need for public entertainment, can themselves evolve some
policy which will give different types of audiences the sort of entertainment they desire.
When this is done the problem will be solved. Censorship or legislation, which few intelli-
gent people want, will not be necessary, and the mooted question of what is or is not “clean”
entertainment will not seem important because each class will be able to make its own
selection as they do in reading or at the theatre. When the producers do not insist on every
man, woman and child approving every film they release, they may be surprised by a normal
return on an investment in taste and intelligence.
Our own bulletin is an attempt to analyze each film and give our readers an impression
of its subject matter, interest from our viewpoint and audience suitability. If you as readers
are satisfied, will you recommend it to your friends and acquaintances? It is not entirely a
matter of subscription to us. We firmly believe in talking through the box office since this
is the only available way for us to express public opinion to exhibitors and through
them
to producers. Every movie lover should have some source of information for
intelligent
selective attendance, if not this source —
then another, in which he can place confidence.
And if after a time still no provision is arranged for children’s enjoyment of this medium,
then communities will have to undertake a program of their own, for no child should be cut
off from his right to enjoy the exquisite fantasy and the imaginative beauty which Walt
Disney, for one, has shown us is possible in motion pictures.

FEATURE FILMS
BRITISH AGENT » » mother is but when
sufficiently painful at best,
Leslie Howard, Kay Francis. Adapted by it is presented in sentimental story it is
a
Laird Doyle from the novel “British Agent” revolting. The boy, exceedingly well acted
by R. H. Bruce Lockhart. Direction by by Jackie Kelk, is both clever and attractive,
Michael Curtiz. Warner Bros. a misleading figures to the thousands of
under privileged children who will undoubt-
When it was announced
that Bruce Lock-
edly see this picture and conclude that lying
hart’s vivid, journalistic and dramatic story
and stealing are valuable practices.
was to be made into a motion picture, readers Children, 8 to 12
of that masterpiece were naturally curious
Certainly not No
and somewhat doubtful of the possibility of
putting it onto the screen. And readers will w
be disappointed in the film. Perhaps it would
have been impossible to satisfy those who felt BACHELOR BAIT » »
the singular charm of the personality or the Stuart Erwin, Rochell Hudson, Pert Kelton,
astonishing reality of the terrific crisis in Skeets Gallagher. Direction by George

world’s history which he presented in the Stevens. R-K-O.
story of his experiences in Russia. It is neces-
Stuart Erwin, as the young man with the
sary then to judge the film as pure fiction,
having only the slightest connection with the understanding heart, opens a marriage bur-
eau, not so much for cash as for the joys he
incidents of the book or the emotional strain
through which the man himself lived. Leslie hopes to scatter. Eventually even such an
Howard is sympathetic as Stephen Locke, the honest agency is attacked by a not-so-honest
district attorney and troubles ensue, to be
British Agent who is sent unofficially to try
to keep Russia in the war during that appal- circumvented by quick thought and action.
It is light, wholesome comedy with a well-
ling period of the revolution and who fails
chosen cast and very amusing dialogue.
when he becomes too involved in foreign
politics. Kay Francis is very convincing as
the woman whose belief in the revolutionary Yes Little interest
cause forces her to betray the man she loves. w

The background of Russia of the period is
colorful and the characters introduced, who
THE CROSS AND THE SWORD » »
Jose Mojica, Juan Trena. Direction by Frank

suggest the men of that hour, are interesting;
the action is dramatic and full of suspense, Shayer. Spanish dialogue. Fox.
the musical accompaniment impressive, but Aningenuous and naive love story of early
the production will not be so highly rated California which has charm and beauty par-
among movies as the book is among books. ticularly because of beautiful singing.
Doubtful; Too mature
Understanding of Ian- No interest
sophisticated
guage increases
sr
interest
BORN TO BE BAD » *
Loretta Young, Cary Crant, Jackie Kelk.

Direction by Lowell Sherman. Twentieth ELMER AND ELSIE * »
Century. George Bancroft, Frances Fuller. Adapted by
A
distressing theme is herein presented. In Humphrey Pearson. From a play by Ceorge
a well mounted picture featuring Loretta S. Kaufman and Marc Connelly. Direction
Young beautifully gowned in the manner of a by Gilbert Pratt. Paramount.
movie demi-mondaine, we are shown a young
mother who has become so hardened by her Here is a pleasing and humorous comedy
betrayal at the age of fifteen that she is con- with a delightful vein of satire running
sciously bringing up her child to be a menace through it. It is well written and well acted
to society. Abetted by a shyster lawyer, she
and is good fun for the family having enough
compromises her son’s court-appointed guar- action to amuse the children although the
dian in order to blackmail him, but gratitude actual plot has no particular interest for
at last enters her almost petrified heart and
them. It tells the story of two husbands so
softens it. She steps out of the picture and deftly managed by their wives that they are
is last seen rocking an old cradle. To thought-
completely unaware of the fact.
ful audiences the spectacle of a child being Adolescents, 12 to 16 Children, 8 to 12
deliberately warped in character by his Amusing Harmless
FRIDAY THE THIRTEENTH » » it was derived. The cast is adequate, the

Jessie Matthews, Sonnie Hale, Frank Law- story of fair interest, but the picture is com-
ton. Story by Sidney Cillat and C. H. Mores- monplace.
by White. Direction by Victor Saville. Adolescents, 12 to 16 Children, 8 to 12
Gaumont-British Picture Corp. No No
This is beautifully directed, intensely
a v
absorbing picture in which narratage is suc- HAT, COAT AND GLOVE » »
cessfully employed to give an intimate view Ricardo Cortez, Barbara Robbins, John Beal,
of the lives of a number of persons who hap-
Dorothy Burgess. From the play by William
pened to be on a bus when it was struck by
lightning. In each case the mishap to the Speyer. Direction by Worthington Miner.
bus marks a turning point in the life of one R-K-O.
of the characters. All the different threads
The three articles mentioned in the title
are so skilfully inter-woven that the con-
of this picture lead to the acquital of an inno-
tinuity is never interrupted and each story
cent man who is suspected of murder. The
is convincing in itself. The production merits
photoplay is a combination of detective and
the attention of discriminating audiences.
triangle story in which the handling of cir-
cumstantial evidence is of more interest than
Interesting though No interest the marital difficulites of the characters. It is
mature
passably entertaining.
No No
THE CIRL FROM MISSOURI » »
-v
Jean Harlow, Franchot Tone, Lionel Barry-
more, Patsy Kelly. Direction by Jack Con- OF HUMAN BONDAGE » »
way. M-G-M. Leslie Howard, Bette Davis, Reginald Owen,
It seems too bad that a talented cast should Francis Dee. From the novel by W. Somer-
have to waste their time in such a hopelessly set Maugham; adaptation by Lester Cohen.
silly, vulgar picure as this one. If you sit
Direction by John Cromwell. R-K-O.
through this production you will see how a
girl from the worst possible background It is curious that so unpleasant a story can
maintains her ideals in spite of millionaires hold the qualities of absorbing interest which
who have nothing to do but concoct pitfalls this does. But it is no doubt due to the fact
for her and her sister chorus girls. Bent on that it is a sensitive and restrained study of
annexing a wedding ring and a rich man human weakness, skilfully adapted from the
simultaneously, this energetic lady not only novel, exceptionally well cast, and directed
succeeds in her purpose but finds true love with rare intuition and good taste. Leslie
at the same time. It is amusing in spots, the Howard gives a fine interpretation of the
costumes and sets are lavish, but it seems too young man physically and spiritually handi-
far fetched to have much appeal for any capped by a deformity; and Bette Davis is
audience. superb as the hateful, selfish and brutal wo-
Adolescents, 12 to 16 Children, 8 to 12 man whose attraction the sensitive man can-
No No not combat until her death releases him.
-v Adolescents, 12 to 16 Children, 8 to 12
No No
GRAND CANARY » *
Warner Baxter, Madge Evans, Marjorie

Rambeau. Adapted by Ernest Pascal from JANE EYRE » »
the novel by A. Cronin. Direction by Virginia Bruce, Colin Clive. Adapted from
J.
Irving Cummings. Fox. Charlotte Bronte’s novel by Adele Coman-

This not a happy picture. It is probably
is
dini. Direction by Christy Cabanne. Mono-
gram.
intended as a character study of a physician
whose career is ruined by a medical mistake To some the adaptation of this famous
(which is not at all impossible) and who is story of another period of literature will seem
later fortunate enough to be reinstated in stilted and out dated. On the other hand
public favor by unselfish and successful social these very characteristics will endear it to
service (also possible). Regrettably a love others. It certainly suggests the manners and
affair with a married woman adds an ugly habits, the setting and dress, and even the
touch which is not sufficiently motivated to emotional reactions of the time. The plot is
have any significance in character delineation. because it seems unreal and impos-
difficult,
This may be due to adaptation, making the sible today, and the characters too naive,
picture less strong than the novel from which but the charm of the book is certainly felt
in the picture, and it is an interesting experi- that delightful little person to hold the story
ment in the use of classics for screen material. together, and we have the ingredients for ve-
Adolescents, 12 to 16 Children, 8 to 12 hicles for the most exquisite and unspoiled
Probably of interest No interest child actress in the world! Soon it will be
•v hard to identify which picture we have seen.
And yet, curiously enough, in spite of a
THE KEY » »
maudlin story her rare ability to act, her
William Powell, Colin Clive, Edna Best. apparent complete understanding of the role
Direction by Michael Curtiz. Warner Bros. she plays, or the situation she confronts, hold
Ireland during the Sinn Feinn uprising is our absorbed attention when she is on the
the setting for a triangle romance
colorful screen. For a time we will accept the rubber
which is well acted, exciting and novel in stamp formula of the setting and the pathos
atmosphere. Bill Tennant (William Powell) of the crook’s reform.
is the gay, reckless soldier of fortune who Adolescents, 12 to 16 Children, 8 to 12
has defied conventional morality throughout Passable Not recommended — too
his entire career; Andy Carr (Colin Clive), melodramatic and
the serious, pleasant, likable member of the emotional
British secret service whose love for his wife v
is shadowed by the knowledge that she once
loved another man. Edna Best plays the THE NOTORIOUS SOPHIE LANG » »
attractive wife who loves her husband but is Gertrude Michael, Allison Skipworth, Leon
haunted by the memory of a Devonshire Errol, Paul Cavanaugh. Paramount.
spring some years before. The triangle is
In picture a gang of jewel thieves
this
complete when we find Bill Tennant is the
headed by a woman perpetrates an audacious
“other man.” The ending has the happy
robbery and by various wiles, feminine and
originality of an ethical solution, a circum-
otherwise, eludes the police force and sails
stance rare enough in moves to excite com-
away to England. The fact that Leon Errol
ment.
is cast as a detective might lead one to
expect a comedy, but aside from the exag-
Yes; entertaining Mature and
gerated stupidity of the detectives it is
exciting
straight drama. As such it is unsatisfactory
•w because it offends one’s sense of the fitness
of things. The crooks are attractive, their
LADIES SHOULD LISTEN » »
lives glamorous and exciting and they are so
Cary Grant, Frances Drake, Edward E. Hor-
far superior to their opponents that they out-
ton. From the play by Alfred Savoir and
wit them at every turn. It leaves one ar-
Guy Bolton. Direction by Frank Tuttle.
dently desiring to defend the police from such
Paramount.
unfavorable publicity.
The presence of Edward
Everett Horton Adolescents, 12 to 16 Children, 8 to 12
in the cast of a picture is usually an indica- No No
tion that breezy sophisticated entertainment w
is in store for the audience. This inconse-
quential comedy is somewhat less clever and THE OLD FASHIONED WAY » »
sparkling than one might expect it to be be- W. C. Fields, Judith Allen, Joe Morrison,
cause the story is so thin as to be almost Baby LeRoy. Direction by William Beau-
non est. The financial and social troubles of
dine. Paramount.
two young French bachelors are disentangled
by a telephone operator. The players do W. C. Fields is the central figure in this
their utmost with the available material. The slapstick farce depicting the adventures of
result is fairly amusing. a troupe of actors who travel about the
Adolescents, 12 to 16 Children, 8 to 12 country in 1900 presenting “The Drunkard.”
No No The picture introduces almost the entire cast
of the play, and those who enjoyed the re-
vival of this old melodrama on the stage
NOW AND FOREVER » » will be entertained by the experts shown on
Gary Cooper, Carole Lombard, Shirley the screen. Possibly only admirers of Mr.
Fields will enjoy the character of “The Great
Temple. Screen story by Vincent Lawrence
McGonigle,” a blustering scoundrel and
and Sylvia Thalberg. Direction by Henry
humbug, a theatrical manager who never
Hathaway. Paramount. pays a debt and always relies upon bluff to
Take a few
disreputable characters, a get him outof difficulties.
stolen necklace, a children’s party to display Adolescents, 12 to 16 Children, 8 to 12
Shirley Temple’s ability to dance or sing and Not recommended No
PARIS INTERLUDE » » cast who lag behind her tempo and make her
Madge Evans, Otto Kruger, Robert Young, part seem overacted. Thus the possibilities
Una Merkel, Ted Healy. Adapted by Wells of the stage success are lost in a none too
intelligent movie adaptation, and we have
Root from a play by S. J. Perelman and
simply another fairly rowdy campus farce
Laura Perelman. Direction by Edwin L. bearing as little relation to college life as
Marin. M-C-M. the eucalyptus trees in the picture bear to the
A confused picture concerning the emo- elms of Princeton.
tional entanglements of an American girl
tourist and three dissipated American men in A mater of taste No
Paris. The setting for most of the action is
the bar where they hold their daily rendez-
vous. The excessive drinking which is not
only implied but shown and the impression RETURN OF THE TERROR » »
given of a futile sort of existence without John Halliday, Mary Astor, Lyle Talbot,
moral or social obligations, make the picture Frank McHugh. Warner Bros.
depressing and discouraging in tone, and the
Technically good, but almost laughable in
rather melodramatic and sentimental ending
its over abundance of hair-raising situations,
does not dispel the gloom.
this is just another murder mystery relying
on maniacs, storms and corpses for its emo-
No; very poor No
tional atmosphere.
V Adolescents, 12 to 16 Children, 8 to 12
No Certainly not
THE PERSONALITY KID » »
Pat O'Brien, Glenda Farrell, Claire Dodd.

Direction by Alan Crosland. Warner Bros.
STAMBOUL QUEST » »
A successful young pugilist and his man-
Myrna Loy, George Brent, Lionel Atwill.
ager-wife are brought to the verge of di-
vorce and professional ruin through the From the original story by Leo Birinski.
jealous enmity of crooked promoters. The pic- Direction by Sam Wood. M-C-M.
ture is full of action and vivid scenes which This is a complicated story of counter-
make the theme and characters life-like. The espionage in Germany and Turkey. It con-
hero is honest, though cockey, and the ideals tains the usual beautiful woman spy who
cherished by him and his wife are refresh- allows her career to be blasted by love.
ingly sane. For audiences interested in ring- Striking photography and convincingly real
side atmosphere this picture is good enter- settings lend vitality to the production, but
tainment. too much stress on the love story detracts
Adolescents, 12 to 16 Children, 8 to 12 from the interest of the plot. It is fairly
Matter of taste Too stimulating entertaining.
'W Adolescents, 12 to 16 Children, 8 to 12
Unsuitable No
SHE LOVES ME NOT * »
Bing Crosby, Miriam Hopkins, Kitty Car-

lisle, Edward Nugent. From the novel by
Edward Hope; adapted by Benjamin Glazier.
THEIR BIG MOMENT * »
Zasu Pitts, Slim Summerville, Ralph Mor-
Direction by Elliott Nugent. Paramount.
gan, Bruce Cabot. Direction by James
Curly Flagg, a night club singer, sees a Cruze. R-K-O.
murder committed and promptly runs away
to escape questioning by the police. Two well In order to destroy the faked psychic in-
meaning Princeton students hide her in their fluence of an unscrupulous doctor over a
rooms, and the plot thickens with newspaper young widow, the family call upon a troupe
reporters, gangsters and movie publicity men. of magicians to assist them. The results are
Since Bing Crosby, as one of the students, is unexpected, amusing and dramatic. Although
given an opportunity to croon to the dean’s the various elements of comedy, tragedy,
daughter, those who enjoy crooning may con- humor and pathos seem thrown together
sider the picture worth attending. For others, rather than blended, the plot is handled in
however, it will seem that the songs slow up an original manner and the acting is very
the action in what should have been a rapid good.
fire farce. Miriam Hopkins as Curly Flagg Adolescents, 12 to 16 Children, 8 to 12
is a misfit among the other members of the Questionable No
WHOM THE CODS DESTROY » »

Walter Connolly, Doris Kenyon Robert SHORT'SUBJECT
Young, Henry Kolker. Screen play by Sid- LA CUCARACHA » »
ney Buchman, adapted from story by Al- (In Color)
bert Payson Terhune. Direction by Walter Steffi Duna, Paul Porcasi, Don Alvarado.
Lang. Columbia. Direction by Lloyd Corrigan. Produced by
This isa psychological study of the tragedy Kenneth Macgowan. R-K-O.
of a terrific soul struggle which finally brings An exquisite musical short, with a cleverly
victory if not happiness. It is of a high ethi- fabricated story, to introduce the music and
cal standard portraying the immutable laws dancing of old Mexico. It is lovely in color
which one dares not break and be at peace and rhythm and interesting in action.
with oneself and man. Walter Connolly Adolescents, 12 to 16 Children, 8 to 12
makes the production satisfying. It is his pic- Good Yes
ture, and his portrayal of the lead gives the
serious story interest for mature audiences.
Very serious Too mature

Women’s University Club

1
Name „
Address

MOTION
PICTURE
REVIEWS

SEPTEMBER 1934
constant reference.
FEATURE PICTURES REVIEWED Recent Films Suitable for Family

IN THIS ISSUE Entertainment
Age of Innocence
Barretts of Wimpole Street — Mature.
Wimpole
The Cat’s —
Paw Good.
The
Down
Barretts of
Yacht
Street
Circus Clown — Good.
to Their Last
The Cat’s Paw
—
Dames Passable
Circus Clown
Here Comes the Navy —Good.
Hide-Out —
Entertaining.
Caravan
Dames
One Night of Love Good. —
Judge Priest — Excellent.
Housewife
—
Peck’s Bad Boy Yes.
Hide-Out
Straight is — the Way Fair.
Judge Priest
Treasure — Island Excellent.
The World Moves On —
The Lady is Willing
Good.
The Man With Two Faces
Peck’s Bad Boy
Romance — Harmless
the Rain
in and prob-
ably entertaining.
The Richest Girl in the World
You Me —
Belong to Passable, but sentimen-
Romance in the Rain tal and tearful.
You Belong to Me
Short Subject
Tomorrow’s Citizens — Educational.

