Motion Picture Reviews (1937)

MOTION PICTURC
RTVICWS
WOMENS UNIVEKITV CLUB
LOS ANG CLES. CALIF
Vo L. XI 1937
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in 2016 with funding from
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MOTION
PICTURE B
REVIEWS
THE WOMEN’S UNIVERSITY CLUB

LOS ANGELES, CALIFORNIA
JANUARY, 1937
For practical use we suggest filing bulletins where they may be
easily accessible for reference. Films are not released simultane-
ously over the country. You will need these reviews for constant
reference.
Feature Films Reviewed In This Issue
After the Thin Man Jungle Princess

‘Arizona Mahoney Love on the Run
‘As You Like It ‘Mind Your Own Business
Banjo On My Knee Mysterious Crossing
Beloved Enemy Night Waitress
Black Legion ‘One in a Million
‘Born to Dance One Way Passage
Camille ‘Pennies From Heaven
‘Champagne Waltz The Plough and the Stars
‘Conflict ‘Racing Lady
The Country Gentleman Rembrandt
Crack-Up Sinner Take All
Criminal Lawyer Stolen Holiday
‘God's Country and the Woman ‘Stowaway
‘Gold Diggers of 1937 That Girl From Paris
‘Great Guy ‘Thiee Smart Girls
The Great O'Malley ‘Trail Dust
John Mead's Woman White Hunter
•Film suitable for family entertainment but not necessarily appropriate for children under
12 or for children unaccompanied by adults.
BRANCHES COOPERATING
Long Beach: Mrs. H. A. Barr,Chairman Whittier: Miss Jeanette Purdue, Chairman
Glendale: Mrs. H. B. Payne, Chairman Santa Monica: Mrs. Wilmer Morby, Chairman
Motion Picture Reviews is fully protected by copyright and nothing that appears In it may be
reprinted, either wholly or in part, without special permission.
THE WOMEN'S UNIVERSITY CLUB

ANGELES BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN
LOS
943 South Hoover Street • Telephone DRexel 2022
Copyright Nineteen Thirty-Seven Women's University Club
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. Chester A. Ommanney, Preview Chairman
Mrs. Thomas B. Williamson, Assistant Preview Chairman
Mrs. Alexander Montague, Subscription Chairman
EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall
Mrs. Alexander Montague Mrs. Walter Van Dyke Mrs. John Vruwink
A ddress all communications to
The Women’s University Club, 943 So. Hoover St., Los Angeles, Calif.
10c Per Copy - - $1.00 Per Year
Vol. XI JANUARY 1937 No. 1
• •
FEATURE FILMS
AFTER THE THIN MAN blackground, the drinking and the rowdy
William Powell, Myma Loy, James humor. Expert handling makes the picture at
Stewart, Elissa Landi, Joseph Calleia, once thrilling and highly amusing.
Jessie Ralph. From the story by Adolescents, 12 to 16 Children, 8 to 12
Dashiell Hammett. Screen play by Very Sophisticated No
Frances Goodrich and Albert Hackett.
Direction by W. S. Van Dyke. M-G-M.
It a pleasant surprise to find the sequel
is ARIZONA MAHONEY
to "The Thin Man" as good on all counts
Joe Cook, Irving Bacon, Larry Crabbe,
as the original picture. Nick Charles, well June Martel. Direction by James
known detective, returning with his bride Nora Hogan. Paramount.
to his San Francisco home on New
Year's Eve
comedy,
Part part western, and not very
is greeted raucously by his disreputable ac-
good either category, "Arizona Mahoney”
in
quaintances, and coldly by his wife’s aristo-
cratic family. While the couple is celebrating
suffers from lack of material. To be sure,
love for the heroine persuades a bad man to
the New
Year in a night club, a murder is
go straight, but that no longer constitutes news
committed involving Nora’s cousin, and Nick
in any cinema. Even the final battle is luke-
is called upon to solve the mystery. The prob-
warm. Children might enjoy Joe Cook and
lem is complicated by every device known to
his one-elephant circus; others should be fore-
the writers of mystery stories. The sinister
warned.
owner of a night club, his enigmatic Chinese
partner and a pretty dancing girl come and Adolescents, 12 to 16 Children, 8 to 12
Fair Yes
go in the midst of San Francisco’s noisy
celebration. In spite of the many characters and
the rapid-fire action, the story is coherent and AS YOU LIKE IT
is brought to a logical conclusion by Nick’s
Elizabeth Bergner, Laurence Oliver,
clever detective work. William Powell and Henry Ainley, Sophie Stewart, Leon
Myrna Loy are their delightful selves and with Quartermaine. Play by William Shakes-
the dog, Asia, keep the audience in roars of peare. Direction by Paul Czinner. Fox
(Interallied).
laughter. The supporting cast is so perfectly
chosen it would be invidious to single out any It unfortunate that each of Shakespeare’s
is
individual for especial mention. The charming plays on the screen will inevitably be com-
scenes of domesticity between Nick and Nora pared with the others, for they are quite
and the adventures of Asia are intriquingly different in intent and all are not produced
incongruous against the hard-boiled police on the same scale. William Allan Neilson in
Four MOTION PICTURE REVIEWS
his book, The