943 South Hoover Street 4> Telephone DRexel 2177
COPYRIGHT NINETEEN THIRTY-FOUR WOMEN’S UNIVERSITY CLUB
WEQBCRAFT PRINTERS, 2509 WEST WASHINGTON BLVD., LOS ANGELES

Motion Picture Reviews T hree

LOS ANCELES BRANCH
EDITORS
Vol. VI SEPTEMBER, 1934 No. 3
EDITORIAL
We are reprinting here, from the Motion Picture Research Council Bulletin (August,
1934), the objectives and policies of the Council. We feel that our readers will be interested
and that they should be fully informed in this important project. (Editor.)
OBJECTIVES, POLICIES AND fluences of the motion picture, and to aid in

coordinating the efforts of such agencies.
PROGRAM 3. Organization
I. OBJECTIVES In the interest of cooperation and coordi-
The objectives of the Motion Picture Re- nation of effort the Council will seek to de-
search Council are to focus public attention velop and maintain organic connection with
on the motion picture as a social influence, national, state, and local groups. It will also
and to find and set in motion forces that enroll individuals who wish to help it attain
will progressively improve the quality of en- its objectives.
tertainment and education it provides. 4. Action
II. POLICIES The Council
includes as one of its most
important policies the formulation and pro-
In order to carry out its objectives the
Motion Picture Research Council recognizes motion of programs of action for the attain-
five ways in which it can function most ef-
ment of its objectives.
fectively: 5. Research
1. Education The Council will continue to promote
studies on the content and influence of motion
The Motion Picture Research Council has
pictures.
consistently taken the position that a full un-
derstanding on the part of the public of the III. NATIONAL PROGRAM OF ACTION
educational and cultural possibilities of the 1. Call a Conference for the early Fall of
screen was an essential step in improving
1934, for the purpose of securing a co-
the character of motion pictures. To this
ordination and cooperation of national
end the Council will consistently engage in agencies interested in improvement cf
programs of education. motion pictures.
2. Cooperation and Work for the freedom of the
2. community
Coordination
to select its own films by
It is the policy of the Council to cooperate (a) abolishing compulsory block book-
with all agencies that seek to increase the ing, and
social values and decrease the harmful in- (b) abolishing blind selling.
3. Encourage study and action looking to- purposes as the following: to serve as a
wards local control of exhibition, after clearing-house for information concern-
block booking has been abolished. ing educational and cultural films; to
4. Encourage production of films to meet stimulate the production of educational
community needs. and historical films; to promote the ap-
5. Bring about the creation of a joint de- preciative and critical study of motion
scriptive service of current films. The pictures as a form of art; and to per-
Council will seek the cooperation of edu- form other appropriate activities of a
cational, social and religious agencies in national character.
establishing and maintaining such a
service. IV. PROGRAM FOR LOCAL CHAPTERS
6. Encourage the teaching of film apprecia- 1. Organize an immediate campaign of in-
tion, by its introduction into high schools formation directed toward the complete
and voluntary groups. elimination of compulsory block booking
7. Secure organic affiliation with local and blind selling.
groups and regional associations inter- 2. Promote such other legislative projects as
ested in the improvement of films, and may be recommended by the Motion Pic-
build up membership in the Council in ture Research Council.
all ways not inimical to the interests of
3. Study the problems of social control of
cooperating groups.
the motion picture industry; laws and
8. Act as a central bureau of information.
ordinances, methods of booking, and so
9. Make necessary research studies. The forth.
following studies have been given spe-
4. Study the content of the offerings cur-
cific approval:
rently appearing in the local theatres with
(a) Trade practices (immediately)
10. a view to formulating policies for the
(b) Film content and influence (con-
improvement of motion pictures.
tinuous)
(c) Alleged violation of Part 1, Article 5. Inform the community of results of re-
search by the Motion Picture Research
7, of the NRA Code (continuous)
(d) Film library problems Council and other agencies.
(e) Foreign influence of American films 6. Promote the teaching of motion picture
in cooperation with State Depart- appreciation in high schools, clubs and
ment. other adult groups.
(f) The effectiveness of programs di- 7. Promote the use of educational films in
rected towards better film conditions schools and churches.
Cooperate with other agencies to estab- 8. Study the motion picture as an art of ex-
lish a National Film Institute for such pression.
O
FEATURE FILMS
ACE OF INNOCENCE » »
THE BARRETTS OF WIMPOLE STREET » »
John Boles, Irene Dunne, Lionel Atwill.
Norma Shearer, Fredric March, Charles
From the novel by Edith Wharton. Adapted Laughton, Maureen O’Sullivan. From the
by Sarah Mason and Victor Heerman. Di-
play by Rudolph Besier. Direction by Sid-
rection by Philip Moeller. R-K-O. ney Franklin. M-C-M.
This an interesting, delicately handled
is
The love story of Elizabeth Barrett and
adaptation of the novel. While one may Robert Browning has the double fascination
neither condone nor sympathize with the be- of dealing with real people and of being in
havior of the characters, the situation seems itself a charming romance. No one could fail
true to life and the solution logical. The to follow with absorbed interest the story of
problem presented is that of a man who loves how Elizabeth, the frail invalid poetess, is
a married woman yet marries another, and brought back to health by the radiant per-
remains true to her because circumstances sonality and spiritual vitality of her poet
defeat his inclinations. The picture shows lover, and of how she is at last able to es-
both the weaknesses and the strength of the cape the domination of her unnaturally stern
characters. and jealous father. It is presented on the
Adolescents, 12 to 16 Children, 8 to 12 screen with exquisite finesse, and though the
Too mature No play necessarily has been elaborated upon,
the changes made possible by the new med- last and only possesion, to recoup their for-
ium are intelligently purposeful and con- tunes. The plan is to rent the yacht to the
tribute contrasts of mood and scene without new rich and conduct a cruise to the South
which the picture might have been monot- Seas. With a passenger list of gangsters and
onous. The members of the cast are fittingly riff raff of various kinds and with the owners
chosen, and if their performances are judged in the capacity of servants, the yacht sets
on their own merits without insistence upon sail. From this point the picture becomes
their adherence to the interpretations of the more and more extravagantly ridiculous.
original cast of legitimate actors, they will Since there is not enough humorous material
be found both artistic and satisfying. The to last throughout the picture, it becomes
picture is an achievement in every phase of very tedious.
motion picture production, and the one scene Adolescents, 12 to 16 Children, 8 to 12
which might have been questioned is handled Undesirable No
with the greatest subtlety and restraint. ST
Mature No interest THE CAT’S PAW » »
-ssr Harold Lloyd, Una Merkel, Nat Pendleton,

Grant Mitchell. Adapted from the story by
BEYOND THE LAW » »
Clarence Budington Kelland. Direction by
Tim McCoy, Shirley Crey. Direction by D. Sam Taylor. Fox.
Ross Lederman. Columbia.
Harold Lloyd deserves a medal for his
A modernized Western, stereotyped in plot succesful venture in adapting his technique
and treatment. Tim McCoy as special inves- to meet the requirements of a changed
tigator for a railroad, with the help of a girl, medium and proving his ability to act with-
unearths evidence which frees a convicted out the help of gags and camera tricks. Per-
man and indicts another. The usual wild ride haps the children will be disappointed but
climaxes the action. no one else should be. “The Cat’s Paw” is
Adolescents, 12 to 16 Children, 8 to 12 “great” entertainment. It is straight com-
No interest Poor edy about the son of a Chinese missionary
v who comes to America to find a wife. He
BLIND DATE » » unwittingly becomes the tool of crooked
politicians, but recognizing the fact at last,
Ann Sothern, Neil Hamilton, Paul Kelly,
Mickey Rooney. Story by Ethel Hill. Direc- cleans up in an hilarious fashion. The story,
tion by Roy William Neill. Columbia.
which ran in the Saturday Evening Post in
serial form, was great fun. The screen
Though not quite vicious in its delineation adaptation is excellent. Mr. Lloyd seems
of family life, this picture accents the wrong perfect as the naive, unsuspecting Ezekiel
values since it glorifies an idle existence with Cobb whose life has been patterned by
extravagant material accessories far above a Chinese philosophy, and Una Merkel is
useful and industrious scheme of living. The equally well cast in the role of the sophisti-
story revolves about the choice a girl makes cated, attractive girl at the cigarette counter.
between two men, one of whom is poor but It’s an hour and a half of splendid enter-
honest, the other, rich but questionable. It tainment.
is sufficiently romantic to be of interest to the
Adolescents, 12 to 16 Childten, 8 to 12
less discriminating and is thus an insidious
Good Mature
influence. Some sequences create high emo- 'V
tional tensions, others are conspicuously ob-
jectionable and sordid. All of these might CIRCUS CLOWN » »
have been moderated by more skilful di- Joe Brown, Patricia Ellis, Donald Dillo-
E.
rection. way, Dorothy Burgess. Direction by Ray
Adolescents, 12 to 16 Children, 8 to 12 Enright. Warner-First National.
Unsuited No
Joe E.Brown goes through his struggle
v to be a circus clown with a fascination for
his work that gives utmost fascination to the
DOWN TO THEIR LAST YACHT » »
audience also. The life behind the scenes
Mary Boland, Polly Moran, Ned Sparks,
give an intimacy that all ages love, and the
Sidney Fox, Sidney Blackmer. Story by
story which the movie unfolds is excellent.
Herbert Fields and Lou Brock. Direction by
It concerns a father who, having been long
Paul Sloane. R-K-O.
associated with the circus, had the idea that
A fairly entertaining idea is developed to he would keep his son away. But “Joe E.”
hyperbole in this absurd musical farce. A moves on with the big tent which had come
family of financially depleted Social Regis- to town and from then on his struggle to ex-
terites are persuaded to use their yacht, their press himself makes the story. His one good
friend is a little hoy, child of one of the but so absurd as not to seem objectionable;
acrobats. This child-and-man friendship is but even Dick Powell can not make it very
delightful. His final triumph as an acrobat, romantic and Ruby Keeler struggles with
with the winning of his love, is done with a colorless role.
unusual zest, and rounds out a picture which Adolescents, 12 to 16 Children, 8 to 12
has special appeal for family audiences or Passable Not
children’s matinees. recommended
Adolescents, 12 to 16 Children, 8 to 12 XT'
Cood Good
HIDE-OUT » »
Robert Montgomery, Maureen O’Sullivan,
Edward Arnold, Elizabeth Patterson. Di-
CARAVAN » »
Charles Boyer, Loretta Young, lean Parker, rected by W. S. Van Dyke; adapted by
Phillips Holmes, Louise Fazenda, Eugene Frances Coodrich and Albert Hackett from
Pallette, C. Aubrey Smith, Charles Grape- a story by Mauri. M-G-M.

win, etc. Adapted by Samson Raphaelson Robert Montgomery plays the part of a
from “Gypsy Melody,” by Melchior Lengyel. young gangster, wounded in flight from the
police and harbored by an unsuspecting and
Music, Werner Richard Hermann; lyrics,
kindly farm family. Here he finds regenera-
Gus Kahn. Eric Charell, director. Fox. tion and love. Charmingly told, charmingly
“Caravan,” in the light opera manner, is played, with much good comedy. Good enter-
sketched on the background of the grape har- tainment value for the family.
vest of an Hungarian village in the wine Adolescents, 12 to 16 Children, 8 to 12
region. A young countess, finding she must Entertaining Yes, if with adults
marry to acquire her father’s estate, marries v
the leader of a Gypsy band, contracted to
play for the festival, instead of abiding by HERE COMES THE NAVY » »
her uncle’s arrangements for a wedding with James Cagney, Pat O'Brien, Gloria Stuart,
his son. Thereupon her cousin arrives and Frank McHugh, Dorothy Tree. Ben Mark-
she falls in love with him. The story is son, author. Direction by Lloyd Bacon.
neatly arranged by an unconsummated mar-
Warner Bros.
riage and the Gypsy’s return to his former
sweetheart. Good music and good acting, Here we have two fighting sailors whose
but the story drags with the weight of too bickering and quarrels provide humor, sus-
much repetition, and is guilty of bad taste pense, romance and drama, with the thrilling
in overstressed drinking scenes. background of the American Navy as raison
Adolescents, 12 to 16 Children, 8 to 12 d’etre. Life in the navy is pictured from
Sophisticated; No training station to air service, and it all stirs
unsuited a healthy patriotic thrill to see it, for it rings
true. The shots of the fleet, mechanism, guns,
aircraft are well worth seeing.
DAMES » » Adolescents, 12 to 16 Children, 8 to 12
Hugh Herbert, Guy Kibbee, Dick Powell, Good Good
Joan Blondell, Ruby Keeler. Robert Lord, •w
author. Direction by Ray Enright and
HOUSEWIFE » »
Busby Berkeley. First National-Warner
Ann Dvorak, George Brent, Bette Davis.
Brothers.
Warner Bros.
Hugh Herbert, helpless in the throes of hic-
When, in movie, an easily discouraged
a
cups, and Zasu Pitts waving her expressive
young advertising man is inspired by the
hands in futile despair, are the highlights
zeal of his intelligent wife to become a finan-
which will be remembered after the whirling
cial success, it is not hard for seasoned movie
dances, the sentimental songs and the simple
another musical fans to guess that he will fall a prey to his
story are forgotten. It is
comedy extravaganza written around the own conceit and the wiles of a siren. The
production of an elaborate revue. The many only surprise in this picture is the extent to
pretty girls give it its title, and if one does
which caddishners can be carried and yet be
not compare it with others of its type, it will forgiven in the last reel. The picture is
seem amusing enough, gay, and refreshing. fashionably costumed and expensive looking
The dances are spectacular, relying for ef- but it has no distinction.
fect on camera tricks rather than on ter- Adolescents, 12 to 16 Children, 8 to 12
psichorean skill; the plot is a little vulgar No No
JUDGE PRIEST » » MILLION DOLLAR RANSOM » »
Will Rogers, Tom Brown, Anita Louise, Ber- Edward Arnold, Phillips Holmes, Marjorie
Screen play Cateson. From a story by Damon Runyon.
ton Churchill, Stepin Fetchit.
Direction by Murry Roth. Universal.
by Dudley Nichols and Lamar Trotti. Direc-
Fox.
This is an unimportant program feature
tion by John Ford.
but it shows how kidnapping may be used as
Writing, direction, and acting unite to the theme and yet be censor proof as well as
make a perfect screen play. The
scene is laid fairly entertaining. Edward Arnold gives a
in Kentucky about twenty years after the “swell” performance as a former rum runner
Civil War and the story is based on Irvin released from a Federal prison after serving
S. Cobb’s Judge Priest stories. The cli- for evading the income tax. He is induced
mactic incident is furnished by the short story, to cooperate in a reasonable hoax, and the
“Words and Music.” The screen play not thrills are provided when the old gang will
only relates the incidents but captures the not leave their former associate alone.
spirit of the stories of Cobb’s Judge Priest, Adolescents, 12 to 16 Children, 8 to 12
a lovable old character with a dislike for Not particularly Unsuitable
form but a real love for people and justice. recommended
Notable characterizations, besides Will w
Rogers’ Judge Priest, were Berton Church-
ill’s Senator Mayde<w, Henry Walthall’s
THE MAN WITH TWO FACES » »
Edward G. Robinson, Mary Astor, Mae
cleric, and Stepin Fetchit’s Jeff.
Clarke, Arthur Byron, Louis Calhern,
The story is a simple one of the young girl
Ricardo Cortez. Director, Archie Mayo.
whose father is not known, and whose lover
Warner Bros.
is the son of one of the old village families.
A jest about the charming young girl brings A thrilling mystery drama revolving round
about a barber shop fight and finally a trial. a successful actress and her husband whom
To save the man on trial the minister breaks she supposes to be dead but who returns after
a confidence and tells the story of the man years of absence to exert a diabolical hyp-
who has defended the name of his own child. notic influence over her and the whole family.
There are accompanying developments, which Edward Robinson as “The Man with Two
reinstate the father, the lovely girl, and Faces” plays a dual role, the brother of the
Judge Priest. A
very beautiful story, never actress and a French doctor. In the latter
to be forgotten. capacity, he solves the family troubles by
Adolescents, 12 to 16 Children, 8 to 12 poisoning the husband but is himself arrested
Excellent Yes, but perhaps beyond for the crime. It is well acted and realistic
their comprehension — a good picture of its type.
Doubtful No
w
THE LADY IS WILLING » » NAME THE WOMAN » »
Leslie Howard, Cedric Hardwick, Binnie Richard Cromwell, Arline Judge, Rita LaRoy.
Barnes, Nigel Bruce, Claude Allister. From Direction by Al Rogell. Columbia.
story by Louis Vernell; adapted by Cuy An old
fashioned melodrama in which a cub
Bolton; direction by Gilbert Miller. R-K-O. reporter solves a murder mystery. The lack
This picture falls far below the standard of discernment in direction and the lack of
of entertainment set by other English films finesse in acting definitely classify the film
shown recently in this country. The plot as poor in artistry, while the story, which
hinges upon unpleasant situations crooked— culminates in a mad drive over hillside high-
ways, leaves much to be desired in interest,
business dealings, lost fortunes, a parsimon-
ious and unfaithful husband, an unhappy coherence and plausibility.
wife who falls in love with her kidnapper, Adolescents, 12 to 16 Children, 8 to 12
and an amateur detective who carries off Would lower standard No

successfully a series of impossible situations of appreciation
in various ingenious disguises. It is a comedy xr
melodrama, light, original in plot, and hav-
ing an excellent cast from the English stage.
ONE NIGHT OF LOVE » »
Grace Moore, Tullio Carminati, Lyle Talbot,
It does not, however, hold interest because
the plot becomes too involved to be as amus- Mona Barrie. Direction by Victor Schert-
ingly farcial as intended. zinger. Columbia.
Columbia is offering a lovely combination
No No of semi-popular and operatic music, with
Grace charming personality and

Moore’s the original story and this is probably good.
beautiful voice to delight us. The story is Libraries do not keep “Peck’s Bad Boy” on
slight, simply a delineation of the rigid dis- their shelves because of small boy behavior
cipline and personal sacrifice necessary in the patterns suggested in its pages. But parents
routine of training an operatic star, and the who know the book need have little fear of
simplicity of the story is a real attribute the picture. It is a simple story of the fine
for, without undue suspense, the audience re- understanding between a father and his
laxes to enjoy to the full the exquisite music adopted son, disrupted by outside influences.
which is so integrated that there is no feeling The relationship is resumed when the father
of interruption or broken continuity. The appreciates the situation. It is a study in
illusion of being an actual spectator at the child psychology, very simple in execution
opera is very real. Spontaneous applause is but deep in social significance. It might have
the natural reaction and the timing is so been developed more succesfully to appeal to
accurate that there is no feeling of loss. The discriminating adults but on the whole it is
settings are lovely, a satisfying suggestion of an interesting picture.
Old World beauty. The cast is excellent, and Adolescents, 12 to 16 Children, 8 to 12
the amusing types add immeasurably to the Yes Sad but probably very
quiet humor and pleasing atmosphere with- appealing
out detracting from Miss Moore, around w
whom the entire action centers. It is an ex-
quisite production, a musical experiment of THE RICHEST CIRL IN THE WORLD » »
real worth. Miriam Hopkins, Joel McCrea, Fay Wray,