Facts About Shakespeare, calls Powerful, moving and tragic is this histori-
A Midsummer Night’s Dream "graceful poetic cal romance in which Dennis Riordan, a leader
fancy and dainty lyricism.” In commenting in the Irish rebellion, falls in love with the
upon As You Like It, he says "His daughter of an English official. Knowing that
(Shakespeare's) power in high comedy . . . their love will bring nothing but unhappiness,
reaches its supreme pitch.” He calls As You each patriotically swears not to meet the other
Like It "a romantic love tale, laid in some re- again, but they are unavoidably brought to-
mote holiday world acted out by a group
. . . gether when Dennis goes to England to attend
of delightful creations who are endowed with peace negotiations. Though fanatically devoted
intellect, wit and natural affection, bathed in to his cause, Dennis is persuaded to sign a
poetic imagination and yet handled with suf- treaty, and, thought by his party to have be-
ficient naturalism to awaken and hold our trayed them, he is shot when he returns to
human sympathies.” Such is As You Like It Ireland. The picture is beautifully acted by a
on the screen. Whether or not one approves remarkably good cast.
the choice of Elizabeth Bergner as Rosalind, Adolescents, 12 to 16 Children, 8 to 12
whether one prefers as background real forests Depressing No
or fanciful, synthetic ones are matters of per-
sonal taste. Even the rendering of the familiar
lines will please some and possibly infuriate BLACK LEGION
others. We leave our readers with the advice Humphrey Bogart, Dick Foran, Erin
to go and judge for themselves. O’Brien Moore, Ann Sheridan, Sam
Adolescents, 12 to 16 Children, 8 to 12 Hinds. Original story by Robert Lord.
Excellent Little Interest Direction by Archie L. Mayo. Warner
Bros.
In Sinclair Lewis' novel, "It Can't Happen
BANJO ON MY KNEE Here,” a reaction of genuine alarm is miti-
Barbara Stanwick, Joel McCrea, Walter gated by the very title. Here, however, we
Brennan, Buddy Ebsen, Helen Westley, have a record of something that did happen
Walter Catlett, Katherine de Mille. only a few months ago. It is a dark page
Screen play by Nunnally Johnson.
Based on a novel by Harry Hamilton. in the chronicles of the past year, and while
Direction by John Cromwell. 20th Cen- the actual details of the picture have been
tury-Fox. altered so that they fit no particular person or
A romance of the shanty-boat dwellers along circumstance, the Black Legion is shown here
the lower Mississippi combines musical num- very much as it existed. This is not a pleasant
bers with melodrama in an involved story. picture, and its influence is debatable. Like
The plot is concerned with the troubles of a many of the G-Men films, the indictment of
newly married pair and the hopes of the girl’s crime is accompanied by scenes of physical
father (Walter Brennan) for a grandson to violence and bloodshed to pander to the public
taste for sensationalism. It may serve as a
carry on the family name. The groom, pur-
sued by police, obliged to leave his bride
is warning to those who believe justice can ever
at the altar, girl goes to New Orleans
and the be dispensed in America by militaristic
to earn her living. She obtains a position in methods, whether extra-legal or not; and again
a night club, and when her father finds her, those who need the lesson may miss it en-
the two join in a singing act. Walter Brennan tirely.
shows unexpected ability with strange musi- Adolescents, 12 to 16 Children, 8 to 12

cal instruments, as well as his banjo, and con-
No Terrifying
tributes many humorous sequences. When the

group reassembles at the shanty-boat, a thrill-
ing storm nearly wrecks their frail craft.
BORN TO DANCE
There are many musical and dance numbers, Eleanor Powell, James Stewart, Vir-
ginia Bruce, Una Merkel, Sid Silvers,
and the Hall Johnson Choir sings beautifully. Frances Langford, Raymond Walburn,
The cast is well balanced and the direction is Alan Dinehart, Buddy Ebsen. Screen
excellent. Although the plot is too incoherent play by Jack McGowan and Sid Silvers.
Art director, Sedric Gibbons. Direction
to be convincing, the customs and prejudices by Roy Del Ruth. M-G-M.
of the shanty-boat people form a novel and
interesting background for the picture. The plot of this musical comedy uses the
Children, 8 to 12 familiar situation of the stagestruck heroine
Adolescents, 12 to 16
Mature No Interest trying to get an opportunity to put on her
act and succeeding at last through the efforts
of her lover and a last minute burst of temper
BELOVED ENEMY on the part of the premiere danseuse whose
place she takes. The story, as in most such
Merle Oberon, Brian Aherne, Karen performances, is of little importance and mere-
Morley, Henry Stephenson. Direction
by H. C. Potter. Samuel Goldwyn. ly serves as a frame for a series of scenes in
MOTION PICTURE REVIEWS Five
which the audience receives its full measure ensues between the young people, and a
of entertainment in the tap dancing of Eleanor humorous sub-plot is included with Jack
Powell and the sparkling songs of the male Oakie and others buying tea-sets from a bogus
chorus. Excellent comedy is found in the countess.
acting of Una Merkel, and Buddy Ebsen’s Adolescents, 12 to 16 Children, 8 to 12
eccentric dancing is noteworthy. The settings Delightful, musical Little interest
are unusually fine, and the modernistic battle-
ship is an effective background. The episode CONFLICT
of the girl who marries her sailor partner in John Wayne, Jean Rogers, Tommy
a dance marathon and later fails to recognize Bupp. Story by Jack London. Screen
him is in questionable taste and falls below play by Charles Logue and Walter
Weems. Direction by David Howard.
the general standard of the production. Universal.
Adolescents, 12 to 16 Children, 8 to 12
Yes Mature This picture is based on the activities of a
gang of crooked prizefight promoters, working
CAMILLE small towns and lumber camps in the old
Greta Garbo, Robert Taylor. Lionel West. Their method is to "plant" one of their
Barrymore, Elizabeth Allan, Jessie own men in a town, where he is to exhibit
Ralph Henry Daniell, Lenore Ulric, his boxing ability and win the confidence of
Laura Hope Crews, Rex O’Malley. the community. When the promoters arrive
From the novel by Alexander Dumas,
Fils. Screen play by Zoe Akins, with another man and challenge all comers,
Frances Marion and James Hilton. the local champion is to be beaten, thus en-
Direction by George Cukor. Art Direc-
tion by Cedric Gibbons. Metro-Gold- abling the gang to win large sums in betting.
wyn-Mayer. The fighter, through his rescue of a boy from
drowning, soon becomes a hero to the towns-
The tragic love story of "La Dame aux
Camellias" will never cease to hold audiences
people. He falls in love with an attractive
local girl and when the time comes for the
enthralled, and this picture is an exquisite pro-
frameup he cannot bring himself to carry
duction of the immortal classic. The costumes,
out the plot. In spite of the hackneyed story
the sets and Greta Garbo herself are completely
the characterizations are well done and interest
beautiful. Instead of the languorous, feverish,
is maintained. The atmosphere of gambling
worn figure of tradition, Miss Garbo's Camille
and dishonest fighting is not pleasant but is
is couriously fresh and clear cut. Lionel Barry-
relieved by the regeneration of the principal
more gives a remarkably fine interpretation of
character.
Monsieur Duval. Robert Taylor as Armand
is excellent in the role of lover, and though Yes No
in the tragic scenes his acting is less mature,
he is well cast in a sympathetic part. But
without George Cukor's inspired direction and THE COUNTRY GENTLEMAN
art director Cedric Gibbon's never failing
Ole Olson, Chic Johnson, Lila Lee,
genius, even this splendid cast could not have Joyce Compton. Direction by Ralph
made the production what it is, a conspicuous Staub. Republic.
example of the best in motion picture art.
This film relates the adventures of a pair
Too mature a theme No of shady promoters who decide to change their
ways and, as a first good deed, attempt to
return a runaway boy to his widowed mother.
CHAMPAGNE WALTZ Their old habits prove too deep-seated when
they learn they can gain control of some bonus
Gladys Swarthout, Fred MacMurray,
Jack Oakie, Fritz Leiber, Veloz and money for a speculative oil well. Fate alone
Yolanda. Direction by A. Edward preserves their new-found honesty. Obviously
Sutherland. Paramount. the business methods are unethical, and the
American jazz is played as a foil to the humor, as might be expected, is rough and
melodious waltzes of Strauss and even cleverly ready. It is an easy-going picture with a
combined, in a romance of modern Vienna, sprinkling of good lines and no strain on the
with elaborate settings, gaiety and colorful intellect.
episodes. Gladys Swarthout has a good selec- Adolescents, 12 to 16 Children, 8 to 12
tion of songs,and she is ather best in the
Passable No
last number which comes as a climax to the
film. In the story she is Elsa, the daughter
CRACK-UP
of an old musician who finds the inroads of Peter Lorre, Brian Donlevy, Helen
modern jazz bands insupportable until the Wood, Ralph Morgan, Thomas Beck.
Story by John Goodrich. Direction by
engaging Buzzy, played by Fred MacMurray, Malcolm St. Clair. Twentieth Century-
is able to find a compromise between the old Fox.
and the new. A charmingly naive love-affair The participation of Peter Lorre in any
Six MOTION PICTURE REVIEWS
picture carries a suggestion of abnormality "Gold Diggers," 1937 model, is as enliven-

and gruesomeness, and before the end both are ing as ever. On a thin thread of plot the
realized. The main plot deals with the work songs, comic incidents and spectacular dance
of international spies seeking to learn an im- ensembles are glitteringly strung together. A
portant secret of U. S. aviation. Lorre, as stranded chorus girl aids a young man to
usual, is successful in his particular kind of sell a million dollar life insurance policy to an
acting, and there are several strong, contrast- important theatrical producer, and the action
ing roles. The flying scenes are remarkable thereafter is motivated by rivalry between the
for suspense, rising to a high climax in the insurance company representatives who are
final catastrophe. There is a heavy depressing fearful lest the policy holder may die prema-
undertone throughout, but on the whole it is turely, and the beneficiaries who are hopeful
an interesting though unpleasant picture. that he will. Photography and scenic effects
Adolescents, 12 to 16 Children, 8 to 12 are beautiful and the lyrics are unusually
No No clever. It is spirited holiday entertainment.
• • •
CRIMINAL LAWYER Good If interester in
musical comedy
Lee Tracy, Margot Grahame. Direction • • •
by Christy Cabanne. R.K.O.
It seems from picture that the road
this
GREAT GUY
to success for an aspiring lawyer may be James Cagney, Mae Clarke, James
Burke, Edward Brophy, Edward Mc-
traversed only with the assistance of the Namara. Based on the Johnny Cave
criminal element in the community. Barry stories by James Edward Grant. Di-
Brandon is a lawyer in the pay of night club rection by John G. Blystone. R.K.O.-
Pathe.
interests and rises to the position of district
attorney through his influential clients. The Pugnacious James Cagney, as johnny Cave,
court room scene in which he defends the a deputy in the Weights and Measures De-
girl whom he later loves is strikingly vivid,
partment, uses his various abilities in his effort
to defeat a powerful ring of grafters and
but his tactics would not be permitted in any
court outside the movies. The production has
politicians in the "short-weight" racket. He
administers a magnificent licking to the ward-
an unwholesome atmosphere with much
heeler, extricates himself from a difficult situa-
drinking and too many disreputable characters.
tion later when he is accused of blackmail
No No and even carries off his arch-enemy's secretary-
• • • in romantic triumph. Cagney plays with his
GOD'S COUNTRY AND THE WOMAN usual gusto and gives a good account of him-
self, and other members of the cast deserve
George Brent, Beverly Roberts, Barton
MacLane, Robert Barrat. Based on the credit in this straightforward bid for honesty
novel by James Oliver Curwood. Direc- in public office.
tion by William Keighley. Warner Adolescents, 12 to 16 Children, 8 to 12
Bros.
Yes Little interest
With each new Technicolor comes
picture.
a degree closer to the true color palette of
nature with firmer flesh tones, warmer fabric THE GREAT O'MALLEY
hues and fresher greens and blues in leaves Pat O’Brien, Humphrey Bogart, Ann
and waterways. The far-flung northern forest Sheridan, Frieda Inescort, Sybil Jason,
land is particularly beautiful in this story of
Donald Crisp. Direction by William
Dieterle. Warner Bros.
the rought lumber camps, where two rival
In a human if sentimental story, Pat O’Brien
companies, one owned by a woman, fight for
plays the role of "The Great O'Malley," a
supremacy. Steve, the younger brother in the
policeman overzealous in his strict administra-
Russett camp, has more regard for fair-dealing
tion of the letter of the law. Association
and is more susceptible to women's smiles
with the crippled child of a man for whose
than iron-jawed jejf, and thereon hangs the
prison sentence he is indirectly responsible, at
tale. George Brent is very good throughout,
last teacheshim the distinction between fanati-
Beverly Roberts is pleasing. The plot is typi-
cal upholding of minor statutes and the per-
cal of Curwood, a vigorous drama of the
formance of duty tempered with judgment
wilds. The high point is reached when Steve
and mercy. There is food for thought here
dynamites the log jam impounding the Barton
but also a danger lest to immature minds the
logs.
scales may seem weighted with too much
Yes Too rough sympathy for a man who has committed a
• • • crime of violence. In real life, law-abiding
persons might prefer a zealous policeman to a
GOLD DIGGERS OF 1937
lax one, but for the purposes of fiction,
Dick Powell, Joan Blondeli, Glenda
Farrell, Victor Moore. Direction by O’Malley is a nicely drawn character who wins
Frank Lloyd. Warner Brothers. sympathy when he refuses to prosecute a
MOTION PICTURE REVIEWS Seven
man who has shot him. Light comedy allevi- cause Michael Anthony (Clark Gable) is too
ates the moreserious aspects of the film, and nearly the latter, "Love on the Run” is not
the audience never doubts that the ending will so pleasing as it might have been. It is a
be a happy one. farcical treatment of the theme that all's fair