Adolescents, 12 to 16 Children, 8 to 12 Reginald Denny. Story and screen play by
Good Good Norman Krasna. R-K-O.
v When the richest girl in the world, hoping
ONE MORE RIVER » * to be loved for herself alone, exchanges iden-
tities with her secretary, the resulting com-
Diana Wynyard, Frank Lawton, Colin Clive,
)ane Wyatt, Reginald Denny, Mrs. Patrick plications provide material for a superficial
Campbell. Adapted by R. C. Sheriff, from but amusing comedy. Its lavishly gowned
the novel by John Galsworthy. Direction by women, handsome interiors and expensive
James Whale. Universal. bars will appeal to audiences who like the
movie version of how the idle rich spend
Here an example of an English novel
is
their time. Unconventional situations and
brought the screen without losing its at-
to
excessive drinking unfit the picture for family
mosphere or its verity. Lovers of Mr. Gals-
entertainment.
worthy will be delighted by the adaptation
and by the entire spirit of the production.
No No
It is a serious study of a problem in marital
'vr
unhappiness and divorce, presented without
sensationalism or cheapness. It portrays the ROMANCE IN THE RAIN » »
English dignity, their adherence to tradition, Roger Pryor, Heather Angel, Esther Rals-
their reserve, and their standards perfectly, ton, Victor Moore. Direction by Stuart
and the picture one of the most intelli-
is Walker. Universal.
gently interesting productions we have seen.
The cast is, with one exception, English, and
A trivial pleasant little comedy
though
having for hero and heroine a high pres-
its
the atmosphere is entirely authentic. Miss
sure publicity man and the winner of a Cin-
Wynyard gives a beautiful interpretation in
derella contest. It contains one attractive
her role of wife of a bestial nobleman Colin ;
musical sequence, a catchy theme song and
Clive is the menacing husband; Frank Law-
some amusing situations.
ton the young man who is the luckless in-
strument of torture. It is a picture which
Harmless and probably No interest
discriminating audiences will not wish to
entertaining
miss.
w
Too mature theme Far too mature
in
q-r
SHE WAS A LADY » »
Helen Twelvetrees, Donald Woods, Ralph

FECK’S BAD BOY » » Morgan. Adapted by Gertrude Purcell from
Thomas Meighan, Jackie Cooper, Jackie a novel by Elizabeth Cobb. Direction by
Searl, Dorothy Peterson. Screen play by Hamilton McFadden. Fox.
Bernard Schubert and Marguerite Roberts,
This title reminds us of a somewhat tawdry
from the book by George W. Peck. Direc-
song in which, through many verses descrip-
tion by Edward Clive. Sol Lesser, producer.
tive of unconventional behavior, the chorus
Very little more than the title remains of insists that “Eadie Was a Lady.” Sheila is
not an “Eadie” but our western American THE WORLD MOVES ON » »
girl is able to emerge triumphant from very Madeline Carroll, Franchot Tone, Reginald
shabby surroundings and the English tradi- Denny, Barry Norton. Story and screen play
tion of good breeding gets some pretty hard
knocks. On the whole, in spite of some in- by Reginald Berkeley. Direction by John
terest, it is an artificial and stereotyped story Ford. Fox.
in which family, money and social position
are the criteria held up as exemplary stan-
The story carries a family of industrialists,
dards.
through one hundred years of struggle to
Children, 8 to 12
accumulate power and wealth. The French,
No value No German, English and American branches,
bound by a pledge of loyalty, meet the crises
induced by war and economic stress until at
STRAIGHT IS THE WAY » * last they are brought to a realization of the
Franchot Tone, May Robson, Karen Morley.

unimportance of their material aims. The
picture opens with an epic sweep which holds
From the play by Dana Burnet and George
Adapted by Bernard Schubert. a promise which is not fulfilled. The purpose
Abbott.
is lost somehow in the episodic treatment and
Direction by Paul Sloan. M-G-M.
the ending is an anti-climax. The real
This picture concerns the struggles of a triumph of this ambitious production lies in
young ex-convict in his efforts at rehabilita- the settings and backgrounds which are truly
tion immediately after his return to society. magnificent, and to those who are interested
Dramatic values are heightened by a contrast in cinematography the picture offers examples
of home and gangster life. May Robson proof successful adventuring in both science and
vides a very human and sympathetic appeal art. The integration of official French War
as the mother and does much toward making pictures makes the cinematic record an out-
the action vivid though the tempo is often standing one. But as an artistic whole the
slow. The value of the picture as entertain- war has been over-emphasized and many of
ment depends on taste.
the scenes do not contribute to the develop-
ment of the theme and are sometimes con-
Fair Too mature fusing and certainly over-long. An element
of mysticism made essentially a part of the
story, is reminiscent of “Berkeley Square”
TREASURE ISLAND » »
but is more plausible because more general
Wallace Beery, Jackie Cooper, Lionel Barry-
in experience. Franchot Tone is not cast to
more, Otto Kruger, Lewis Stone. From the advantage. Possibly he is not allowed oppor-
classic by Robert Louis Stevenson, adapted
tunity to show the character’s regeneration
by John Lee Mahin. Directed by Victor but whatever the reason, he seems unin-
Fleming; art direction by Cedric Gibbons.
spired. Madeline Carrol is successful in mak-
M-C-M. ing one feel the dignity of the theme. The
“Treasure Island” has thrilled readers others in the cast are especially well chosen
since the book was written and the general and their nationalistic differences are very
outline of the story, the young lad finding the well portrayed. It is an unusual picture and
secret map to hidden treasure, interesting the an interesting one. Its weaknesses are the
Squire and Dr. Liversey and making the more disappointing because so much was
journey to the island with a boat load of anticipated.
mutinous pirates, makes genuinely romantic Adolescents, 12 to 16 Children, 8 to 12
adventure. It is absorbing and thrilling, Good Mature
well done in every detail. Victor Fleming
has done an excellent piece of work in allow-
ing the story to work up consistently to a
terrific climax. It could easily have seemed YOU BELONG TO ME » »
unreal and stagey but in his hands it has Lee Tracy, Helen Mack, Helen Morgan,
achieved a sense of theatre that is tremen-
David Jack Holt. Story by Elizabeth Alex-
dous. The cast is splendid in giving a feeling
of reality and conviction. The moral lesson ander. Direction by Alfred Werker. Para-
is vivid and obvious and makes excellent mount.
entertainment for all but the most emotional This little story of back stage life is not
youngsters while the settings and photog- original or dramatic but it has a certain
raphic beauty leave pictures to carry long in sentimental appeal. The little seven-year-
one’s memory. old son of an unfortunate vaudeville team
Adolescents, 12 to 16 Children, 8 to 12 has many vicissitudes but finally finds sec-
Excellent Excellent but urity and happiness with his friends. note A
exciting of sadness runs through the story but David
Jack Holt is rather appealing as Jimmy and SHORT SUBJECT

on the whole it may be classed as family
entertainment. TOMORROW’S CITIZENS » »
Produced by Donald Stuart for the Loyal
Morally harmless but Same Order of Moose.
sentimental and A complete, pleasing presentation of the
tearful educational venture at Mooseheart, Illinois,
where orphans of the Order are educated
with opportunities for normal, wholesome de-
velopment and expert guidance as to choice
of profession. It is enlightening and enter-
taining. Family.

I am inclosing $ for. .....subscriptions to The Motion
Picture Reviews, from .....193 .to 193

1
Name
Address

MOTION
PICTURE
REVIEWS
THE WOMEN S UNIVERSITY CLUB

OCTOBER 1934
constant reference.
PICTURES REVIEWED THIS FILMS SUITABLE FOR FAMILY

MONTH ENTERTAINMENT
Belle of the Nineties Bulldog Drummond Strikes Back — Entertain-
Bulldog Drummond Strikes Back ing, but not advised for young children.
Chained
Death on the Diamond
Death on the Diamond — Passable.
Dangerous Corners
Have a Heart — Excellent.
The Girl of the Limberlost Love Time — Excellent.
Gift of
Have a
Gab
Heart
Servants’ Entrance — Probably entertaining.
The Human Side

There’s Always Tomorrow — Passable.
Love Time Wake Up and Dream — Harmless.

Lady by Choice
Midnight Alibi
Outcast Lady
Servants’ Entrance
That’s Gratitude
There’s Always Tomorrow
Two Heads on a Pillow
Wake Up and Dream

COPYRICHT NINETEEN THIRTY-FOUR WOMEN’S UNIVERSITY CLUB


LOS ANGELES BRANCH
EDITORS
Address all communications to The Women 1
! University Club, 9+3 South Hoover St., Los Angeles, Calif.
lOe Per Copy - - $1.00 Per Year
Vol. VI OCTOBER, 1934 No. 4
Leisure Time Activities for Children
The nine published volumes of the result of the Payne Fund investigation have been
accepted quite generally as proof that the output of motion picture studios is unsuitable
entertainment for children; that films present an unbalanced picture of American life; that
they condition children in an unwholesome way, create suspicions and fear, and at best take
from them the justifiable belief that society is on the whole cooperative, and “fundamentally
happy and wholesome.” The findings of the Motion Picture Research Council have un-
doubtedly stimulated the activity of the Legion of Decency and the recently announced three
years’ program of the National Congress of Parents and Teachers, in which among other
policies, they wish to extend the authority of school boards oveS leisure time opportunities -
of children. We are in sympathy with the Catholic move so long as it presents lists of sug-
gested films for its supporters —particularly in the interests of children. Also it is undoubt-
edly true that the public school has ignored the leisure hours of the child and has been un-
willing to appreciate their important influence in behavior patterns. It is only comparatively
home and school have realized that outside influences of tremendous power
recently that
have been undoing much of the good of each environment, and it is now an accepted fact
that the motion picture is one of these forces. Analysis of children’s attendance, and the
biased, inaccurate subject matter of the films they have been seeing, have so aroused public
opinion that one appreciates the feeling which actuates any group attempting to legislate
the problems, even if one does not agree with the method.
I have always believed that the approach to the problem is through smaller children. It
is unthinkable to subject children to conditions and environments which they are not oriented
to meet. I lived in a mining camp once among thousands of Mexicans among whom my
husband practiced as a physician. We learned then that no race is more fondly devoted to
its children. During a strike when food was limited to bare essentials the babies thrived;
when the strike was over and pay checks were available there was a veritable epidemic of
upset infant stomachs from an overindulgence in watermelons and the other forbidden
luxuries with which the parents ignorantly surfeited their children. It is much the same
with our generation with the movies. We have liked movies and have wanted our children
to have the same opportunity to get away from reality, not realizing that the handicap with
which they contended was making pictures a dangerous pastime and conditioning them for
life. We have erred ignorantly and now must suffer the consequences.
The newer trends in education give us confidence that if our children have the best
start in life physically, mentally and morally they can be trusted to meet life fearlessly
and rationally even when they are very young men and women. And in this regaird it
was especially gratifying to read the expressed opinion of Dr. Edgar Dale, of Ohio State
University. He has made an exhaustive study of motion picture content and is Field Director
of the work of teaching motion picture appreciation in high schools under the chairmanship
of Dr. Zook of the U. S. Office of Education. Dr. Dale says:
“When we come to the motion picture problem of the adolescent, we face a
more difficult problem. Here I think that we must be much less inclined to restrict
and safeguard the films to which these high school students go. Their job is that
of growing up. They need guidance, but they also need to have an opportunity to
make mistakes. If properly brought up, they have learned a great deal about what
constitutes good taste in a variety of fields. High school youth who really have
ideals we desire, are the ones whose parents have been continuously educating for
responsibility and initiative. I haven’t any great faith in any restrictionist program
which aims to prevent young people and adults from seeing the kind of pictures
which they like. I do believe, however, that, with an adequate training in appre-
ciation, using the best pictures, we can guide their tastes into socially valuable
channels. This will be much easier if their movie tastes have not been perverted as
children* We
must remember that we develop tastes only by tasting and that we
develop good taste by using good things. Every community has the responsibility
of putting the best before its children.”
Italics my own.
It then becomes the problem of the community to accept the responsibility of putting the
best before its children.
I have been interested in this problem of children and the movies for over ten years,
and I know that the move for children’s matinees in Southern California follows more or
less the same pattern as that in other communities. In the days of silent films we gradually
won over thirty-five theatre managers to a plan of supervised weekly junior matinees at which
no were shown which had not been approved as suitable and of special interest to
films
children between the ages of six and fourteen years. It was not then impossible to find
material for these performances, but when sound entered the field the entire picture changed.
Not only is the subject matter different, with greater realism increasing the sophistication
and emotional strain, but the lack of action in many films also detracts from the interest for
children, while increased noise and mature dialogue exhaust the younger audiences. In
Southern California one by one the matinees failed to hold their audiences or their sup-
porters. Children are still flocking to the movies, but they are not from the class of homes
from which they used to come, and most communities the pictures they see are generally
in
without supervision. The women who have been interested in this problem for so many
years are now limited to doing all they can to educate the public to selective attendance and
are frankly admitting defeat in pursuading exhibitors to give family programs or to make
any regular provision for approved children’s matinees.
I now believe that each community should arrange balanced programs for younger
children which would bring together all groups interested in child recreation; that the plan
should include drama on the stage, music by the best available orchestras, story hours
through public library groups, selected motion picture programs, and outdoor activities
planned by playground associations, or the different girl and boy groups available in any
community. It is a stimulating idea which is certainly not impossible of accomplishment
and which ought to invite enthusiastic support from those interested in the broader outlook
which it offers children.
In the field drama, Children’s Theatres of the Junior Leagues of America are
of
already functioning in about 125 centers. Their ideal is to “counte'ract the shoddiness of
the commercialized entertainment supplied to numberless children,” and to develop artistic
appreciation and discrimination. Their plays, and puppet and marionette shows are ex-
quisite in imagination and fantasy, and no other group has ever expended such continuous
effort to present children’s plays with greater care or expe^tness. In detail, costumes, setting,
acting, they meet the demand for beauty and good taste. Their plays are now available only
to privileged children. The expense connected with the productions is very great, and
while the advertising in their programs covers the greatest part, thei'r performances must
have enough admittance price to raise money for their selected child charity. This is
a large
right and just. But my suggestion is that after these first performances, they carry their
plays (settings and all) to neighborhood halls and nearby towns with small charges to cover
the expenses of moving about. Then these lovely productions can be offered to other children
who never otherwise would have the opportunity to see them. The commercial theatre long
ago abandoned efforts to present plays for children alone. But here are groups the only —
centrally organized ones we know —
who have the ideals, the experience, and the ability to
carry on. There are other local groups such as the “Nine o’Clock Players” of the Assistance
League of Los Angeles and some schools, settlement houses and branches of the Girl Scouts
and the Y.W.C.A. who can be called in too, and no community should be at a loss to provide
stage drama of this imaginative type.
Some of the best symphony orchestras in larger cities offer concerts to children which
are crowded to the last available seat through the cooperation of public and private schools
and music teachers. Some of them are remarkably successful in reaching the taste of
children but all should be, and good music should be available to all children. Today the
music lover is not necessarily a performer. Too much good music is had by simply
to be
turning a radio button or putting a record on a phonograph, for us to have the same interest
which our parents had in an indifferent performance. Schools are now offering courses in
musical appreciation in order that listeners more out of what they may so easily
may get
hear. There was never so much need for the individual to add musical appreciation to his
equipment to enjoy all that life offers him. Children are now taught music from a new
angle. Their creative ability is utilized to make instruments to simulate the sounds of fine
instruments. This activity creates in them the desire to hear real instruments and to appre-
ciate the harmony of the combined sound. Their interest in symhpony concerts is to identify
the instruments and a wise director stimulates this curiosity in any illustrated talks he may
give before each selection is played. The modern music pupil does not struggle agonizingly
for months or years over scales or difficult classical selections before he has a tuneful “piece.”
He learns to read music and to use his hands on simple folk songs and lovely melodies
and can play something almost at once. The rich musical treasures of many lands are given
him and he easily appreciates the rhythms, movements, humor and color of the folk dances
and the songs of other peoples. All children will not want to learn to play but all should
be given an opportunity to learn to enjoy music with real discrimination, and most com-
munities have some musical group which could be utilized in such a program.
As long as the motion picture producers feel that there is no money in children’s
pictures, we shall probably not have them. But I believe it possible to offer an occasional
program from the material at hand. In Los Angeles last winter, a group sponsored the
“Children’s Cinema.” The programs were planned for children of six to ten years; were
one hour in length, and were made up of the Walt Disney Silly Symphonies, Mickey Mouse
films, selected comedies, microscopic films, Ditmar animal films, travelogues, etc. For older
children Douglas Fairbanks’ silent film of “Robinhood” was revived.
We learned a lot in selecting our programs. The Disney products were “sure fire,” but
we did not want the entire program of this type —however suitable. And we found a dearth
of material or reliable information on other short subjects. had to hold the attention We
—
of children the most critical audience in the world. could not use the didactic film. We
The pictures had to be dramatic first, interesting always, full of action and fun. We went
through files reporting hundreds of subjects to select a varied assortment of animal films,
sports, adventure, travel, comedy and fantasy which met the high standards we had set.
There is not enough material available for anyone to select weekly programs of the highest
type for children under ten. Such frequency is not necessary or wise, but we know from
actual experience that the pictures are not to be found at theatrical distributing centers in
sufficient quantity to make it possible, even if desirable. The pictures were rented at the
current rates, and the shows just paid expenses because the admittance was rather higher
than we wished it to be. But certainly any community could underwrite such an occasional
matinee, and there are some pictures such as “Smoky,” “Alice in Wonderland,” “Peter Pan,”
“Treasure Island,” “Little Women,” which can be obtained and which will appeal to chil-
dren under twelve as well as to older ones.
At once practical-minded persons will bring up the very real possibility that distributors
will not even rent these films to non-theatrical exhibitors. But usually exchanges are fair-
minded, and as long as the shows are not making money the exhibitors will not object.
When they do, or even before they do, there is always a socially minded theatre manager
who is willing to take over the project and cooperate with the community leaders to give
what the public will support. But such a plan must be underwritten. A plan of this sort
needs financial support always. The matinees will not pay for themselves at 10c admission,
and no theatre manager should in fairness to himself be asked to pay for a project of this
sort. Personally I prefer to have the shows in a theatre. The children like it and it brings
the exhibitor and his patrons into pleasant worthwhile cooperation and mutual understanding
of each others problems.
I believe libraries should offer a definite contribution to any community effort of this
sort, interesting children in the rich treasures of their shelves through story hours or by
other means. In Los Angeles the Main Branch of the Public Library has inaugurated a
splendid service. It has a central information bureau for reports on films suitable for
family audiences, for junior matinees or for adult interest only. It is possible to call MUtual
5241 any time between 9 A.M. and 9 P.M. and ask for a report based on the estimate of the
Joint Committee of the General Federation of Women’s Clubs, National D.A.R., California
Congress of Parents and Teachers, National Council of Jewish Women, National Society
of New England Women, Women’s University Club, Los Angeles Branch A.A.U.W. The
task was undertaken at the instigation of the Juvenile Research Committee, Los Angeles
County Co-ordination Councils, composed of leaders interested in the welfare of children
and young people. It is a service which is a signal contribution to community needs.
The museums, planetariums and art galleries in many cities offer much to children and
are actively engaged in entertaining and interesting them.
No community plan for children’s recreation is complete without taking into considera-
tion the opportunity for outdoor contests, games and hikes offered through the playgrounds,
Church groups, Scout organizations. In smaller towns especially, these agencies can easily
be oriented into any plan for weekly recreational programs. In a recent study made in
high schools at several points in the United States it was found that hiking, camping,
swimming and sightseeing are almost always preferred to movie attendance. Simple ar-
rangements provided for children of a younger age should be made to give them another
movie theatre. The American public is mildly aroused to the danger
interest outside the
of the influence of motion pictures as the chief recreation of children, but it is not yet well
enough informed on the facts of this influence. If it is ever really cognizant of the danger,
some drastic policy may be put into effect. But merely prohibiting children from seeing motion
pictures is not the solution of the problem. Some substitution must be made. Since pro-
ducers insist that they produce films with only adult audiences in mind, then they should
be the first to lend assistance to any plan to keep little children out of performances except
those which are suitable to their appreciation, which train them to develop good taste and
which guide them into “socially valuable channels.”
Laura Osman Vruwink.
NOTICE
Owing to lack of new pictures there was insufficient material for the September fifteenth
Advance Supplement. It was therefore omitted. We wish to call attention to the fact that
the reviews printed in the Advance Supplements are always reprinted in the following
monthly issue of Motion Picture Reviews, because the bulletins are a more convenient form
for permanent reference.
——— «3>
FEATURE FILMS
BELLE OF THE NINETIES > * sistance of Charles Butterworth’s comedy, it