Adolescents, 12 to 16 Children, 8 to 12 in love and newspaper reporting. Rival re-
Questionable Too mature porters, supposedly devoted friends outside of
• • • their profession, are in Europe covering an
international society wedding and a stratos-
JOHN MEAD'S WOMAN phere flight. A episodic plot traces
rather
Edward Arnold, Francine Larrimore, their adventures on an exciting chase through
Gail Patrick, George Bancroft. Direc-
tion by Richard Wallace. Paramount. France where Michael and the truant bride-
Echoing a recent film, Edward Arnold in this elect are pursued by ruthless spies bent on
production again a lumber king whose ruth-

is
retrieving stolen maps. The other reporter,
less pursuit of power leads him to the brink of
Barnabas, played by Franchot Tone, brings up
ruin. There is also a girl of the streets whom the rear, always in hot pursuit of news scoops
he loves, and the conflict between sophisticated and usually finding himself double-crossed by
wealth and the rough outdoor life. Underlying the obnoxious Michael. On the credit side of
the personal story is the larger theme of de- the picture are its fast pace, some lovely
forestation. The treatment is melodramatic, pastoral scenes, and a certain amount of
and the characters are cheap and artificial. humor of the harmless "knock-knock” variety.
Sordid situations make an unpleasant atmos- Adolescents, 12 to 16 Children, 8 to 12
phere, and the lumberman's last-minute reform
Needs adult evaluation No
is unconvincing.
No
Children, 8 to 12
No MIND YOUR OWN BUSINESS
• • • Charlie Ruggles, Alice Brady, Lyle
Jack LaRue. Original story
Talbot,
JUNGLE PRINCESS by John Francis Larkin. Screen play
by Dore Schary. Direction by Norman
Dorothy Lamour, Ray Milland, Akim McLeod. Paramount.
Tamiroff, Hugh Buckler, Molly La-
ment. Direction by William Thiele. Orville, somewhat seedy editor of the "Birds
Paramount. and Bees” column of the "Evening Recorder”
Terrified natives appeal to an English hunter and enthusiastic Boy Scout leader, is sky-
in Africa to kill the bewitched "Laughing rocketed to fame when, in his absence, his
Tiger” which is decimating their stock. From wife Melba jazzes up his column. She joins
this auspicious beginning unfolds a fantasy of vigorously in the local campaign for the
jungle adventure, with stampeding elephants, mayoralty and steps on too many political toes,
friendly apes and savage tribesmen. Ulab, with the result that the couple is kidnapped
beautiful native girl, living alone in the wilds to silence the comments. From a mountain
with her pet tiger and a trained ape as her cabin hide-out Orville and Melba are rescued
only companions, rescues Chris, the hunter, by loyal Scouts. The film is well acted and
from the tiger, and an idyllic love affair directed, the lines and situations are amusing
follows. Chris’ financee comes in search of and the training and ability of the Boy Scouts
her vanished lover and the age old battle be- are pleasingly pictured.
tween and barbarism is exempli-
civilization Adolescents. 12 to 16 Children, 8 to 12
fied in the struggle between the girls for their Yes Yes
• • •
man. Scenes of horror and impending torture
ensue when savages, determined to kill the MYSTERIOUS CROSSING
tiger and his mistress, capture the party. The James Dunn. Jean Rogers, Andy De-
jungle settings are beautiful, and the animal vine, John Eldridge, Hobart Cava-
naugh, Herbert Rawlinson, J. Farrell
photography is remarkable. The story, in spite MacDonald. Direction by Arthur
of its incredible nature and some minor in- Lubin. Universal.
consistencies, a thrilling tale of adventure
is With nothing to recommend it above others
and romance. Unfortunately it is marred by of its type, this is a routine murder mystery
terrible deaths and the unbearable suspense topped off by a satisfactory solution of the
when the party awaits torture at the stake. crime and a romance between the sleuth and
Adolescents, 12 to 16 Children, 8 to 12 an attractive girl who helps him track the
No No criminal. A newspaper reporter arriving at
• • •
New Orleans by boat happens to see a fellow
LOVE ON THE RUN passenger pushed overboard, and, sensing the
Joan Crawford, Clark Gable, Franchot possibilitiesof a story, manages to obtain
Tone, Reginald Owen, Mona Barrie. possession of the victim’s luggage and thus
Direction by W. S. Van Dyke. M-G-M. to uncover clues to the murder.
There is a difference between a mischievous Adolescents, 12 to 16 Children, 8 to 12
rogue and an unscrupulous blackguard. Be- Not recommended No
Eight MOTION PICTURE REVIEWS
NIGHT WAITRESS Pennies tossed from tenement windows into

Margot Grahame, Gordon Jones, Vin- the hat of a slum troubadour give the film its
ton Howard. Direction by Lew Land- title. Bing Crosby as the troubadour does not
ers. R.K.O.
confine his background entirely to New
York
There seems little excuse for showing this streets. He appears in prison where he
first
crook melodrama, with its unsavory characters makes friends with a condemned man; the
and sordid setting. A waitress in a waterfront friendship leads to his taking under his pro-
restaurant inadvertently becomes involved with tection the prisoner’s daughter, a problem
a gang of thieves and witnesses a murder. child who has been a "case” of the county
None of the characters is interesting or sym- welfare department. The scene shifts to the
pathetic, and the story is trite. The girl falls "Haunted House Cafe” where Crosby, a horde
in love with an ex-rumrunner who aids the of darkies and the girl provide weird enter-
police in capturing the criminals. Acting and tainment. At the finale everything is nicely
direction are undistinguished. arranged for a happy future for the crooner
Adolescents, 12 to 16 Children, 8 to 12 and his difficult ward. Since Bing Crosby
No No bursts into song on all occasions, his fans will
get their money's worth from this bit of light
ONE IN A MILLION entertainment.
Sonja Henie, Don Ameche, Adolphe Adolescents, 12 to 16 Children, 8 to 12
Menjou, Ned Sparks, Jean Herscholt, Entertaining Questionable
Ritz Brothers, Borah Minevitch. Story
and screen play by Leonard Praskins
and Mark Kelly. Direction by Sidney
Lanfleld. 20th Century-Fox.
THE PLOUGH AND THE STARS
An old man, having lost his Olympic
medals because of a charge of profes-
false Barbara Stanwyck, Preston Foster,
Barry Fitzgerald, Eileen Crowe, Denis
sionalism, trains his daughter from childhood O’Dea, Una O'Connor, F. J. Mc-
with the one idea of having her win her Cormick, Arthur Shields, Moroni Olsen.
event in the games. This plot provides plenty From the play by Sean O’Casey. Di-
rection by John Ford. R.K.O.
of opportunity for Sonja Henie to display her
dimpling smile and her dazzling skill and Here is a picture portraying the ill-fated
grace on skates in a variety of settings with- Irish Rebellion of 1916 with great attention
out unduly taxing her ability as an actress. to historic accuracy and detail. Though full
She has her final triumph in the spectacular of action, with striking character studies, re-
show on ice at the Madison Square Garden. markably fine photography, plenty of comedy
The Ritz Brothers are amusing, especially in relief and good direction, it nevertheless leaves
their bullfight on skates, but a little of Borah one dissatisfied. The treatment is episodic and
Minevitch and his gang would have been bet- somewhat confused. The story seems to be
ter than too much. Withal it is a most enjoy- continually jumping from one theme to an-
able film. other. In the street fighting it is often diffi-
Adolescents, 12 to 16 Children, 8 to 12 cult tell which side is which, and many
to
Yes Yes sequences are so dark as to be almost indis-
tinguishable. The sordid sorrow and misery
ONE WAY PASSAGE which pervade the film are absolutely true to
(Reprinted from Sept., 1932.) history but they are most depressing; unless
William Powell, Kay Francis. Direction one likes horrors the fighting is too realistically
by Tay Garnett. Warner Bros. shown with not much left to the imagination.
A man and a woman
exchange glances in Barbara Stanwyck as Nora has little to do
a Hong Kong bar and each is instantly in- but weep, but this she does extremely well.
fatuated with the other. When chance brings Preston Foster as jack is satisfactory in a
them together on an ocean liner they fall ro- part that offers small opportunity. Most of
mantically in love. Though the audience is the characters are well played with special
allowed to share in the knowledge that the honors going to Una O’Connor as Mrs. Gogan
lovers are fated to die, she from illness, he and Barry Fitzgerald as Fluther. Eileen Crowe
to pay the penalty for a crime, the picture as Bessie Burgess and Denis O’Dea as the
is neither sordid nor tragic. It is purely a communist Covey are convincing. Most of the
romantic episode illumined by the glamorous dialogue between Jack and Nora is stagy.
charm of Kay Francis' personality. Some of the comedy dialogue is quick and
Adolescents, 12 to 16 Children, 8 to 12 good although there is too much of it. Scenes
Too sophisticated No showing looting by the mob are most realistic.
On the whole the good points are somewhat
submerged by brutal misery. It impresses one
PENNIES FROM HEAVEN as propaganda but whether for the cause of
Bing Crosby, Madge Evans, Edith
Fellows, Donald Meek. Direction by Irish freedom or against war is not always
Norman McLeod. Columbia. clear. Those who like the Irish School of
MOTION PICTURE REVIEWS Nine
Drama will think the picture is good but Calleia,Stanley Ridges, Vivian Os-
borne, Charley Grapewin. From the
others will not be enthusiastic. novel by Whitman Chambers. Direc-
Adolescents, 12 to 16 Children, 8 to 12 tion by Errol Taggart. M-G-M.
—
No too violent Positively NO The picture centers about the perennially
• • •
popular theme of mystery murder and main-
RACING LADY tains its grim secret to the end. A million-
aire and his family have received threats of
Ann Dvorak, Smith Ballew, Harry
Carey, Berton Churchill, Hattie Mc- death and in spite of police protection, two
Daniel. Screen play by Dorothy Yost, members of the family meet untimely ends.
Thomas Lenn and Cortland Fitzsim- When the ubiquitous news hawk appears on
mons. Based on “All Scarlet," by
Damon Runyan and “Odds Are Even,” the scene, he promptly falls in love with the
by J. Robert Bren and Norman Hous- beautiful heiress who begins by hating him
ton. Direction by Wallace Fox. R.K.O.
and then loves him. The story is well acted
A new wrinkle in a racetrack picture is the
an directed. The murders take place off the
woman horse-trainer. With the dominant idea stage, thus sparing the feelings of the senti-
of giving her own horse, Katydid, an oppor- tive.
tunity to win the Santa Anita Handicap, Ruth Adolescents, 12 to 16 Children, 8 to 12
Martin accepts a challenge to produce win- Not recommended No
ning horses as an advertisement for a leading
automobile manufacturer. It is a good pro-
gram picture, especially for those who enjoy STOLEN HOLIDAY
the excitement of the turf. The acting is Kay Francis, Claude Rains, Ian
adequate, and the darkies contribute to at- Hunter, Alison Skipworth. Original
story by Warren Duff and Virginia
mosphere and the comedy element. Kellogg. Screen play by Casey Robin-
Adolescents, 12 to 16 Children, 8 to 12 son. Direction by Michael Curtis.
Yes Not sufficient interest First National.
The notorious Staviski scandal should have
REMBRANDT formed the groundwork for a thrilling drama
Charles Laughton, Gertrude Lawrence. but in this picture the original idea has been
Direction by Alexander Korda. London obscured by an extraneous love interest. Stefan
Films. United Artists. Orloff is the moving spirit of a group of
Because of its title this film runs the risk French money-lenders who have become
of being relegated to the cobwebby corner of wealthy by juggling the securities entrusted to
highbrow productions, but anyone who has them. Orloff falls in love with Mile. Picot
ever seen Charles Laughton’s notable char- and establishes her as a fashionable dress
acterizations not want
will to miss his designer. On the even of the inevitable crash
"Rembrandt.” The
story is sketchy, a succes- of the money-lending ring, Orloff attempts to
sion of glimpses of the great painter. Begin- save himself by a spectacular coup which
ning with the death of his first wife when he ends in tragedy. The contrast between Mr.
was a rich man and acclaimed by his contem- Rains’ sincere and intelligent characterization
poraries, he is shown as he gradually loses of Orloff and the artificiality of the plot is so
his following and becomes at last almost a sharp that the whole production seems un-
pauper, eccentric if not doting, but happy balanced. The secondary love interest is
when he can beg enough money to buy paints trite, and does little to further the action. Kay
and canvas. Laughton is superb. His gift Francis as the leading dress designer of Paris
for giving life and individuality to his im- is enabled to display a succession of beautiful
personations is unequalled. His acting and creations, which she wears with great dis-
the remarkable photography are the outstand- tinction.
ing qualities of the film. It is said that the Adolescents, 12 to 16 Children, 8 to 12
camera man did not imitate the paintings of No No
• • •
Rembrandt, but he does present a series of
interiors, groupings and individual portraits STOWAWAY
that Rembrant might have painted. Elsa Shirley Temple, Robert Young, Alice
Lanchester contributes an appealing character Faye, Eugene Pallette, Helen Westley,
study of the second wife whose loving sym-
Arthur Treacher, J. Edward Bromberg.
Story by Sam Engel. Screen play by
pathy and wisdom enabled the great master William Conselman, Arthur Sheekman
to continue his work when he was deeply in and Nat Perrin. Direction by William
A. Seiter. 20th Century-Fox.
debt and the butt of ridicule.
Adolescents, 12 to 16 Children, 8 to 12 In the opening scenes of this picture we find
Beyond their appreciation No interest the little film star in a foreign setting, China.
She even has a Chinese name and, as the ward
of two missionaries, is really nobody’s little
SINNER TAKE ALL girl. But later when she creeps into the
Bruce Cabot, Margaret Lindsay, Joseph rumble seat of a young American million-
Ten MOTION PICTURE REVIEWS
aire’s car and becomes, unwittingly a stowa- a between their divorced par-
reconciliation
way on a steamer, we are transferred to the ents, maneuvers furnish the material for
their
romantic of a luxurious liner.
atmosphere a novel and refreshing comedy. The picture
Here Shirley her charm upon her
exerts is well acted, swift-moving with interest never
debonair adopted "uncle" (owner of the auto- lagging. The coloratura singing of thirteen-
mobile), the girl with whom he falls in love year-old Deanna Durbin is truly remarkable
and the entire crew. There are some catchy considering her age, and it is brought in most
new juvenile songs and a specialty number in naturally. She also gives a good perform-
which the young actress does clever imper- ance as an adolescent hoyden, high spirited,
sonations of screen celebrities. Since most of masterful and resourceful in getting her own
the action falls well within the range of a way, however questionable her methods.
child’s interests, it is a pity that an artificial Much of the charm of the production is due
and highly implausible scene in a Reno di- to the fine direction by Henry Koster.
vorce court room should be introduced at the Adolescents, 12 to 16 Children, 8 to 12
end. The incident is far-fetched and introduces Yes No
a jarring note in an otherwise charming story.
Happily the memory of it becomes partially
obliterated while we lisien, in the final scene,
TRAIL DUST
to this exquisite child's rendering of the happy William Boyd, Jimmy Ellison, George
holiday song, "That’s What I Want for Christ- Hayes. Direction by Nate Watt. Para-
mount.
mas." This is not the best Shirley Temple
picture but it is a welcome contribution to The latest of the "Hopalong Cassidy” series
family entertainment. shows a battle between lively factions of cat-
Adolescents, 12 to 16 Children, 8 to 12 tlemen over the price at which they shall sell
Good Yes their stock. When word comes that the village
of Plainsville is without food following a
severe drouth, "Hopalong’ (William Boyd)
THAT GIRL FROM PARIS
organizes a group of men and drives a herd
Lily Pons, Gene Raymond, Jack Oakie,
Herman Bing, Mischa Auer, Lucille of cattle to the relief of the town. They are
Ball. Story by Jane Murfin and sug- obliged to fight their way throughout the
gested by a story published in Young’s monotonous dusty against
Magazine by J. Carey Wonderly. Di- trip the resistance
rection by Leigh Jason. R.K.O. of their enemies. The monotony is somewhat
Lily Pons is justly one of the most popular relieved by occasional songs and the humorous
of the operatic stars; her glorious voice rises remarks of "Windy.”
in clear bell-like tones whether she renders Adolescents, 12 to 16 Children, 8 to 12
the most difficult aria or a light modern song.
Yes No
In this film her most inspiring number is Una
• • •
Voca Poca Fa from the Barber of Seville, her WHITE HUNTER