Mae West, Roger Pryor, John Miljan, John evokes as many laughs as thrills, an unusual
Mack Brown, Katherine DeMille. Directed achievement for a murder mystery.
by Leo McCarey. Paramount.
Entertaining Not recommended
This story of a mauve decade entertainer
has been so emasculated by censorship that
the principal remaining criticism is dullness. CHAINED » »
It has become purely a wise-cracking vehicle
Joan Crawford, Clark Cable, Otto Kruger.
for Mae West, who looks beautiful in the
From a story by Edgar Selwyn. Direction
clothes of the period, speaks through her
nose, and undulates continuously throughout by Clarence Brown. M-C-M.
her entire screen footage. With the excep- We have here extravagent and glamorous
tion of Katherine DeMille, the other charac- settings, smart dialogue and Joan Crawford
terizations are entirely without color or viril- modeling an amazing array of elaborate
ity, a fatal flaw in this type of production. gowns and different styles of hairdressing.
The plot comes briefly to life towards the As she is a secretary-stenographer away on
very end, but actually the only justification a vacation, her wardrobe is the more be-
for the picture is the real syncopation of wildering. But we are fast learning not to
Duke Ellington’s band and Mae West’s connect this actress with any story which
unique personality in her singing. This makes might connote actuality. This one is a con-
for isolated spots of good vaudeville, but it fused triangle which does not arouse any in-
is a bad motion picture with rather lugub-
telligent interest. She falls in love with her
rious naughtiness. married employer. The wife refuses a di-
Adolescents, 12 to 16 Children, 8 to 12 vorce. The secretary goes to South America
Objectionable Of no interest with forty trunks, a maid and the deluxe
•w trappings of a millionaire. She meets the he-
man rancher who shows her what “reel
BULLDOG DRUMMOND STRIKES BACK » » love” is, but her first suitor gets his divorce.
Ronald Colman, Loretta Young, Warner Her conscience demands she marry him. She
Oland, Charles Butterworth,
does. Her sacrifice is rewarded when he
Billie Burke.
realizes that Joan must have Clark Gable
Direction by Roy del Ruth. United Artists. in the last act. Another divorce —
so that the
Bulldog Drummond, always debonair and two may laugh their way together back to
resourceful, gets lost in a fog, finds a corpse the ranch. Ho-hum —
what price ethics when
in the house of a mysterious East Indian the censors find no scenes to cut?
Prince, is instrumental in thwarting a smug- Adolescents, 12 to 16 Children, 8 to 12
gler and still has time to fall in love. The No; pretty cheap and No
picture is entertaining because, with the as- demoralizing
DEATH ON THE DIAMOND » » THE GIRL OF THE LIMBERLOST * *
Robert Young, Madge Evans, Nat Pendle- Louise Dresser, Ralph Morgan, Marian
ton, Ted Healy. From the book by Cort- Marsh, Henry B. Walthall, Edward Nugent,
land Fitzsimmons. Direction by Edward Helen J. Eddy. Adapted by Adele Coman-
Sedgwick. M-C-M. dini from the novel by Gene Stratton Por-
“Murder most strange as in the best it is, ter. Direction by Christy Cabanne. Mono-
but this most strange” for the victims are gram Pictures Corp.
two baseball players, members of the St. The potency of the screen to carry the
Louis Cardinals. When Larry the star pitcher beauty of a story or to cheapen it through
is injured and two other players lie dead, false standards, has never been more clearly
we suspect foul play on the part of gangsters emphasized than adaptation of Mrs.
in this
who stand to lose a cool million if the Cardi- Porter’s popular novel. Her books have
rarely appealed to the intelligencia, but on
nals However, baseball must go on,
win.
the other hand they have been generally
and undaunted by threats, bribes and mortal considered clean, simple, sweet stories of the
danger, the players take their places on the romantic type. To us the picture falls into
field. How the pennant is won and the mur- the same class as the “Elsie Books,” long
barred from library shelves because of their
derer detected we leave to the baseball mur-
cheap sentimentalism, exaggerated emotion-
der-mystery fans to discover. alism and false psychology. Those of us
who read “The Girl of the Limberlost” re-
Passable No member the beauty of the forest, the thrilling
search for exquisite moths, all the nature lore
which Mrs. Porter so charmingly wove into
an otherwise sentimental plot. The picture
DANGEROUS CORNERS » »
uses these only as background, and we meet
Virginia Bruce, Conrad Nagel, Melvyn Doug- face to face an unnatural mother whose
las, Erin O’Brien-Moore, Ian Keith, Betty cruelties are an exhibition of sadism, a child
Furness, Henry Wadsworth, Doris Lloyd. bravely facing social ostracism, and situations
so crudely imagined that they lose all semb-
From the play by B. Priestly, adapted by
J.
lance of reality. The direction is tiresome
Anne Chapin and Madeleine Ruthven. Di-
and inartistic, and with the exception of Ralph
rection by Phil Rosen. R-K-O. Morgan, the entire cast lacks vitality. The
This is a sophisticated drawing-room story might have emphasized tolerance, per-
severance, unselfishness. Actually it is emo-
drama concerning members of the smart set.
tionally morbid, and the ending, where the
It is intelligent and thought provoking but girl is slipping into the quicksand which
probably too embittered and pessimistic to killed her father, is inexcusably bad taste.
have wide appeal. The basic thought, that We believe it might seriously affect sensitive
the whole truth conncerning our private lives children. Critical audiences will be bored.
may do great harm rather than good, is made Adolescents, 12 to 16 Children, 8 to 12
credible. A publishing firm is shocked by Not recommended No —poor
the loss of a bond. The mystery appears to
•w
have been solved when one member com-
mits suicide. There are two endings to the
picture: one where the persistent curiosity
GIFT OF GAB » »
of one member of the firm, aided by a trivial

Edmund Lowe, Gloria Stuart, Alice White,
accident, is used to pry into the lives of sev- Paul Lukas, Douglas Montgomery, Gus Arn-
eral married couples with shocking results. heim's Orchestra, Ruth Etting, Graham Mac-
The other, where the chance remark which Namee, Gene Austin. Direction by Karl
started the game of truth was not uttered
Freund. Universal.
and the happiness of all concerned was left
intact. The lines are good, the action well The hero of this piece is a noisy unquench-
keyed, and the structure of the drama out- able, insufferable radio announcer who talks
lined symmetrically. To many the double himself into oblivion and out again. The
ending may be confusing, but it offers an film is dull, tedious and tinny. Since there
opportunity to make one’s choice as to the is proverbially no accounting for taste, some
efficacy of truth at any cost. radio fans may be pleased to see their fa-
Adolescents, 12 to 16 Children, 8 to 12 vorites on the screen even in this concoction.
No; sophisticated and No Adolescents, 12 to 16 Children, 8 to 12
without value No No
HAVE A HEART » * LADY BY CHOICE » »
Jean Parker, James Dunn. Una Merkel. Stu- May Robson, Carol Lombard, Roger Pyror,
Walter Connolly. Film adaptation by Joe
art Erwin. Story by B. C. De Sylva and
Swearling from a story by Dwight Taylor.
David Butler. Direction by David Butler. Direction by David Burton. Columbia.
M-C-M.
May Robson is now our “grande dame”
This an appealing story with plenty of
is of the screen: always consistently a fine
pathos and rather unusually good comic re- actress, human, lovable, amusing or tragic as
lief. It recounts the joys and sorrows at- the role demands. In this she brings to mind
tendant upon the romance of a crippled maker her part in “Lady for a Day.” The charac-
of dolls and the driver of a confection wagon. ter metamorphosis is similar although the
It is not designed for the cynical, but will stories are not alike. Both are entertaining.
be welcomed by many people of all ages who In this we find her a gin-soaked derelict con-
still enjoy being persuaded that something, stantly picked up by the police for disturbing
if not all, is “right with the world.” the peace. is sent to an “Old Ladies’
She
Adolescents, 12 to 16 Children, 8 to 12 Home.” How
fate takes her from rhose hated
Excellent Good portals to awaken her latent decency and
responsibility in saving a young woman from
a life similar to her own, makes a really
THE HUMAN SIDE » * entertaining film. A fairy tale of course, but
Adolphe Menjou, Doris Kenyon, Charlotte full of laughs and tears and clever charac-
Henry. Direction by Eddie Buzzell. Uni-

terizations. The cast is good, the direction
swift and always in good taste.
versal.
Withthe revived interest in child actors Doubtful No
this film has a certain appeal through the -w
four children who play an important part in
the story, but the rest is mediocre due to
MIDNIGHT ALIBI » »
Richard Barthelmess. Arthur Alesworth, Ann
lack of character development and the trite-
Dvorak, Helen Lowell, Helen Chandler.
ness of the plot. Besides the children, the
characters are a theatrical producer, his di- Adapted from “The Old Doll’sHouse” by
vorced wife and a would-be actress whom he Damon Runyon. Direction by Alan Cros-
is attempting to star in productions which she land. Warner Brothers.
finances. The children who are ridiculed Despite its title this is not a murder mys-
by their playmates because of unfavorable tery. instead two love stories, one of
It is
publicity concerning their father and the a gangster whose profession separates him
actress, finally take a hand in routing the from his sweetheart, and the other of an old
actress, reforming the father and bringing lady whose youthful romance was blighted
about his reconciliation with their mother. by an unsympathetic father. By telling her
Adolescents, 12 to 16 Children, 8 to 12 story to the gangster the old lady in some
No; triangle problem No subtle way, not made very clear to the audi-
unsuitable ence, manages to reform him and enable him
to win his love suit. Although some of the
scenes are very well enacted, the picture as
a whole lacks reality.
LOVE TIME » »
Pat Paterson, Nils Asther, Herbert Mundin,
No; makes underworld No
Harry Green. Based on a story by Richard
characters attractive
Carroll. Adaptation by Lynn Starling and v
Sally Sandlin. Direction by James Tinling.
OUTCAST LADY * »
Fox.
Constance Bennett, Herbert Marshall, Hugh
Schubert’s exquisite music, a charming love Williams, Elizabeth Allan, Henry Stephen-
tale, and the romantic background of Im- son, Robert Loraine, Ralph Forbes. From
perial Austria are embodied in this delightful the book “The Creen Hat," by Michael
film which tells an idealized story of the Arlen. Adapted by Zoe Akins. Directed
courtship of Franz Schubert, the poor young by Robert Z. Leonard. M-C-M.
musician, and Valerie, the daughter of the
Duke von Hatzfeld. The music alone would
“We Marches are never let off anything.”
So runs the legend of this free-drinking, life-
make it worth attending, but it is also ap- loving, improvident family. Iris, the last
pealingly enacted by a capable cast.
daughter of the line, inherits also their high
Adolescents, 12 to 16 Children, 8 to 12 courage and gallantry. Hurting no one but
Excellent Good herself, defiant of the world’s opinion, she
lives on the crest of life and is carried on and too wordy to hold great interest. Liquor
towards inevitable tragedy. The cast as a flows more easily and with less purpose than
whole is very satisfying. Constance Ben- before censorship set to improve the moral
nett’s acting is far above her usual perform- standards of the screen.
ance; especially in the first half she is all Adolescents, 12 to 16 Children, 8 to 12
one could ask for as the heroine of Arlen’s No No
book. Later the action drags somewhat, and •w
there are scenes in which the actress’ pretti- THERE’S ALWAYS TOMORROW * *
ness is emphasized rather than her charac- Frank Morgan, Binnie Barnes, Lois Wilson.
ter. It is, of course a sophisticated play, but
From the book by Ursula Parrott. Direction
the motivating circumstances have been skil-
fully altered to make the plot suitable for by Edward Sloman. Universal.
the screen without losing any of the strongly Joseph fVhitc, devoted father of five chil-
emotional quality; it remains the poignant dren, has gradually become the “forgotten
story of a great love. man” of the family. Taken for granted by
Adolescents, 12 to 16 Children, 8 to 12 his wife and ignored by his children, he
Absolutely unsuitable No finds harmless consolation in friendly calls
v upon his former secretary who is in love with
him. When the children accidently find out
SERVANTS’ ENTRANCE » »
where he spends his “lodge nights” the sec-
Janet Caynor, Lew Ayres, Ned Sparks, Wal- retary returns him intact to the family with
ter Connolly, Louise Dresser. Adapted from the admonition to treat him better in the
the novel by Sigrid Boo. Direction by future. Unfortunately the picture is devital-
ized by platitudinous monologues and too
Arthur Lang. Fox.
obvious sermonizing.
When a young engaged couple, children of Adolescents, 12 to 16 Children, 8 to 12
rich parents, suddenly find themselves faced Passable No interest
with poverty, they decide to go to work. •w
The girl obtains a position as maid in a
household where there are numerous other TWO HEADS ON A PILLOW » »
servants and her experiences turn out to be Neal Hamilton, Miriam Jordan. Liberty Pro-
both comic and romantic. The picture is duction.
improbable, frothy and sentimental, of the
Life is one long squabble between a
just
type usually assigned to Janet Gaynor, but
it has moments of being really entertaining,
young lawyer and his wife, and even sep-
aration doesn’t clear the atmosphere, for
particularly when a Walt Disney cartoon is
introduced as a dream.
when they meet again as opposing lawyers in
a divorce case, they continue to quarrel. This
picture is too light in treatment to be really
Probably entertaining Harmless
depressing, but neither is it especially divert-
ing in its emphasis upon matrimonial un-
pleasantness.
THAT’S CRATITUDE » »
Frank Craven, Arthur Byron, Helen Ware,
No No
Mary Carlisle, Sheila Manners, Charles Sabin. •w
Story and direction by Frank Craven. Co-
lumbia.
WAKE UP AND DREAM » *
Russ Columbo, June Knight, Arthur Pryor.
This somewhat cynical theme emphasizes Direction by Kurt Neumann. Universal.
the futility of expecting any definite return
on kindnesses rendered: parents from their Unimportant though agreeable musical en-
children, or any benefactor from those he tertainment featuring a vaudeville trio who
may help. Arthur Byron gives the best per- are down and out until one of their members
formance as the down and out theatrical pro- gets a lucky chance and helps the others. The
ducer who outstays his welcome in a home plot in essence is hackneyed, but a movie
where he is supposed to have saved a life. with musical features combined with a story
Frank Craven and Helen Ware are satisfac- of loyalty and friendship seems to have peren-
tory in the roles of parents whose efforts to nial appeal.
guide their children meet with ingratitude. Adolescents, 12 to 16 Children, 8 to 12
It is a colorless story, too weakly motivated Harmless Little interest

I am inclosing $ .for. subscriptions to The Motion
Picture Reviews, from 193. to 193

1
Address
Other Addresses Inclosed.

MOTION
PICTURE
REVIEWS

NOVEMBER 1934
constant reference.
Feature Films Reviewed this Month Feature Films Suitable for Family
Among the Missing Entertainment
Anne Green Gables
of Anne of —
Green Cables Excellent.
Big Hearted Herbert
By Your Leave
—
Big Hearted Herbert Fair.
CharlieChan London —
in Mystery; good.
The Case of the Howling Dog
Charlie Chan in London Dude Ranger— Fair.
Cleopatra —
Great Expectation Mature.
The Defense Rests —
Kid Millions Good.
Desirable
The Dragon Murder Case
Mrs.Wiggs Cabbage
of the — Patch Good.
Wagon Wheels— Fair.
Dude Ranger
Elinor Norton What Woman Knows —
Every Good.
Enter Madame White —
Parade Good.
The Cay Divorcee
Great Expectations
Kansas City Princess
Kentucky Kernels
Kid Millions
Lemon Drop Kid
Madame Du Barry
The Merry Widow
Mrs. Wiggs of the Cabbage Patch
One Exciting Adventure
The Pursuit of Happiness
Redhead
School for Girls
Secret of the Chateau
Side Streets
Smarty
365 Nights in Hollywood
Student Tour
Wagon Wheels
We Live Again
Wednesday’s Child
What Every Woman Knows
White Parade