the Blue Danube done in jazz-time.
cleverest
Aside from the music, the play is ill-suited Warner Baxter, June Lang, Gail Pat-
rick, Alison Skipworth. Wilfrid Law-
to the petite French singer whose gift for son. Based on a story by Gene
comedy is of a gentler nature than the boister- Markey. Direction by Irving Cum-
mings. 20th Century-Fox.
ous fun prevalent among the male members
of the cast. Rough and tumble farce replete The picture is a far-fetched drama of tangled
with gags is supplied by Gene Raymond and loves and hates and clandestine rendezvous.
Jack Oakie. The story starts in Paris when The African setting is of little value in the
Nikki (Lily Pons) meets Windy (Gene Ray- development of the plot. Adventures with
mond), an orchestra leader about to sail for lions and leopards are incidental, and in no
America, and goes along as a stowaway. The
sense is this an "animal picture.” Michael
action progresses easily, and there is never a
Verek, a wealthy Englishman, while hunting in
dull moment. The effect, however, is like
Africa with his wife and daughter, inadvertent-
that of serving hot dogs, be they ever so
ly engages as guide "The White Hunter,” a
tasty, with a glass of champagne.
Adolescents, 12 to 16 Children, 8 to 12 man with whom Mrs. Verek had formerly
Sophisticated No been in love and to whom the daughter also
is attracted. The solution of the triangle is
brought about by the guide's heroic rescue
THREE SMART GIRLS of the girl. Most interesting moments in the
Charles Winninger, Nan Gray, Barbara film are those devoted to fascinating pictures
Read, Deanna Durbin, Alice Brady,
Binnie Barnes. Original and screen of a lioness and her cubs. The photography
lay by Adele Commandini. Direction throughout is exceptional.
y Henry Koster. Universal. Adolescents, 12 to 16 Children, 8 to 12
When three sisters undertake to bring about No No
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MOTION
PICTURE
REVIEWS

FEBRUARY, 1937
reference.
*Bulldog Drummond Escapes ‘No Place Like Rome

Carnival In Flanders (La Kermesse Heroique) Once a Doctor
College Holiday ‘Park Avenue Logger
Condemned Row ‘Penrod and Sam

A Doctor's Diary ‘The Plainsman
*Don't Pull Your Punches ‘Rainbow On the River
*Every Sunday ‘Ready, Willing, and Able
*The Holy Terror She's Dangerous
‘Let's Make a Million ‘They Wanted to Marry

Maid of Salem Under Cover of Night
*Man of Affairs ‘We're On the Jury
Melody for Two With Love and Kisses

*The Mighty Treve ‘"Woman-Wise"
‘Film suitable for family entertainment but not necessarily appropriate for children under
Long Beach: Mrs. H. A. Barr,Chairman Whittier: Miss Jeanette Purdue, Chairman
Glendale: Mrs. H. B. Payne, Chairman Santa Monica: Mrs. Wilmer Morby, Chairman
Motion Picture Reviews is fully protected by copyright and nothing that appears in it may be

BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN
LOS ANGELES

LOS ANGELES BRANCH
Mrs. Alexander Montague, Subscription Chairman
EDITORS
Vol. XI FEBRUARY, 1937 No. 2
EDITORIAL
The following is quoted from a manual prepared by the Legion of
Decency and authorized by the Episcopal committee for circulation among
the Legion’s members and other groups. It is reprinted in part from an
article which appeared in "Motion Picture Herald” —Quigley Publishing
Company, Rockefeller Center, New York.
HOW TO "JUDGE MORALITY" OF FILMS

It is generally recognized that entertainment is either helpful or harmful. A clear distinction
must, therefore, be made between
(a) entertainment which tends to elevate or to relax men and women physically or
mentally tired with the duties and occupations of everyday life, and
(b) entertainment which tends to lower their ideals and moral standards of life.
Film stories, as a rule, deal with men and women who are facing some problem in their
lives and are trying to solve it. In every screen drama we see human beings in action or we
see them reacting to certain influences.
When leading characters, either by what they say or do, express their attitude toward right
and wrong, or when they accept or reject some standard of conduct, those in the audience are
very likely to be influenced by them.
The purpose of the Legion of Decency is to see that motion pictures conform to the accepted
and traditional morality upon which the home and civilization are founded.
By "traditional standards of morality’’ is meant such principles of conduct of conduct as the
following: "Murder is wrong. Stealing is wrong. Perjury is wrong. Honor is due to father
and mother.” These standards, together with many relating to sex, follow from the code of right
and wrong written into the consciences of men by God Himself. They have been generally
known and accepted during all the centuries, not only by Christians, but by Jews, pagans, and
by men of no religious affiliation. They are expressed in the Ten Commandments.
Many persons who readily admit the existence of these traditional laws find it difficult to
obey them, owing to the weakness of human nature. If there were no evasion of the principles
laid down by them, neither their validity nor their binding force upon the human conscience
would be questioned A film story making a powerful argument against accepted moral standards
could easily persuade such persons to change their convictions about right and wrong.
The following may serve as examples:
A. This is a deeply moving triangle story. It is entirely devoid of salacious details, but it
pro-poses the doctrine that when a man's wife is selfish and unsympathetic he is entirely justified
in turning to another woman for love and happiness. In short, the film condones and justifies
adultery. It does this, not by ethical arguments but by emotional appeal. Deeply stirred by the
picture, many of those witnessing it are apt to sympathize with the hero, approve his conduct,
and thus change their former convictions. They may be led to believe that under certain circum-
stances adultery is excusable. Here is a false moral standard, wholly at variance with tra-
ditional beliefs.
B. A
story of young romance. Because of some circumstances —
parental objections, let us say,
of lack of money— the hero and heroine are forced to postpone marriage indefinitely. They are
young; they are persuaded that they cannot live without each other; they refuse to await mar-
riage. Here is a film which by its sympathetic treatment presents most speciously the doctrine
that sex experience is but the innocent culmination of love. It preaches that true lovers would
be fools to defer it until marriage, and that pre-marital relations in such cases are pardonable.
Because the hero is attractive and the heroine beautiful, the audience is inclined to sympathize
with them, and even approve what they do. It may be persuaded that deep and tender love
excuses sin. Here, again, is a false moral standard, wholly at variance with traditional morality.
C. An
old-fashioned plot in which the heroine sacrifices her virtue as the price of success in
some splendid attempt —
to win the opportunity of becoming a great artist, to save her country as
a spy, to forward a brother's professional career, etc., etc. The picture implies that the sacrifice
is a noble one, and asks the approval of the audience, which is too often given! Thus the film
preaches that a good end justifies evil means, and that sinful conduct can under certain circum-
stances be justified. This is a false moral doctrine, wholly at variance, not only with the will of
God and the teaching of fundamental morality, but with the interests of society in general.
D. A gangster melodrama in which the leading character
is presented as a clever and resource-
ful lawbreaker. Hesuccessful financially. He is popular and lives luxuriously. The police,
is
the guardians of the law, are made to appear inefficient and stupid. The "crook'' easily outwits
—
them, meanwhile displaying to the audience details of criminal procedure the opening of safes,
clever provisions for escape, the use of fire-arms, anesthetics, etc. Even though in the end the
"crook” is brought to justice, such a film is potentially dangerous to public welfare, since it
tends to glorify crime and the criminal and suggests ways of committing crime. It typifies the
wrong kind of entertainment.
The case might be summed up as follows:
Traditional moral standards, based on the law of God, teach that certain acts are sinful and
that certain acts are virtuous. Many films, however, by their insidious and attractive presentation
of false standards, induce their patrons to change their lifelong convictions and to believe that,
occasionally, at least, certain sins are virtues and certain virtues are sins. All this means moral
disaster, for when convictions are perverted, conduct invariably undergoes a change for the worse.
The Legion of Decency holds that far more than any other form of popular entertainment,
the motion pictures have the obligation of not subverting traditional morality by the presentation
of films that are degrading. It urges that their immense influence be used rather for the educa-
tion, recreation and general welfare of the people. The stage and books of fiction, with their
helpful or harmful influence, reach many thousands each year. But their number is insignificant
when compared with the millions who are influenced by the screen. The drama and books,
—
moreover, appeal for the greater part to the mature and the educated that is, to those whose
moral convictions are, in a measure, fixed. But motion pictures set patterns of human conduct
before all classes. Particularly do they reach the young, who naturally are eager for experience,
either personal or vicarious, and whose moral standards may be easily raised or lowered.
In brief, because the motion pictures reach greater numbers and speak with extraordinary
pursuasiveness to impressionable people, their producers have special moral obligations to the
public. They should avoid confusing morals. They should present only correct standards of life.
Every subscribed who enjoys "Motion Picture Reviews” and believes in the cause
lor which we are working will increase our usefulness by obtaining a new subscriber
—THE EDITORS.
FEATURE FILMS
BULLDOG DRUMMOND ESCAPES COLLEGE HOLIDAY
Ray Milland, Heather Angel, Porter Jack Benny, George Burns, Gracie
Allen, Mary Boland, Marsha Hunt,
Hall, Guy Standing, Reginald
Sir Martha Raye. Direction by Frank Tut-
Denny, Fay Holden. Direction by tle. Paramount.
James Hogan. From the novel by H. C.
McNeile and Gerard Fairlie. Para- In this film-vaudeville, a collection of com-
mount. edy, specialty acts, ballet numbers and songs
are presented in an episodic musical-comedy
When a young woman is held prisoner by type of story, with the college atmosphere
the man who has murdered her brother, Bull- provided by the "California Collegians ”. The
dog Drummond comes to the rescue. Action holders of a mortgage on a hotel are about
takes place in a dense fog which continually to turn the premises into a laboratory for
filters in through doors and windows giving experiments in eugenics when the owners
the required touch of mystery. Big-eyed decide to save their property by making it a
Heather Angel is the perfect, helpless maiden Mecca for college students on holiday. The
in destress, and Ray Milland as Drummond combination of the two ideas results in a lot
acts his role with gusto and charm. Dialogue of nonsense which skates on the thin ice of
is amusing, and the mechanics of thrill-making innuendo without quite breaking through.
are well executed, but a poor plot keeps this Drawing cards to the picture are the popular
picture from being up to the standard of other screen and radio stars who appear in the cast.
films in the series. For their public, the production will prob-
ably prove entertaining.
Passable Unsuitable and Adolescents, 12 to 16 Children, 8 to 12
too exciting Passable No
CARNIVAL IN FLANDERS CONDEMNED ROW