COPYRIGHT NINETEEN THIRTY-FOUR WOMEN’S UNIVERSITY CLUB
WEBBCRAFT PRINTERS. 2509 WEST WASHINGTON BLVD., LOS ANGELES


LOS ANGELES BRANCH
EDITORS
Vol. VI NOVEMBER, 1934 No. 5
FEATURE FILMS
THE AFFAIRS OF CELLINI * »
and and delightful characterizations
sincerity,
Constance Bennett, Frederick March, Frank will have wide appeal. Anne (“spelled with
Morgan, Fay Wray. From the stage play, an ‘e’ please”) is the child sent from the or-
“The Firebrand,” by Justus Mayer. Screened phanage into a household which expected a
by Bess Meridyth. Direction Gregory La boy. Her preposterous imagination, her ex-
Cava. 20th Century Picture released through travagant vocabulary and her lovable na-
United Artists. ture get her into many amazing situations
but so win the dour old maid and her bachelor
Frederick March’s Cellini is a tousel-
brother that they soon forget that they ever
headed incorrigible adult-infant whose vio-
wanted anyone else. It is beautifully handled.
lent exploits make him irresistible to the
O. P. Heggie and Helen Westley are as real
ladies. No less incorrigible but perhaps less
as life, and Anne Shirley is utterly charming.
adult is Frank Morgan’s Duke of Florence,
There isn’t a possible objection to this de-
fond of hanging his enemies and affection-
lightful and amusing tale, perfect for children
ately known to his girl friends as “Bumpy.”
and with perennial appeal to all grown ups
Frederick March more often cast as a young
who have not forgotten how to enjoy a homey
intellectual and inappropriate in a bluster-
story.
ing role, loses playing honors to Frank Mor-
gan, who makes an engagingly fatuous
Excellent Good, especially
tyrant. Others are adequate, not exciting.
over 0 years
1
Lavish costumes, glittering extravagance

cr
brighten the production, but do not make it
notable. AMONG THE MISSING » »
Adolescents, 12 to 16 Children, 8 to 12 Richard Cromwell, Henrietta Crosman, Billie
Sophisticated No interest Seward. From the story by Florence Wag-
NT ner. Screen play by Fred Niblo, Jr. and
Herbert Asbury. Direction by Al Rogell.
ANNE OF GREEN CABLES » »
Columbia.
Anne Shirley, TomBrown, O. P. Heggie,
Helen Westley. From the novel by L. M. This story is told simply and without un-
Montgomey. Adaptation by Sam Mnitz. due emotionalism and is coordinated by the
Photography by Lucien Andriot. Direction dominating purpose of an old woman to save
by George Nicholls, Jr. R-K-O. a boy from a life of crime. It is doubtful
Like “LittleWomen” this is another heart- whether the knowledge that punishment fol-
warming picturization of a loved childhood lows th'e crimes committed mitigates the
book, which, because of its genuine comedy influence of the criminal act itself, for the
major portion of the picture deals with the a plot involved enough to supply an unusual
planning and execution of burglary and the number of false clues and a plausible solution.
disposal of stolen goods. The theme is trite It will tax the sleuthing powers of experi-
but good acting lifts it above mediocrity. enced fans and keep them guessing while they
Adolescents, 12 to 16 Children, 8 to 12 shudder at the thought of a mournfully howl-
No No ing police dog and admire Warren William’s
competent handling of the role of detective.
» Adolescents, 12 to 16 Children, 8 to 12
BIG HEARTED HERBERT »
No; sordid
Cuy Kibbee, Aline MacMahen, Patricia Ellis,
No
implications
Phillips Reed. Play by Sophie Kerr. Direc- 'T'
tion by William Keighley. Warner Bros.
CLEOPATRA » »
Simple, broad comedy about a self-made
Claudette Colbert, Warren William, Henry
egotist whose family has to take him in hand
Wilcoxen, Ian Keith. Direction by Cecil
in order to teach him that bad manners are
B. DeMille. Paramount.
not necessarily concomitant with homely vir-
tues. If the production had had more re- Cecil B. DeMille is a magician who keeps
straint it would have been more artistic, but taking bigger and more expensive rabbits
it is hearty fun which many audiences will out of his hat for the edification of the public,
enjoy. and the public is usually entranced if not
Adolescents, 12 to 16 Children, 8 to 12 entirely fooled by his ingenuity. More lavish
Many laughs Little interest than ever, and most beautifully photographed
ir is “Cleopatra.” However, some early im-
pression, doubtless erroneous, gleaned from
BY YOUR LEAVE » »
Shakespeare or other source, inhibits us from
Frank Morgan, Genevieve Tobin, Neil Ham-
believing that Cleopatra was just the “little-
ilton. From the play by Gladys Hurlbut and
girl-trying-to-get-along” type of queen that
Emma B. C. Wells. Direction by Lloyd
this picture makes her and that Calperina
Corrigan. R-K-O.
and her satelites differed only in dress from
This satire accomplishes a certain purpose Broadway ladies at a pent-house party. There
by showing how absurd a middle aged hus- are nevertheless a few moments of great
band may be when he tries to renew his youth sincerity and intense drama and Claudette
by straying and finds that far fields are not Colbert is a lovely model upon whom to
so green as they looked. It is over-acted and display an array of gorgeous costumes.
tedious, although there are a few spots of Adolescents, 12 to 16 Children, 8 to 12
high comedy. Questionable No
Adolescents, 12 to 16 Children, 8 to 12 v
Too sophisticated No
DUDE RANGER » »
George O'Brien, Irene Hervey. From a story
CHARLIE CHAN IN LONDON » » by Zane Crey. Direction by Edward F.
Warner Oland, Drue Seyton, Mona Barrie, Cline. Fox.
Alan Mobray, Madge Bellamy. Screen play
based on Earl Derr Bigger’s stories. Adapted
A western which is unusually coherent in
plot. It lacks the ordinary confusion of wild
by Philip McDonald. Direction by Eugene
rides and gun play which some hardened
Forde. Fox.
movie fans may miss, but the story unfolds
Charlie Chan again summons laughter consistently and entertainingly if not with
with his clumsy, picturesque variations of any startling originality. A young Easterner,
our mother tongue, while he slowly but dex- upon inheriting a cattle ranch, goes west to
trously unweaves the tangled web of a fresh claim it. His identity is not at first recog-
mystery and extricates an innocent young nized and he takes the opportunity to locate
man. The story moves with a somewhat several thousand head of missing cattle, the
ponderous momentum in a very correct and responsible villain and finds romance as well.
beautiful English setting with fine views of Adolescents, 12 to 16 Children, 8 to 12
hunting and the shady countryside. If it interests Yes; fair
Fine Mature THE DEFENSE RESTS » »
•w
Jack Holt, Jean Arthur, Nat Pendleton, Ar-
THE CASE OF THE HOWLINC DOG » » thur Hohl. Direction by Lambert Hillyer.
Warren William, Mary Astor, Helen Tren- Columbia.
holme, Allen Jenkins. Direction by Alan This is a picture of the type of lawyer
Crosland. Warner Bros.
whose very existence must be deplored by
This murder mystery is fast moving with all intelligent people. Devoid of conscience
and any shred of honesty, he educates his drama in which a woman is married to a
perjury in order to win one case
clients in neurotic psycopath for whom the War has
after another until his racket is terminated completed the mental breakdown. Her own
by a woman attorney. The idea of reform affections are, of course, engaged elsewhere,
may be present in this connection, but as the and the final denouement is as absurd as
picture stands it seems an unnecessary por- it is unreal. The picture does not follow
trayal of an unscrupulous means of liveli- Mrs. Rinehart’s story except in characters
hood. and locale. Judged by its own merits alone
Adolescents, 12 to 16 Children, 8 to 12 it falls short of being interesting or enter-
No No taining.
v Adolescents, 12 to 16 Children, 8 to 12
DESIRABLE » » No; and uninteresting No
Jean Muir, George Brent, Veree Teasdale.
Direction by Archie L. Mayo. From a story
by Mary McCull, Jr. Warner Brothers First
ENTER MADAME » »
National. Elissa Landi,Cary Grant, Sharon Lynne,

Lynne Overman, Frank Albertson. From the
Granting the dismal fact that some stage play adapted by Gladys Lehman and
mothers are jealous of their own daughters, C. Brackett. Vocal music by Nina Koshetz
most audiences will find this an interesting and and Richard Bonelli. Direction by Elliott
not unpleasant treatment of the subject. In Nugent. Paramount.
this case the mother is an actress who so
clings to her youth that she is loath to allow This is noisy, rather broad comedy in
her daughter to grow up. When the daugh- w'hich Elissa Landi, a temperamental opera
ter unexpectedly comes home from boarding singer, surrounded by the equally excitable
school the mother’s problem becomes acute. and temperamental members of her house-
hold, finds difficulty in holding her conven-
Jean Muir as the young girl is unusually
appealing in her lack of sophistication and tional American husband. The most amus-
her self-*effacing desire to please her ing lines are given to her manager, whose
in
mother. Her romance with an older man, long experience in handling difficult situations
brings forth very apt and laughable remarks.
the mother’s friend, is developed logically
without exaggeration or sentimentality, and
But otherwise it is not as entertaining as it
might be. At least one burst of song was
the plot seems entirely possible.
spoiled by the impossibility of mentally
adapting Nina Koshetz’s voice to Elissa
Mature No interest
sr Landi’s personality.
THE DRAGON MURDER CASE » »
No value No, and no
Warren William, Helen Lowell, Margaret interest
Lindsay, Lyle Talbot, Eugene Pallette. Di- •w
rection by H. Bruce Humberstone. Warner
Bros. GREAT EXPECTATIONS » »
Henry Hull, Holmes, Alan Hale,
Phillips
According to the best procedure in mystery Walter Armitage, Jane Wyatt, Florence
dramas, each member of the cast must be
Reed, George Breakston, Jackie Searl, Ann
under suspicion by the audience before the
Howard, Rafaela Ottiano. From the novel
culprit is apprehended, and so the tale un- by Charles Dickens. Adaptation by Gladys
folds. To heighten the suspense there is Linger. Photography by George Robinson.
even the superstition of a green dragon Direction by Stuart Walker. Universal.
which lurks in the swimming pool of the
country estate. The cast is good, and the Here is an unusual picture well worth see-
only objection is to the excessive drinking ing. Dickens’ characters of a period in Eng-
which some people seem to think a necessary lish history removed from our experience,
adjunct of repeal. appear before us slightly caricatured as in

the book, but not too exaggerated to prevent
Not recommended No; morbid their seeming real and very human. More-
w over, for once cause and effect in conduct
and character development are definitely por-
ELINOR NORTON » »
trayed. This is rare enough in motion pic-
Claire Trevor, Hugh Williams, Gilbert Rol-
tures to cause comment. Pip, the orphan,
and. From the book “The State vs. Elinor
“raised by hand” by his unsympathetic and
Norton” by Mary Roberts Rinehart. Adap-
harsh elder sister, is forced, partly through
tation by Rose Frank and Phillip Klein.
fear but also through compassion, to aid an
Direction by Hamilton MacFadden. Fox.
escaping convict. Later this man’s gratitude
We have here a most unpleasant melo- changes his life, benefitting and embarrassing
him at the same time. The adaptation has growing out of a Kentucky feud, unfit it for
been very well done, cutting out many unes- children.
sentials but leaving a consistent story with Adolescents, 12 to 16 Children, 8 to 12
interest remarkably sustained. It is a long Poor, especially if No
picture but Stuart Walker never allows it sensitive
to become morbid or to drag. The cast is
excellent. The children are good and seem
KANSAS CITY PRINCESS » »
logically to develop into the older young
loan Blondell, Glenda Farrell, Hugh Herbert,
people, Pip, Estella and Herbert. Henry Hull
Robert Armstrong. Direction by William
is terrifying as Magnvitch in the graveyard;
Keighley. Warner Bros.
he is a sinister character when he comes to
visit the young man Pip; and then completely Two manicurists, whose slogan is that the
wins the audience, with Pip and Herbert, three things in the world which count are
when the story of his struggle against too “money, jack and dough,” practice gold-dig-
great a handicap in life is unfolded. Florence ging and “framing” from Kansas City to
Reed, too, is exceptionally fine as Miss Hav- Paris. The romantic interest is supplied by
ishman, half mad, half wise, realizing almost their gangster friends. The theme was
too late what she has done to the young worn long ago and the humor, though
out
people. We
think you will like this inter- farcical, is more vulgar than clever.
pretation of a Dickens classic. Adolescents, 12 to 16 Children, 8 to 12
Adolescents, 12 to 16 Children, 8 to 12 Certainly not No
Good, though Too mature
emotional
KID MILLIONS » »
Eddie Cantor, Ann Southern, George Murphy.
THE CAY DIVORCEE » »
Story and dialogue by Arthur Sheekman,
Fred Astaire, Ginger Rogers, Alice Brady, Nat Perrin and Nunnally Johnson. Songs by
Edward Everett Horton. Direction by Mark Walter Donaldson, Gus Kahn, Burton Lane,
Sandrich. R-K-O. Harold Adamson and Irving Berlin. Dances
by Seymour Felix. Color by Willy Pogany.
It the fashion to hurl brickbats at the
is
Direction by Roy Del Ruth. Sam Goldwyn-
rigid divorce system current in England, United Artists.
and here it is done in a light and merry
style for the sole purpose of diversion. Grace- A gay fantastic musical farce in which
ful, dance-skilled Fred Astaire is cast as Eddie inherits a fortune in Egypt and has
an unwitting co-respondent in the case startling adventures before he proves his
against an attractive young woman he has claim. The ballet work is excellent and the
met at the customs. Done in musical comedy effects are musically and rhythmically pro-
manner and embellished by rhythmic tunes, duced without the interpolation of cinematic
the beautiful exhibition dancing of Astaire
tricks. The last sequence in color is exquisite
and on the order of a Silly Symphony in its
and Ginger Rogers and the antics of Alice
charming details. A light vehicle for Eddie
Brady and Horton, the film offers relaxation
Cantor.
and amusement. Since a few questionable Adolescents, 12 to 16 Children, 8 to 12
lines can scarcely be avoided with such a
Probably good; a Little interest
theme, the picture is preferably for mature matter of taste except last
audiences.
sequence
Doubtful; not Unsuitable
recommended LEMON DROP KID » »
Lee Tracy, Helen Mack, Baby LeRoy. Direc-
tion by Marshall Neilan. From the story by
KENTUCKY KERNELS » » Damon Runyon. Paramount.
Bert Wheeler, Robert Woolsey, Spanky Mc- Lee Tracy is given as much importance
Farland. Story and screen play by Bert and almost as much sympathy in the role of
the quick-witted, dishonest “bookie” (which
Kalmar and Harry Ruby. Direction by George
is after all a rather low calling) as he is
Stevens. R-K-O.
when he becomes an honest citizen under the
A two comedians in
typical vehicle for the influence of a lovely young wife and later,
which they are impecunious vaudeville actors when he is reformed by the smiles of his
who adopt a baby. It is so absurdly impos- baby son. The earlier part of the picture
sibleand obvious that enjoyment is largely a is full of race track jargon, sometimes funny
matter of taste. But the destructive naughti- and sometimes difficult to distinguish. The
ness of Spanky and the apparent bloodshed story is interesting to follow, but in spite of
this fact and also of an element of deep grateful to the motion picture industry for a
human interest and a fine attitude towards good, wholesome family picture.
marriage, it does not rise above the level of Adolescents, 12 to 16 Children, 8 to 12
ordinary fare. Excellent Excellent for some, but
Adolescents, 12 to 16 Children, 8 to 12 too sad for emotional
Mediocre; no No children
MADAME DU BARRY » »
Dolores Del Rio, Reginald Owen, Veree
THE MERRY WIDOW » »
Teasdale, Anita Louise, Victor Jory. Ed-
Maurice Chevalier, Jeannette MacDonald,
ward Chodorov, author. Direction by Wil-
Edward Everett Horton, Una Merkel, Minna liam Dieterle. Warner Bros.
Combel. From the operetta by Franz Lehar. This production
is not intended as a deep
Direction by Ernst Lubitsch. M-C-M. or valuable portrayal of history. It gives
In this spectacular production the old theme no serious impression of the social unrest of
and favorite music come to us revamped, the period, the poverty and bitterness of the
with lovely costumes of another generation masses, contrasted with the luxury and ex-
and gorgeous settings. It is a typical musi- travagance of the court. Although DuBarry
cal comedy with mythical kingdom, a
a is shown showered with gifts, lavishly em-
princely lover and a lonely lady who won bellished and wantonly incorrigible in her
his lasting love after misunderstandings and desire for pleasure, she is pictured as appeal-
incriminations. It is gay, risque, alluring, ing to Louis XV
chiefly as a gay playmate
amusing and entertaining. rather than as the ambitious intriguing, sen-
suous courtesan which we have thought her.
Sophisticated Unsuitable There is little of politics. Rather the human,
amusing and lighter side of court life is
•v shown and the personal rivalries of the ladies
and the gentlemen who surrounded the King.
MRS. WICCS OF THE CABBACE PATCH » » Reginald Owen is exceptionally fine as
Pauline Lord, W. C. Fields, Zasu Pitts, Louis, sharing interest with Miss Del Rio.
Evelyn Venable, Kent Taylor, Donald Meek, Anita Louise is given an opportunity in her
role of Marie Antoinette with her tragic
Jimmy Butler, George Breakston, Virginia
marriage a high light of the film. It is
Weidler, Carmencita Johnson, Edith Fel- entertaining, gorgeously costumed and color-
lows. From the story by Alice Hegan Rice fully set with pageantry. It is easy to see
and Anne Crawford Flexner. Adaptation and as easily forgotten.
by Wm. McNutt and Jane Storm. Direction
Of no value Not suitable
Norman Taurog. Paramount.
It must have called for great courage on
the part of the producers and Miss Pauline ONE EXCITING ADVENTURE » »
Lord to attempt the difficult task of bringing Binnie Barnes, Hamilton, Paul Cava-
Neil
the much-loved Mrs. Wiggs to life on the naugh, Grant Mitchell. Story by Franz
screen. They are to be congratulated upon Schulz and Villie Wilder. Direction by
their success in presenting this staunch hero- Ernst L. Frank. Universal.
ine in a way that brings out all the virtues an individual has been “conditioned” by
If
for which she has so long been famous. The the exploits of “Raffles” and “Arsene Lupin”
popularity of the book has been due not only and other fascinating thieves, he will no
to its humor but basically to the very human doubt place the perfumed peregrinations of
appealing story of a fine character, the Rina Sorel, the beautiful kleptomaniac, in
woman who fought poverty, discouragement the same category, quite outside the realistic
and tragedy for her children’s sake, who realm, and will thoroughly enjoy this mystery
lived in a shack yet made it a home and with its glittering, modernistic settings. On
spread the influence of her admirable philos- the other hand, for those who take their plots
ophy throughout the community. literally and for young people it has bad
The picture is an accurate reflection of elements. Not only does it elaborate upon
the spirit of the book. Though some people methods of crime and the evasion of pun-
may wish it had presented incidents which ishment, but it makes all the officials of the
have been omitted and others that the law boors and simpletons held up to derision
comedy had been less slap-stick or the pathos by the glamorous people of the underworld.
not so long drawn out, most audiences will Adolescents, 12 to 16 Children, 8 to 12
thoroughly enjoy the production and will be Harmful Absolutely not
TKE PURSUIT OF HAPPINESS » * SIDE STREETS » »
Joan Bennett, Francis Lederer, Mary Boland, Aline MacMahon, Paul Kelly, Ann Dvorak.
Charles Ruggles. From the play “Bundling.” Direction by Alfred E. Green. Ann Garrick
Direction by Alexander Hall. Paramount. and Ethel Hall, authors. Warner-First Na-
tional.
Bundling may have been an old American
custom, but even in colonial days it appar- Whatever of interest there is in this picture
ently provoked censure. Certainly it was a is conrtibuted by Aline MacMahon. In the
startling innovation in courtship to the young role of a genuine, warm-hearted woman she
Hessian played so lightly and charmingly by befriends a penniless sailor, marries him,
Francis Lederer, and his sophisticated re- tries to develop in him an interest in her fur
actions will cause much pertinent laughter business and to teach him to become a worth-
from audiences who will enjoy this airy but while life partner. When she eventually dis-
somewhat audacious comedy. The cast is well covers that her faith and generosity have
chosen. Miss Bennett is lovely as the very been misplaced in her childish, philandering
nice girl who is attracted to the young for- husband she still “carries on.” Insofar as
eigner and who cleverly adapts to her own the picture develops the character study of
use the comments of the self appointed director this woman it is unusual and commands
of morals in her community. Mary Boland attention, but it is weakened by trite ramifica-
and Charles Ruggles add merriment in their tions of the plot, the intrigues of the husband,
roles. The film has been tastefully adapted and above all by a sentimental supposition
and directed, but will shock or amuse accord- that such a man would be metamorphosed
ing to one’s reactions toward jovial burlesque by the sight of an empty cradle and a trunk
of Americana. full of baby clothes.
Not recommended No Unsuitable No
SMARTY » »
REDHEAD » »
Joan Blondell, Warren William, Edward
Grace Bradley, Regis Toomey. Story by Everett Horton. Direction by Robert Florey.
Vera Brown. Direction by Melvin Brown. First National.
Monogram.
This extremely sophisticated farce satirizes
A head-strong, wayward youth and an frivolous divorce and the empty headed
artist’s model, whose beauty brings her unde- “baby doll” type of wife who deliberately
served publicity at times, decide to blackmail tyrannizes over her husband with tantrums
his wealthy father into buying off their mar- and wide-eyed innocence. It is cleverly
riage. But Father’s reaction is unexpected acted by an excellent cast, but is too audaci-
and the predicament in which they find them- ously risque to please conservative theatre-
selves forms the basis for a really human goers.
and amusing comedy drama, simple, unpre- Adolescents, 12 to 16 Children, 8 to 12
tentious, and entertaining. No No
Mature No
STUDENT TOUR » *
•w
Jimmy Durante, Charles Butterworth, Max-
ine Doyle. Direction by Charles F. Riesner.
SECRET OF THE CHATEAU » »
M-G-M.
Claire Dodd, Clark Williams, Jack La Rue,
Alice White. From a story by L. G. Bloch- Asilly picture, very poorly done, showing
man. Direction by Richard Thorpe. Uni- a round-the-world cruise of men and women
versal. college students. It incorporates all the
inanities and bad taste which are too often
The theft of a Gutenburg Bible and two
found in campus pictures. The interpolated
incidental murders form the foundation for
songs and dances do not redeem it.
a mystery drama which lacks most of the
attributes necessary to make it interesting.
No No
The flexible ethics common to many motion •w
pictures permit the girl to go free because
SCHOOL FOR GIRLS » »
she is the love interest, while the men in-
volved in the crimes pay the penalty pre- Sidney Fox, Paul Kelly, Charles Ray, Anna
scribed by law. Except for unusual lighting Q. Nilsson. Suggested by story by Kauff-
and photography the film has little to recom- man “Our Undisciplined Daughters.” Direc-
tion by William Nigh. Liberty Pictures Corp.
mend it.
Adolescents, 12 to 16 Children, 8 to 12 With unpardonably bad taste the inmates

No No of a girls’ reform school are all shown as
misjudged victims of circumstances, cruelly tween his love for both parents, but steeling
treated by a hardened superintendent. The himself to his unhappy, lonely life, is splen-
beautiful heroine, innocently associating with didly played by Frankie Thomas new to us —
a thief, is sent to the State School where, — and it is a happy solution when his jovial,
after incredible experiences, she is paroled bourgeois father sacrifices his own plans to
and married to the rich play-boy member of make a home for his son. It is a human story
the Board. It is unrelieved, mawkish senti- but serious and tragic in its implications.
mentality, glorifying the unfortunate victims Adolescents, 12 to 16 Children, 8 to 12
of social maladjustment. Unnecessary Unsuitable
Adolescents, 12 to 16 Children, 8 to 12 •w
No No WHAT EVERY WOMAN KNOWS » »
•w
Helen Hayes, Brian Aherne, Madge Evans,
365 NIGHTS IN HOLLYWOOD » » Lucile Watson, Dudley Diggs, David Tor-
James Dunn, Alice Faye, Frank Mitchell, rence, Donald Crisp, Henry Stephenson.
Jack Durant, Grant Mitchell. From a short From a play by Sir James Barrie. Adaptation
story by James Starr. Direction by George by Monckton Hoffee, John Meehan, James J.
Marshall. Fox. McGinness. Photography by Charles Risher.
Direction by Gregory La Cava. M-G-M.
This comedy concerning film folk is rather
like ginger ale which has stood too long. Why has this delightful, witty and pene-
One expects fizz and sparkle in a play which trating comedy been
so long in coming to the
presents the comeback of a once-famous di- screen? It seems perfectly adapted to the
rector through the vicissitudes of a dramatic medium. It has drama, suspense, conflict,
school and the rise of the newest blond star even “another woman” to harrass our hero-
in musical cinema, but somehow it is all ine. But if you do not know the story, we
rather flat. The film is harmless enough will not spoil it for you. It is delicious. The
morally. Alice Faye is pretty and attractive cast seems to have stepped out of Scotland.
and James Dunn consistently good, but there Even Helen Flays has that faint little “bu#r”
is nothing out of the ordinary to recommend in her accent, and who could more perfectly
it. personify the little lady whose charm is un-
Adolescents, 12 to 16 Children, 8 to 12 der such pertinent discussion? Brian Aherne
Waste of time No is John Shand, and Lucile Watson is the most
delightful, wise and sympathetic Countess
one could wish. Do not miss this “four star,”
WAGON WHEELS » »
green light “go” contribution to our movie
Randolph Scott, Gail Patrick, Billy Lee, entertainment.
Monte Blue. From the Zane Grey novel, Adolescents, 12 to 16 Children, 8 to 12
“Fighting Caravans.” Direction by Charles
Excellent Mature but good
Barton. Paramount. v
A
“Western” with a slight historical back- THE WHITE PARADE » »
ground of the trek of covered wagons over
Loretta Young, John Boles, Jane Darewell,
the Oregon Trail in 18+0. The hero is all
Sara Haden, Frank Conroy, Joyce Compton,
that one should be, the girl so pretty that her
June Cittleson, Astrid Allwyn. From a novel
acting is unimportant, and little Billie Lee
by Ryan James. Screen play by Sonya
is cunning and precocious. The scenery is Levien and Ernest Pascal. Jessie Lasky Pro-
interesting, songs around the campfires ex-
duction. Direction by Irving Cummings.
cellent, and the action is stirring and excit-
Fox.
ing. It is fair entertainment of its type but
not outstanding. We understand that only white, unem-
Adolescents, 12 to 16 Children, 8 to 12 ployed Americans are really safe villains for
Matter of taste Exciting most picture producers to use now. Other-
wise nations, professions and trades rise up
in protest. But it seems to us that doctors
WEDNESDAY’S CHILD » » and nurses have been long suffering and least
Karen Morley, Edward Arnold, complaining. However, as if in extenuation,
Frankie
Thomas, Frank Conroy. From the play by here is grand reparation. “The White Pa-
Leopold Atlas, adapted by Willis Colbeck. rade” is a real achievement, great entertain-
Photography by Harold Wenstrom. Direc- ment, and at the same time never losing sin-
tion by John Robertson. R-K-O.
cerity or honesty. It tells of the training
of a nurse from her probation period to
The subject of divorce is not new as film graduation, the interpretation of the ideals
material, but here more emphasis is placed of Florence Nightingale, and the girl’s inde-
on the problem of the child of a broken home cision between personal love and that of her
than is usual. The sensitive boy, torn be- work. It is genuinely emotional at times,
thrillingly dramatic, never maudlin, frequent- of class distinction during the Czarist regime:
ly very funny and always entertaining. The the love of a Russian peasant girl for a
characters as well drawn and full of variety young nobleman, his betrayal of her and his
and interest. The unusually effec-
lines are subsequent regeneration in an attempt to
tive, and hospital procedure is never violated atone for the wrong. Rouben Mamoulian
in any important interpretation. It glorifies has directed with excellent taste, appealing
and explains the nursing profession as no to audience intelligence and emotions in a
other picture or play has glorified or ex- sensitive and masterful way. The scenic
plained it. Loretta Young never gave a bet- backgrounds bring Russian life of the period
ter performance and rises to superb heights vividly before us. There are groupings of
in the scene when she is called before the figures against flat backgrounds which have
head nurses for a serious violation of house the attributes of modern murals. In fact, the
rules. We recommend this film highly. beauty of the settings in the earlier scenes
Adolescents, 12 to 16 Children, 8 to 12 make the plot subservient at times. But the
Good Mature atmosphere, the Russian types among the
•sr cast,the exquisite and authentic musical
background may be extolled in superlative
WE LIVE AGAIN » » terms. Anna Sten handles her role skilfully,
Anna Sten, Fredric March.From the novel shading the change in character with subtlety
“Resurrection,” by Leo Tolstoy. Adapta- and restraint. Fredric March gives his usual
tion by Maxwell Anderson, Leonard Pras- fine performance. It should have wide ap-
kins and Preston Sturges. Photography by peal to a discriminating audience who will
Gregg Toland. Direction by Rouben Ma- weigh the basic theme with intelligence. It
moulian. Samuel Goldwyn Production. is possible perhaps to misinterpret its social
United Artists. significance today.
Tolstoy’s story “Resurrection” has been Adolescents, 12 to 16 Children, 8 to 12
splendidly pictured. Those familiar with A tragic theme: depends Unsuitable
the book will remember it as a tragic story upon maturity
O
SHORT SUBJECTS
»
AFRICA: LAND OF CONTRAST » » DOMESTIC BLISTERS »
James A. Fitzpatrick Travelogue. M-G-M. Chick York, Rose King. Direction by Leslie
Pearce. Educational Pictures.
A pleasing picture with interesting selec-
tions, fine photography, clear announcing, Old style domestic comedy of quarreling
free from trite comments. Shows Algeria, husband and wife. Dull and vulgar.
Garden of Allah, Cape of Good Hope, City
of Durban, Victoria Falls. Family film. DUMBELL LETTERS » »
•w A Van Buren Production.
BETTY BOOPY PRIZE SHOW » » Acollection of actual letters with unin-

Max Fleischer production. Paramount. tentionally ridiculous messages. Not too long;
amusing. Family.
A
burlesque on old fashioned melodrama
which starts out well, but becomes too hectic. FLYING THROUGH HOLLAND WITH
Adults.
'V WILL ROGERS » »
Amity Pictures.
BLACK SHEEP » »
Terry Toon. Educational Pictures. From plane to Amsterdam; thence by canal

to Vollendam and Marken. The film then
Aninnocuous cartoon picturing a black
becomes a study of Dutch type and costume
sheep who called “wolf” too often. Only fair
accompanied by Will Rogers’ humorous but
production. Family.
kindly comments. Family.
v w
CITADELS OF THE MEDITERRANEAN » » GOING PLACES » »
James A. Fitzpatrick Travelogue. M-C-M. Lowell Thomas. Universal.
A travel film covering Gibraltar, the

fine Interesting travelogue including the Rus-
Alhambra and the Acropolis in Athens; pre- sian Riviera, shots of different African tribes
senting subjects of unusual interest and giv- and views of Venetian glass blowers at work.
ing informative comments. Family. Family.
THE GOOD SCOUT WILLIE HOPPER » » ONE HORSE FARMER » »
By P. A. Powers. M-G-M. Thelma Todd. Hal Roach. M-C-M.

A Sunday comic strip transferred to the Poorly conceived comedy of two girls who
screen picturing a Boy Scout’s day of good attempt to become farmers. Adults.
deeds. The extravagancies and crudities of
the “Funny Papers” appear here, and bur-
ORGAN RECITAL » *
lesques of Scout activities are in bad taste.
Mr. and Mrs. Jesse Crawford. Vitaphone.
Not recommended.
v Popular melodies illustrated by suitable
scenes. Organ music and photography good,
THE HAUNTED HOUSE » »
but production too slow to interest. Family.
Mickey Mouse. Walt Disney. United Artists.
•w
Mickey wanders into a house full of skele-
tons. Undoubtedly clever, it yet is macabre PARDON MY PUPS » »
Frolics Youth series.

of Direction by
entertainment, for the skill of the artist’s
dance and Charles Lamont. Educational.
handling of these creatures in
rhythm is actually terrifying. It is not recom- A human
little story of a boy who thinks he
mended for children’s matinees. is afraid of dogs until his sympathy is
v aroused. His little sister, played by Shirley
KEEPINCTIME » » Temple, helps him care for the dog which
Grantland Rice Sportlight. Announcing by wins his love. The film lacks sponteneity,
Ted Husing. Paramount. but on the whole is entertaining. Family and
junior matinees.
The importance of perfect timing in •w
sports is explained with significant illustra-
tions in pictures of well known athletes in SCREEN SNAPSHOTS » »
action. Marred somewhat by attempts at Columbia.

“wise-cracking,” but of special interest to all
movie which will please
Shots of stars
interested in sports. many. Family.
yr
LITTLE FELLER * »
Chic Sale. Direction by Jack Cummings.
SONCS OF THE COLLEGES » »
With Hal Roberts Band. R-K-O.
M-C-M.
Kaleidoscopic views of different college
A poem byBrininstool is illustrated by Chic
campuses accompanied by the schools’ most
Sale representing the sad old man whose
grandson has died, and who is disposing of popular songs: U.S.C., Yale, Cornell, Uni-
his pony and chaps.
versity of Chicago, Ohio State, Tulane, Army,
It is well done but very
sad. Adults. Too unrelieved for children’s
Navy, Washington, Harvard, Michigan,
entertainment.
Georgia Tech and Notre Dame. Music stir-
ring and well played, college views good.
It is interesting but might be cut into two
LIFE’S LAST LAUGH (No. 2) » »
showings to advantage. Family.
Comments
lumbia.
by Carl Stearns Clancy. Co- w
Curious, rare old inscriptions to be found STRANGER THAN FICTION (No. 2) » »
on gravestones in New England cemeteries; Announcer, Alois Havilla. Universal.
interesting and amusing. Adults. Similar to the “Believe It or Not” series,

yr this presents curiosities of the world in fairly
MACIC FISH » » interesting manner. Family.
A Terry Toon. Fox. yr
A spirited tale of the magic fish who was TRAPEZE ARTIST » »

caught and freed and who subsequently saved Krazy Kat Cartoon. Columbia.
the fisherman’s life. Pursuing figures marr Exaggerated, vulgar cartoon with the
value for small children, but some of the
theme song carried out by the story. Adults.
drawings are very good. Family. yr
sr
MILLER’S DAUGHTER » » VIVA WILLIE » »
Leon Schlesinger. Vitaphone. Willie Hopper, by P. A. Powers. M-C-M.
Two china figurines find their way to the This offshoot of the comic strip shows Wil-
attic among other stored bric-a-brac. All lie rescuing a Spanish dancer from a des-
come to Charming in color and occa-
life. perado. Some of the characters are terrify-
sional bits, lacks ingenuity and is guilty. of
it ing for small children. Too mediocre to
several examples of bad taste. Adults. recommend.
MOTION
PICTURE
REVIEWS

DECEMBER 1934
3
constant reference.
FEATURE FILMS REVIEWED IN FILMS SUITABLE FOR FAMILY

THIS ISSUE ENTERTAINMENT*
Babes in Toyland Babes in —
Toyland Fair for over ten.
Captain Hates the Sea, The
College Rhythm — Light entertainment.
The —Good.
Cheating Cheaters
Count Monte
of Cristo,
Chu Chin Chow
College Rhythm Walk—
Flirtation Excellent.
Count of Monte Cristo, The Girl ofMy Dreams — Fair.
Crimson Romance Heavens—Very

Hell in the tense.
Evelyn Prentice —Very
Imitation of Life emotional.
Firebird, The
Walk
Lost in —
the Stratosphere Fair.
Flirtation
Fugitive Lady Marie —Mature.
Gallante
Cay Bride Romance Manhattan —Good.

in
Girl in Danger Sequoia— Fine but exciting for children.

Girl of My Dreams
—
Silver Streak Excellent.
Gridiron Flash
Hell in the Heavens
Six Day —Amusing.
Bike Rider
I’ll Fix It * Afamily film means a film wholesome enough

Imitation of Life for family entertainment but not necessarily ap-
propriate for children unaccompanied by adults.
It’s a Gift
Jealousy
Lightening Strikes Twice
Limehouse Blues
Lost in the Stratosphere
Lost Lady, A
Marie Gallante
Menace
Pursued
Ready for Love
Romance in Manhattan
Sequoia
Silver Streak, The
Six Day Bike Rider
Unknown Blond
White Lies
Without Children
Woman in the Dark

COPYRICHT NINETEEN THIRTY-FOUR WOMEN’S UNIVERSITY CLUB


LOS ANGELES BRANCH
EDITORS
Address all communications to The Women’s University Club, 9+3 South Hoover St., Los Angeles, Calif.
Vol. VI DECEMBER, 1934 No. 6
NOTICE
The Editors regret that limited space precludes the publication of the children’s book list
which prepared annually by the California State Division of the A. A. U. W. Copies may
is
be secured for ten cents each in lots of less than ten, seven cents a copy in larger quantities
from the International Relations office of the American Association of University Women,
1634 Eye Street, Washington, D.C. The list gives explanatory notes on the books which are
classified as to age suitability and will be an invaluable assistance in choosing children’s
reading matter throughout the year.
O
FEATURE FILMS
BABES IN TOYLAND » » appeal otherwise is chiefly for children’s
Laurel and Hardy, Charlotte Henry. Direc- audiences.
tion by Cus Meins and Charles Rogers. Hal Adolescents, 12 to 16 Children, 8 to 12
Possibly amusing Not under ten
Roach Production. M-C-M. v
The loved characters of Fairyland walk
from the pages of Mother Goose to greet us CHU CHIN CHOW » »
from Toyland. Even Mickey Mouse and the Anna May Wong, George Robey, Thelma
Tuson, Fritz Kortner. Direction by Walter
Three Little Pigs are there in person, and
cavort to the melodies of Victor Herbert’s Forde. British Gaumont Production.
operetta, so popular a generation ago. It is An Arabian Nights tale connotes fantasy,

a lovely realm of unreality until the crass exaggeration and romance but never realism.
touch of materialism is introduced in pictur- We believe the chief fault of the film version
ing a bogey land with writhing crocodiles of Ali Baba and the Forty Thieves is that
and hairy, grinning apes to frighten little Bo it has been handsomely staged and skilfully
Peep and her friends as well as children in cast but the magic is dissipated by too faithful
the audience. The pursuit of these monsters, a portrayal of the diabolical behavior of the
the crash of the gates of Toyland and the thieving band. Otherwise, although disap-
prolonged fight cannot be easily dispelled pointing, the spectacle is colorful, tuneful and
even by the final triumph of the wooden entertaining. The familiar music is delightful,
soldiers. It is stupid to have had adult inter- and one could wish that better photography
pretation ruin the suitability of a film whose could have caught the full glamor, preferably
in color, which costumes and sets undoubtedly fight on opposing sides but whose similarity
gave the production. For American audiences of taste prompts them to fall in love with the
Anna May Wong adds distinction to an ex- same girl. Since both are aviators, a great
cellent cast. deal of flying is shown. A
jumbled story at
Adolescents, 12 to 16 Children, 8 to 12 what should have been its high point, and
Beastly cruel details Not advised unconvincing acting leave little to applaud
v save the hope expressed in the end that fu-
ture generations will live in an age when
THE CAPTAIN HATES THE SEA » »
Walter Connolly, Victor McLaglen, Wynne
war is no more.
Cibson, Alison Skipworth, John Gilbert, Helen
Vinson, Leon Errol. Original story and screen
No, too sordid No
play by Wallace Smith. Direction by Lewis •w
Milestone. Columbia.
THE COUNT OF MONTE CRISTO » »
On
leaving port the captain expresses his Robert Donat, Elissa Landi, Louis Calhern,
aversion for the sea and so contributes the
title; as he says the stupid, undesirable,
Sidney Blackmer, Raymond Walbum, O. P.
guzzling men and women on the trip from Heggie. From the novel by Alexandre
California to New York are typical of all Dumas. Adaptation by Philip Dunne, Dan
his passenger lists, he can scarcely be blamed. Totheroh and Rowland V. Lee. Direction
John Gilbert plays the role of writer who
by Rowland V. Lee. United Artists.
views his companions through an alcoholic
haze. There are also a pair of bond thieves, This is an interesting and exciting picture,
a notorious woman with a slightly sadistic an apparently conscientious effort to make an
husband and a Mexican gentleman en route adaptation worthy of Alexandre Dumas’
to a revolution, all running away from life. novel. It tells the romantic story of Edmond
It is a satirical farce in which each character Dantes, a young Frenchman of Napoleon’s
is subtly and skilfully exaggerated. It pokes time, who for private and political reasons
fun at pleasure trips where people are trying is incarcerated for twenty years in a dungeon
to have a grand time and brings out the of the Chateau d’lf until he makes a thrilling
salient reminder that we take with us the escape and, as the Count of Monte C-risto, re-
things from which we are trying to escape. turns to the world to plot and accomplish
However, the moral tone is low seeming to the ruin of his enemies. Though lacking the
condone various social weaknesses, and the sweep and force of Dumas’ novel the picture
situations are so faintly coordinated that for is excellent entertainment. Robert Donat as
the average spectator the production is de- the hero is handsome and aristocratic in ap-
cidedly lacking in coherence as well as in pearance and speaks his lines with real
good taste. distinction.
Impossible No Very good Too exciting and
v confusing
CHEATING CHEATERS » »
Fay Wray, Cesar Romero, Henry Armetta,
Frances L. Sullivan. Original story by Max COLLEGE RHYTHM » »
Marcin, adapted by Gladys Linger, Allen Joe Penner, Jack Oakie, Lanny Ross, Lyda
Rivkin, James Mulhauser. Direction by Roberti, Helen Mack, Mary Brian. Direc-
Richard Thorpe. RKO.
tion by Norman Taurog. Paramount.
A police woman, acting the role of diamond
“College Rhythm” offers the imbecilities of
thief, finds romance and saves her lover from
Joe Penner, the braggadocio of Jack Oakie,
illchosen associates. It is a lightly treated
some snappy new songs, and a boisterous
mystery play somewhat incoherently de-
veloped and ineffectual as entertainment.
chorus. APhi Beta Kappa and a football
star are rivals in all things, including love,
with honors about even as the final touch-
Not recommended No down. In the matter of entertainment value
yr
the spectator is the principal factor. Many
CRIMSON ROMANCE » »
people will enjoy the youthful exuberance of
Ben Lyon, Maritza, Eric Von Stroheim.
Sari the show, and others will suffer boredom al-
Direction by David Howard. Mascot Master most beyond endurance because of the exag-
Production. gerated conception of college characters and
Following the new trend in war pictures, the obvious brand of humor.
this one is built around the friendship of two Adolescents, 12 to 16 Children, 8 to 12
young men whose nationality forces them to Yes Enjoyable
EVELYN PRENTICE * » FUGITIVE LADY » »
William Powell, Myrna Loy, Una Merkel, Neil Hamilton, Florence Rice, Donald Cook.
Harvey Stephens. From the book by W. E. Story and screen play by Herbert Asbury
and Fred Niblo, Jr. Direction by Al Rogell.
Woodward. Direction by William K. How-
Columbia.
ard. M-G-M.
Some films provide acceptable entertain-
The popularity of Myrna Loy and William ment for uncritical audiences even though
Powell will undoubtedly attract audiences to they present an unoriginal plot depending
their new vehicle but the hackneyed theme improbable
upon melodramatic situations, in-
will arouse no sympathy or satisfaction when Lady”
cidents and false psychology. “Fugitive
the film is viewed. It is the story of a pre-
comes under this classification. It has enter-
occupied criminal lawyer whose attractive
taining qualities due to a good cast and well
wife is led into a silly liaison with a man she maintained suspense, but it tells an incredible
meets in a night club. His inevitable murder
tale of a beautiful working girl who is made
places the wife as defendant in the trial.
the innocent dupe of a racketeer and is saved
The many complications of the plot limit its from the penitentiary by a convenient train
dramatic treatment, the cocktail shaker is too
wreck and a gentleman who is contemplating
much in evidence to please all audiences, the divorce. As one may imagine, its ethical
court trial lacks dignity, and excellent acting
values are poor.
is wasted on the trite and overdone material. Adolescents, 12 to 16 Children, 8 to 12
Adolescents, 12 to 16 Children, 8 to 12 Not recommended No
By no means No tr
v GIRL IN DANGER » »
THE FIREBIRD » » Ralph Bellamy, Shirley Grey. Direction by

Ricardo Cortez, Vera Teasdale, Anita Louise, Ross Leiderman. Columbia.
Lionel Atwill. Based on a play by Lajos Again we have a crime picture which
Zilsky. Direction by William Dieterle. feebly tries to put over the fact that crime
does not pay. This one deals with a young
Warner Bros.
society girl who, bored with her own friends
This mystery melodrama has an interest- and pastimes, turns to anything that offers
ing Viennese setting and a mood of excite- her a thrill. She becomes involved with a
ment induced by the recurring use of Stra- handsome crook and helps him steal the
vinsky’s “Firebird” ballet music. The story famous Cortez emerald. The experiences that
is not unusual. It has a typical find-the-mur- follow, her kidnapping by a rival gang and
derer plot in which a mother, her daughter, the shooting and murders that she witnesses,
a governess and several others are suspected are enough to make her say glibly at the
of shooting a popular actor. Good direction end of the picture that she is through with
makes it better than average. thrills. But though the gunmen all pay for
Adolescents, 12 to 16 Children, 8 to 12 their lives of crime, she suffers no pangs of
Too sophisticated No remorse. The picture is only superficially
v entertaining.
FLIRTATION WALK » » Demoralizing Certainly not
Dick Powell, Ruby Keeler, Pat O’Brien.
sr
Direction by Frank Borzage. First National GAY BRIDE » »

Carole Lombard, Chester Morris, Nat Pen-
Warner.
dleton, Sam Hardy, Leo Carillo, Zasu Pitts.
This sort of picture sends audiences home Direction by Jack Conway. M-G-M.
relaxed, pleased and comforted that the world Fortunately few poorer pictures than this
is a good place after all. It tells of a gay little
one have been made. It is all about a gang
romance between the General’s daughter and of racketeers who kill one another to gain the
a private soldier who decided to become an
love of a gold-digger. It is intended to be
officer and a gentleman. It is a story of
comic, but murder and extortion leave a wry
youth, and Frank Borzage has caught that
taste even though the characters seem to find
spirit as he can so skilfully. There is music,
them amusing. We have read hopeful ar-
and fun and sincerity, with the ever thrilling ticles stating that gang pictures are passe,
setting of West Point for added interest. And
but while this may be true as far as serious
by the way, Pat O’Brien almost steals the pictures are concerned, we still find far too
show without adverse criticism, either, of any many so-called comedies featuring the under-
one of an excellent cast. world.
Excellent If it interests Impossible Impossible
» »
GIRL OF MY DREAMS » » I’LL FIX IT
Sterling Holloway, Mary Carlisle, Creighton Jack Holt, Mona Barrie, Winnie Lightner.
Chaney, Arthur Lake, Eddie Nugent. Direc- Author, Leonard Spigelgrass. Direction by
tion by Raymond McCarey. Monogram. Ray William Neill. Columbia.
The story combines a series of incidents in A political grafter tries to bribe a teacher
a small college, whereby vanity is deleted to pass his kid brother. She refuses, is dis-
from the character of a popular track star. missed, and the incident provides ammuni-
It is light, inconsequential farce, rather tion for the reformers. The ethics of the plot
senseless and long drawn out and handi- become very confused from this point and it'
capped by dearth of plot. does not ring true at any time.
Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12
Fair No interest No No
xr
-v
IMITATION OF LIFE » »
GRIDIRON FLASH » »
Claudette Colbert, Warren William, Louise
Eddie Quillan, Betty Furness, Grant Mitch-
Beavers, Fredi Washington, Rochelle Hud-
ell. Author, Nicholas Barrows. Direction
son. From the novel by Fannie Hurst.
by Glenn Tryon. R-K-O.
Adaptation by William Hurlbut. Direction
Afantastic story of a young convict who by John M. Stahl. Universal.
is paroled from the penitentiary because of
his ability to play football, and who is there-
Two concurrent plots are embodied in this
picture. One, a fairly trite example of the
by reformed. It follows the pattern of the
success story, has for its heroine a poor young
usual college movie; in other words, it is an
extravagant satire in which Eddie Quillan widow who becomes a sensationally success-
ful business woman; the other, much more
provides the laughter.
Adolescents, 12 to 16 Children, 8 to 12 fundamental and poignant, presents the
No problem of a colored mother who shares the
Not recommended
financial good fortune of the white woman
Amusing
but is unable to help her white mulatto
'W daughter to adjust herself to the stigma of her
negro blood. Structurally the second pit is
HELL IN THE HEAVENS » »
made subordinate to the first one in spite of
Warner Baxter, Conchita Montenegro, Rus- the fact that the colored mother is the center
sell Hardie, Herbert Mundin, Ralph Morgan. of all the real drama of the picture. Because
sentimental the film will undoubtedly gain
Based on the play “The Ace” by Hermann
wide popularity, but for critical audiences,
Rossman. Direction by John Blystone. Fox.
although it presents very high ideals, it lacks
Pictures based on aviation in the World proper balance and is too determined to bring
War are usually appreciated by men and boys tears even at the expense of artistic restraint.
more than by a feminine audience, and such Adolescents, 12 to 16 Children, 8 to 12
is likely to be the case with “Hell in the Interesting but mature Far too emotional
Heavens.” Baron von Richtofen, the most v
sinister and dramatic of the German aces is,
IT’S A GIFT » »
no doubt, the model for the baron of the
W. C. Baby Leroy, Kathleen How-
Fields,
film, hovering like the spirit of Death itself
ard, Jean Rouverol. Story by Charles Bogle
over the Allied air forces. The French hero-
and J. B. McEvoy. Direction by Norman
ine is slim and spirited and undeniably de-
McLeod. Paramount.
cent, the aerial combats are spectacular and
breath-taking and there is a fine feeling of Nonsensical slapstick like a comic strip in
comradeship between the men. However, the the newspaper which concerns an ineffectual,
picture is not one to make youth believe that henpecked head of a family who stubbornly
war is all glory because the whole drama stakes an inheritance on a mythical orange
is a study in the psychology of fear which grove in California. Chance alone protects
holds sway over all the flyers, from the ab- him from the results of his lack of business
ject, very young lieutenant to the bravest acumen. Much of the humor depends upon
aces, each of whom is haunted by horrible the shrewish comments of the wife and her
dreams of falling in flames. Unfortunately husband’s evasive reactions. The slapstick is
for dramatic unity the happy ending is so absurd and sometimes funny; the whole will
incredible that the audience is inclined to not strain one’s intelligence but may offer an
laugh. hour’s relaxation.
Very tense Terrifying Not elevating Not recommended
JEALOUSY » » film is a distasteful triangle, telling the story

Nancy George Murphy, Donald Cook,
Carroll, of a woman whose fiance is killed by a jealous
Inez Courtney. Direction by Ray William hubsand and who then tries to reconstruct
Neill. Columbia. her life by marrying a man for whom she
does not care deeply. Again love enters her
The happiness and future of a young prize
life and the situation has to be met anew.
fighter and sweetheart are endangered
his
For most audiences it is trash, too dull to
because of his unreasoning jealousy. He re-
ceives a hard lesson which changes his per-
attract attention. The cast and director de-
serve finer material.
spective. It is a desperately tragic story in
which some scenes are morbidly realistic. It
will shock sensitive spectators and has no By no means No
entertaining qualities. v
LIMEHO'JSE BLUES » »
Very unsuitable By no means
George Raft, Jean Parker, Anna May Wong,
•w
Kent Taylor. From an original story by Ar-
LIGHTNING STRIKES TWICE » »
thur Phillips. Direction by Alexander Hall.
Ben Lyon, Thelma Todd, Pert Kelton, Laura
Hope Crews, Skeets
Paramount.
Gallagher, Chick
Chandler, Walter Catlett. Direction by One is inclined to contrast this film with
Ben Holmes. RKO. “Broken Blossoms,” which had the same back-
An old theme is revamped when two young ground of the tough Anglo-Chinese quarter
men awake on a morning-after to discover of London, and one finds this falls far be-
that they have brought a fan-dancer and her low the standard in art as well as in depth
acrobatic husband to the home of a wealthy and sincerity. This Limehouse picture is a
and highly respectable aunt. There is jio crime thriller pertaining to a cold, sinister
dearth of plot, for presently they are also demi-Oriental, his Chinese mistress and a
involved in a murder mystery. The film has young white girl who has remained undefiled
its bright moments, a good deal of gay dia- in the midst of sordid surroundings. The
logue, humor and suspense, but it is not tale is exciting enough with good suspense
handled adroitly and misses the goal of a and atmosphere, but George Raft and Jean
first-rate production of the lighter class.
Parker have been cast in other far more con-
vincing roles, and Anna May Wong is given
Children, 8 to 12
little opportunity to display her real ability.
Not desirable No
w Adolescents, 12 to 16
No
Children, 8 to 12
No
LOST IN THE STRATOSPHERE » »
William Cagney, Eddie Nugent, June Col-
lyer. Direction by Melville Brown. Mono- MENACE » »
gram. Gertrude Michael, Paul Cavanaugh, Henri-
Friendly rivalry between two army avia- etta Crosman, John Lodge, Halliwell Hobbes.
tors includes even their attention to the “one Based on story by Philip MacDonald,
and only girl.” They are finally sent aloft adapted by Anthony Veiller. Direction by
together in a balloon and report ascending
Ralph Murphy. Paramount.
eighteen miles into the stratosphere. There
is the usual comedy and adventurous excite- For those who enjoy thrilling mystery
ment, the better man wins the girl and holds stories, here is one in which interest is well
his rival’s friendship, too. Fair family film. sustained throughout. The story opens in
Adolescents, 12 to 16 Children, 8 to 12 British East Africa during a torrential rain-
Of more interest to storm in which a dam is wrecked. The en-
boys Fair gineer responsible for its construction has
'r been persuaded against his better judgment
to leave his post for a bridge game. His re-
A LOST LADY » »
morseful suicide sets in motion a maniacal
Barbara Stanwyck, Ricardo Cortez, Frank plan to revenge the tragedy upon his wholly
Morgan. Adapted from the novel by Willa innocent companions of that evening. The
Cather. Direction by Alfred E. Green. scenic and sound effects are remarkably inter-
Warner Bros.
esting. Direction is good and, combined with
To use the title and credit Willa Cather a well rounded cast, makes the film better
with having any connection with this produc- entertainment than the actual plot warrants.
tion is in our estimation a great mistake. Miss Adolescents, 12 to 16 Children, 8 to 12
Cather is a notable writer who imbues her Emotionally tense. Too exciting and
stories with a rare quality of spirituality. The Depends on taste. emotional.
MARIE CALANTE » » deems several scenes. The title seems to be a

Spencer Tracy, Ketti Gallian, Ned Sparks, misnomer.
Based on the Adolescents, 12 to 16 Children, 8 to 12
Helen Morgan, Leslie Fenton.
Not recommended No
novel by Jacques Deval. Direction by Henry
King. Fox.
ROMANCE IN MANHATTAN » »
Exciting pictures taken in the engine rooms Francis Lederer, Ginger Rogers, Jimmy But-
of the Panama Canal locks, strange and sin- ler. Story by Norman Krasna and Don
ister types of humanity, everyday objects Hartman. Adapted by Jane Murfin and
photographed from new angles, and a wist- Edward Kaufman. Directed by Stephen
fully piquante French heroine contribute to Roberts. R-K-O.
the unusual qualities of this enthralling story
This unassuming little story is genuinely
of the foiling of a plot to blow up the fleet
Watching the dramatic because it deals with people who
of the United States Navy.
seem real and whose problems are real, too.
unfolding of the story is like tasting an en-
It concerns a bewildered immigrant from
tirely new and delightful food the flavor of
Czecho-Slovakia, who finds that he cannot
which seems slightly familiar yet so elusive
legally enter the United States. What he
that only by the greatest concentration can
does then and how he satisfies the authorities
itsseasoning be analyzed. Unlike the aver-
later make amusing entertainment worth
age thriller this presents a really interesting
seeing, because it is sincere and human. It is
problem, the characters are cleverly drawn,
optimistic, with success the result of ambition
the secret service men are more intelligent
and endeavor.
than the criminals they are seeking, and the
whole thing has an air of authenticity that
Fine Mature
would do credit to a newsreel. It is stimu-
lating entertainment and should set a new
V
style in detective stories. SIX DAY BIKE RIDER » »
Adolescents, 12 to 16 Children, 8 to 12 Joe E. Brown. Direction by Lloyd Bacon.
Mature but interesting Too involved. No First National.
interest
v A small town telegraph operator’s jealousy
of a trick bicycle rider’s attentions to his girl
PURSUED » » results in the young man trying his own skill
Rosemary Ames, Pert Kelton, Russell Hardie, in an endurance test. It is absurdly farcical,
Victor Jory. Direction by Sam Wurtzel. Fox. and also exciting. Good fun for family audi-
ences.
A young man, heir an island plantation
to
off the coast of Borneo, has been black-jacked
Amusing Amusing
by a villain who
covets his land, but a night XT
club girl rescues him and nurses him back to
health. Anyone over ten years old will know
SEQUOIA » »
Jean Parker, Russel Hardie, Paul Hurst. From

what happens after this, but in spite of its
novel “Malibu” by Vance Hoyt. Direction
obvious plot, the picture is sufficiently inter-
esting. Its tropical setting, its sincere love
by Chester M. Franklin. M-G-M.
story, the humor of one character and good “Sequoia” is a very unusual film, a really
acting by Victor Jory put it in the category of remarkable one because of the exquisite
satisfactory entertainment. scenes of animal wild life in natural settings.
Adolescents, 12 to 16 Children, 8 to 12 It is amazing to have been able to catch so
No No realistically the feeling of perfectly uncon-
scious behavior in these wild creatures. Jean
Parker in the role of a young nature lover,
READY FOR LOVE » »
finds two orphaned infants of the woods, a
Ida Lupino, Richard Arlen, Marjorie Ram- puma cub and a baby deer. She decides to
beau. From the novel by Roy Flannagan. prove her theory that she can make them
Adaptation by P. McEvoy and William friends through environment and training.
J.
The action is thrilling, the story fascinating
Slavens McNutt. Direction by Marion Ger-
and absorbing. Unfortunately the producers
ing. Paramount. felt it necessary to exaggerate human cruelty
An
absurd comedy about the predicament and villainy and to discredit legitimate hunt-
of a young girl who is mistakenly suspected ing thus sentimentalizing it for men’s audi-
of having a past. Her actress mother sends ences and rendering it too emotional for
her to live with an aunt in a small town and younger children.
there the trouble begins. The action is slow Adolescents, 12 to 16 Children, 8 to 12
and rather tiresome but amusing dialogue re- Exciting, but fascinating Positively not under 1
THE SILVER STREAK » » posed to show the effect upon children of the
Sally Blane, Charles Starrett, Hardie Al- estrangement of parents and subsequent re-
bright, William Farnum. From a story by marriage. The story seems more or less
Roger Whately. Direction by Thomas At- manipulated to prove the point but fails to
kins. R-K-O. do so. The hard-boiled youngsters exhibit
admirable qualities as soon as their respected
We can recommend this picture with real mother decides to “go modern,” and the erring
zest. For sheer excitement, swift action, father returns from his prolonged holiday
wholesome motivation and timeliness it is abroad to become a model parent. There are
entertainment of the first rank. The lime-
comedy scenes to relieve the serious tone, but
light is held by an ultra modern stream line
neither comedy nor tragedy touches the fun-
train that makes a record trip across the con-
damental realities of life.
tinent to bring a life saving device to Hoover
Dam. The persons of the drama are less Mature No interest
important though adequately portrayed as 'W
wholesome, normal individuals whose per-
sonal lives are affected by the success of the WHITE LIES » »
“Silver Streak” in its thrilling speed test. Walter Connolly, Fay Wray, Victor Jory.
Interesting photography of machinery, scenes Direction by Leo Bulgakov. Harold Shumate,

of the Hoover Dam, the Chicago Fair and author. Columbia.
the country over which the “Silver Streak”
travels add much interest. A stupid “gun-toting” melodrama with a
confused plot. It is supposed to show what
Children, 8 to 12
Excellent Good but possibly too
harm can be done by a newspaper man who
ruthlessly publishes news without regard to
exciting for some
xr the effect it may have upon persons involved,
but it is so poorly presented, so badly moti-
UNKNOWN BLOND » »
vated and so completely unreal that it has no
Edward Arnold, Helen Eddy, John Miljan,
entertainment value.
Arietta Duncan,Barry Norton, Dorothy Adolescents, 12 to 16 Children, 8 to 12
Revier. From the story "Collusion” by Theo- No Impossible
dore Irwin. Direction by Hobart Henley. w
Majestic Pictures.
WOMAN IN THE DARK » »
An unsuccessful lawyer who is too honest Fay Wray, Ralph Bellamy, Melvyn Douglas
to handle framed up divorce cases changes From a story by Dashiell Hammett. Direc-
his ethical outlook when his wife divorces
tion by Phil Rosen. Select Productions re-
him through trickery. At this point the pic-
ture becomes a study in easy and dishonest leased through RKO.
divorce methods and proceeds to a melodra- That an adaptation of a novel
the story is
matic climax when the lawyer again meets by Dashiell Hammett will attract admirers
unforseen circumstances which touch him per- of his mystery tales, but this picture will
sonally. The acting is good, especially that prove a decided disappointment. It is so
of Edward Arnold and Arietta Duncan, but crudely handled that one can hardly tell
the story is an unpleasant one, and the change whether or not it is good screen material.
of title from “Collusion” to “Unknown Blond” Actually lack of taste is its worst fault but
does not make the theme any more agreeable. it is also far behind the standards of recent
Adolescents, 12 to 16 Children, 8 to 12 pictures in continuity and reality. The plot
Unpleasant and Entirely concerns a young man once sentenced for
unsuitable. unsuitable. manslaughter, who after his release from
prison, is framed by a depraved and vicious
WITHOUT CHILDREN » » character. The whole lacks conviction and
interest.
Bruce Cabot, Evelyn Brent, Reginald Denny.
Directed by William Nigh. Liberty Corp. Adolescents, 12 to 16 Children, 8 to 12
No No
This is another story of divorce in a typical
middle class American home, and it is sup-
SHORT SUBJECTS
ALADDIN AND HIS WONDERFUL LAMP DISCONTENTED CANARY » »
Color cartoon. Allied. M-G-M.
A grotesque interpretation of the old story Charming cartoon of a canary who, weary
but rather amusing. Family. of hiscage, escapes to the outside world
where he is frightened by hostile birds and a
cat until he returns to the shelter of the cage.
BEAUTIFUL DAMES » »
Done in color. Family and junior matinee.
Color cartoon. Vitaphone.
v
Toys in a shop window befriend a lonely
little orphan. A charming fairy tale; excel-
FLYING PIGSKINS » »
Columbia.
lent for children.
v Football as played the world round by boys
BEVERLY HILL BILLIES » » and men. Family.
In color. Amity.
v
Showsoriginal mountain home of the Bev-
FLYING THROUGH SWITZERLAND » »
Will Rogers. Amity.
erly Hill Billies and their discovery by the
radio manager. Accompanied with music. Exquisite pictures of this beautiful country
Interesting and pleasing. Family. with amusing comments by Will Rogers.
Family.
BOSCO’S PARLOR TRICKS » »

GOOD BADMINTON » *
M-C-M. Pepper Pot. Vitaphone.
Fair color cartoon of Bosco’s silly antics. Badminton illustrated in detail by Jess
Family. Willard. Family.
•v sr
BOSTON TEA PARTY » » COOD GOLFERS START YOUNG » »

Columbia.
See America First Series. Vitaphone.
Golfers from four years old up demonstrate
Excellent collection of historical pictures of the game. Family.
the Revolutionary era. Family. v
•v
COOD LUCK BEST WISHES » »
BUDDY’S ADVENTURE » » Educational.
Looney Tune. Vitaphone. The Pickens sisters and Sally Ward in a

domestic musical farce which is rather fun.
Two children go up in a balloon and land
Family.
in “Sourtown” where everyone is glum.
Family.
xr GOOFY MOVIES » »
Pete Smith announcer. M-G-M.

CROSS ROADS OF THE WORLD » »
Supposed to show behind the scenes of
Magic Carpet. Fox. movies. Uninteresting.
Excellent travelogue of Singapore and Malay
v
jungles. Family. GOOFY MOVIES No. 8 » »
v Pete Smith. M-G-M.
DARTMOUTH DAYS » » Fashions of 1913 and a supposedly French

Pete Smith oddity. M-C-M. movie. Family.
•w
Splendid pictures of the college with an
GRANDFATHER’S CLOCK * »
introduction to its sports and traditions.
Toodletale. R-K-O.
Family.
v Two children go to dockland where clocks
are alive. Very good for family.
DESERT DANCERS » » v
Ed O’Tool. HEADLESS HORSEMAN » »
Studies of reptile and insect life with photo- Color cartoon. Allied.
graphs of man handling the creatures. Ex- An amusing adaptation of the legend of
citing and interesting. Family. Sleepy Hollow. Family and junior matinee.
HELLO, SAILORS » » KEEP IN SIGHT » »
Tom Patricola. Fox. Betty Boop. Paramount.
Sailors and marines on leave in New York Betty shows imagined autos and household
are rivals for the attention of two girls. Not articles of the future.
Little interest for chil-
a children’s picture. dren. Family.
HIS LUCKY DAY » » LADIES THAT PLAY » »

Ernest Truex, Josephine Dunn. Fox. Paramount.
comedy of the misfortunes of a sales-

Silly Women's orchestra, girl singer. Fair musi-
man trying to entertain a prospective custo- cal number.
sr
mer. Poor.
v LIFE’S LAST LAUCHS (No. 1) » »
HOLIDAY LAND » » Columbia.
Color cartoon. Columbia.
Curious epitaphs taken from old New Eng-
delightful tale of a little boy who wishes
A land headstones, showing the actual stones
every day were a holiday. Father Time and inscriptions. Accompanied by a talk. No
grants his wish in a beautiful dream. Excel- interest for small children.
lent for family and junior matinees.
HOLLAND IN TULIP TIME » » LITTLE BIRD TOLD ME » »
Fitzpatrick Travelogue. M-G-M. Toodle Tale. R-K-O.

James A.
Very beautiful color picture of Holland and A little boy is shown how the bird news-
its tulip fields. Family. paper is printed. Delightful family and junior
matinee picture.
HOLLYWOOD GADABOUT » »
Treasure Chest. Fox. THE LITTLE DUTCH MILL » »

Max Fleischer. Paramount.
Movie people at film star frolic. Amusing.
-v Fairy story, in color, of two Dutch children
who help reform a wicked miser. A little
HOLLYWOOD RHYTHM » »
scary for small children but otherwise good.
Paramount. Family.
Two
song writers struggle to fit words and
v
music for production. Fairly entertaining. MICE IN COUNCIL » »
Mature. Terrytoon. Fox.

'W
Amusing cartoon of cats and dogs at war.
HOT SANDS » »
All ages.
Terrytoon. Fox. •w
Fair cartoon burlesque of an Arabian MONKEY SHINES » *

Nights Tale. Family. Paramount.
ye
Remarkable photographs of a trained
HOUSE WHERE I WAS BORN » » monkey doing amazing tricks. Family.
Fox. yr
Sentimentalized musical number. Only fair. NERVE OF SOME WOMEN » »

Paramount.
Feats of daring performed by women. In-

IN FAR MANDALAY » »
teresting for family.
Magic Carpet Series. Fox.
Unusual and exquisite travelogue of a visit

NIFTY NURSES » *
to Burma. Family.
w Fox.
JOLLY LITTLE ELVES » » A musical burlesque on surgical and hos-

pital technique. Rather inane; enjoyment
Cartune Classic in color. M-G-M.
depends on taste. Adults.
This charming story is told in song. An v
old shoemaker befriends an elf who in grati-
tude summons all the other elves to help make
OLD PIONEER » »
Color cartoon. M-G-M.

shoes. Delightful family film and junior
matinee. Excellent dramatization of pioneer life
Twelve Motion Picture Reviews
produced delightfully. Fine for family and RHYTHM IN THE BOW » »

children’s matinees. Merrie Melodie. Vitaphone.
NT
A hobo fiddler’s adventure. Amusing for
OVAL PORTRAIT » » family.
An amateur production made by the stu- xr
dents in cinematography at the University RUGBY » »
of Southern California. Student director Pete Smith oddity. M-C-M.
Richard L. Bare. From the story by Edgar
Allen Poe. Silent with musical accompani- Very interesting study of the game, its his-
ment. tory and its modern adaptation. Excellent
for family and junior matinees.
This surprisingly good amateur work.
is v
The atmosphere of gloom and dread is well
drawn to orient the audience to the mood of SCRAPPY THE CONCERT KID » »
the story, and the young cast does very well. Columbia.
It is interesting to adults and adolescents, Silly cartoon of a child prodigy who does
but probably not to children. not wish to perform.
PARAMOUNT PICTORIAL (No. 4) » » SECOND-HAND HUSBAND * »
Entertaining assortment of interesting sub- Tom Howard. Fox.

jects.
-v
A dull domestic comedy not in the best of
taste.
PASTRY TOWN WEDDING » » w
R-K-O. SHAKE YOUR POWDER PUFF » »
Color cartoon of wedding preparations in Merrie Melodie cartoon. Warner.

a pastry shop. Good. Family. Revue of farm animals dressed as people.
In poor taste. Adults.
PATHE TOPICS (No. 1) » * •w
Good, interesting subjects, satisfactory an- SOUVENIR (No. 2) » »

nouncing. Paramount.
Old silent movies and the first talkie res-
PHIL SPITALNY AND MUSICAL QUEEN » surected. Entertaining for family.
Vitaphone. w
Fairly entertaining. A women’s orchestra STRIKES AND SPARES » *
and chorus with several musical solos and a M-C-M.
Pete Smith oddity.
solo dance. Family. Bowling explained and illustrated. Excel-
•w
lent for family.
PILGRIM DAYS (No. 1) » » v
See America First. Warner. SUPER STUPID » »
Patriotic reminders of historical events. Vince Barnett. Fox.

Family. A silly slapstick comedy of men who try
to make money in devious ways.
POLO THRILLS » »
Sport. Columbia. SWITZERLAND THE BEAUTIFUL » »
Travel Talk. M-G-M.
Interesting and authentic picture of polo,
ending with an international game. Family. Exquisite Swiss scenery showing many
w lovely wild flowers. Good accompanying
talk. Family.
PRO FOOTBALL » »
•v
Pete Smith oddity.
TAKE A LETTER PLEASE » »
College experts, now professionals on the Master Arts.
“Chicago Bears” team, illustrate their perfect
Attempted comedy in dictation of business
performances. Very entertaining. Family.
man. Very poor.
QUEEN OF HEARTS * »
TOM TOM THE PIPER’S SON » »
Allied. Terrytoon. Fox.
Color cartoon with some vulgarities in Nursery rhymes sung and illustrated.
which Jack and Queen of Hearts come to life. Pleasing for family.
Motion Picture Reviews Thirteen
TAKING CARE OF BABY » » VIVA BUDDY » »

M-G-M.
Smith oddity. Looney Tunes. Leon Schlesinger. Warner.
A clever, amusing and instructive picture A shooting, smashing, slam bang take off
of the right and wrong ways to care for a of Wallace Beery as Pancho Villa. Dull for
baby. Family. adults. Poor for children.
TALE OF VIENNA WOODS * »

M-G-M. WATERLOO » »
Beautiful fairy tale with lovely music. A Krazy Kat. Columbia.

deer wanders into a garden and falls in love Krazy Kat impersonates Napoleon. Amus-
with the statue of a faun. Done in color. ing family cartoon.
Family.
~w
TOYLAND BROADCAST » *
WITH THE FOREIGN SERVICE » *
Photographic adventures with a camera-
M-G-M.
man. Fox.
Fun in a toyshop when the toys dance and
Assorted views of Asiatic and European
sing. Charming family picture in color.
countries, too constantly changing to permit
yr
audiences to absorb anything. Adults.
VAUDEVILLE (No. 1) » »
Vitaphone.
Vaudeville acts. Family.

Fourteen Motion Picture Reviews
INDEX, JULY TO DECEMBER, 1934
FEATURE FILMS
Girl from Missouri, The August
in Danger
A Girl
My Dreams
December
Girl of December
Affairs of Cellini, The November Girl of the Limberlost, The October
Age Innocence
of September Grand Canary August
Among the Missing November Great Expectations N ovember
Anne of Green Gables November Great Flirtation, The July
Gridiron Flash December
B
Babes Toyland
in December
Baby Takes a Bow July Hat, Coat and Glove August
Bachelor Bait -
August Have a Heart October
Barretts of Wimpole Street, The September Hell Cat July
Belle of the Nineties October Hell in the Heavens December
Beyond the Law September Here Comes the Groom July
Big Hearted Herbert November Here Comes the Navy September
Blind Date - September He Was Her Man July
Born to be Bad August Hide-Out September
British Agent - August His Greatest Gamble July
BulldogDrummond Strikes Back October Housewife September
By Your Leave November Human Side, The October
Human Bondage (See Of Human Bondage)
c
I
Captain Hates the Sea, The December
Caravan - September I Give My Love - - July
Case of the Howling Dog, The November I’ll Fix It - . . December
Cat’s Paw, The September Imitation of Life - - December
Chained October It’s a Gift - - December
Charlie Chan in London November
Charlie Chan’s Courage July
'
Cheating Cheaters December
Chu Chin Chow December Jane Eyre - August
Circus Clown September Jealousy . - December
Cleopatra - November Judge Priest - September
T«l,r
Cookeyed Cavaliers
College Rhythm December ^
lv
Count of Monte Cristo - December
Crimson Romance December Kansas City Princess - . November
Cross and the Sword, The August Kentucky Kernels - - November
Key, The - - August
D Kid Millions - - November
Kiss and Make Up - . July
Dames - September
Dangerous Corners October
Death on the Diamond October
Defense Rests, The November Ladies Should Listen - . August
Desirable N ovember Lady by Choice - - October
Down to Their Last Yacht September Lady is Willing, The - . September
Dragon Murder Case, The November Lemon Drop Kid . . November
Dude Ranger N ovember Let’s Talk It Over - - July
Let’s Try Again - - July
E Lightning Strikes Twice - - December
Limehouse Blues - - December
Elinor Norton November Little Man What Now? - - July
Elmer and Elsie August Lost in the Stratosphere - - December
Embarrassing Moments July Lost Lady, A - - December
Enter Madame November Love Captive, The - - July
Evelyn Prentice December Love Time " October
F M
Firebird, The December Madame Du Barry November
Flirtation Walk December Man With Two Faces, The - September
Fog Over Frisco July Marie Gallante - - December
Friday the Thirteenth - August Menace - . December
Fugitive Lady December Merry Frinks, The
....
. -
July
Merry Widow, The - - N ovember
Midnight Alibi October
c Million Dollar Ransom - - September
Gay Bride December Mrs. Wiggs of the Cabbage Patch - November
Gay Divorcee, The November Most Precious Thing in Life - - July
Gift of Gab October Murder in the Private Car - - - July
Motion Picture Reviews Fifteen
N Silver Streak, The December
... Six Day Bike Rider December

November
Name Woman
... Smarty -
the September
Notorious Sophie Lang, The August Stamboul Quest August
Now and Forever August Straight Is the Way September
Strictly Dynamite July
0 Student Tour November
T
Of Human Bondage
Old Fashioned Way, The
One Exciting Adventure
One More River
August
August
November
September
That’s Gratitude
Their Big Moment
....
... October
August
November
One Night of Love
Operator 13
Outcast Lady .... September
July
October Treasure Island
Two Heads on a Pillow
....
365 Nights in Hollywood
There’s Always Tomorrow
...
October
September
October
p
r
U
Paris Interlude
... - August
Peck’s Bad Boy
Personality Kid,
Pursued
Pursuit of Happiness,
....
The
The
September
August
December
November
Unknown Blond
Virgie Winters
V
-
- December
July
p
K
W
Ready for Love
Redhead
Return of the Terror
.... The
December
November
August
September
Wagon Wheels
Wake Up and Dream
November
October
November
Richest Girl in the World, Wednesday’s Child
Romance in Manhattan December We Live Again Novebmer
Romance in the Rain September We’re Rich Again July
What Every Woman Knows November
c December
School for Girls ...

....
j
November
November
White Lies
White Parade, The
Whom the Gods Destroy -
Without Children
November
August
December
Secret of the Chateau
...
- - -
Sequoia December Woman Dark

in the December
World Moves On, The September
Servants’ Entrance
She Learned About Sailors
She Loves Me Not
She Was a Lady
...
...
October
July
August Y
Shoot the Works
Side Streets
-
.... September
July
Novemebr
You Belong to Me - - - September


Picture Reviews, from 193 to ..193

1
Name
Address

Scanned from the collection of
Margaret Herrick Library
Academy of Motion Picture Arts and
Sciences
Coordinated by the
Media History Digital Library
www.mediahistoryproject.org
Funded by a donation from

University of South Carolina Libraries and
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