(La Kermesse Heroique) See ‘‘We Who Are About to Die,” re-
In French with English Fran-
titles. viewed in November, 1936.
coise Rosary, Alerme, Jean Murat. Di-
rection by Jacques Flyder. From the
book by Charles Spaak. Tobis pro-
duction. A DOCTOR'S DIARY
Superlative acting, perfection of detail, and George Bancroft, Helen Burgess, John
a deliciously witty scenario characterize this Trent, Ruth Coleman, Charles D. Wal-
dron. Direction by Charles Vidor. B.
production. The setting is Boom, a little town P. Schulberg production.
in Flanders, the time the 17th century. The
inhabitants are busy decking their city for a Trading upon the public’s increasing interest
carnival when they receive news that a Spanish in the problems of the medical profession,
Duke and his retinue are to arrive and be this picture sensationally presents the thesis
quartered in their houses the following night. that certain unwise or mercenary doctors neg-
The mayor conceives a unique plan to avert lect their less influential patients for their
the expected ruthless invasion, but the mayor’s rich clientele, and that a nurse or a fellow
wife has a better idea, and while the men are physician who dares to criticise is likely to
busy with their own affairs, the ladies band be ostracized. Unfortunately, to the general
together and take matters into their own hands. public, the picture is dramatic enough to
How they welcomed the visitors and kept the carry conviction. Actually it uses the rare,
peace makes a spicy, risque and intriguing bit deplorable circumstances to discredit the med-
of cinematography so deftly presented that ical profession as a whole. While some aud-
American audiences will marvel at it’s tact- iences may possibly enjoy the delusion that
ful handling Settings alone are worth the they are at last hearing the truth about hos-
price of admission. Francoise Rosay as the pitals, others will not only detect the minor
mayor’s wife is superb and other members absurdities in this production but will actually
of the cast are uniformily excellent. resent the falsity of its conclusions.
Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12

Sophisticated No interest No No
DON'T PULL YOUR PUNCHES music snappy and the songs catchy, there
is
are those who will regret that Jane Withers'
Barton MacLane, June Travis, Wayne
Morris. Direction by B. Reeves Eason. musical talents are given prominence at the
Warner Bros. expense of her undoubted ability to act.
The likeable young hero of this prize-fight Adolescents, 12 to 16 Children, 8 to 12

picture is a Texas cow-hand who temporarily Good Good
deserts the cattle range for the ring. The film
is a novelty of it's type in that the plot does
not involve crooked promoters. Kush Conway,

stranded in New York, is befriended by a LET'S MAKE A MILLION
little news-boy who sells papers at Madison
Square Garden. Chance brings him to the Edward Everett Horton, Charlotte
Wynters, Porter Hall, Purnell Pratt,
notice of a fight manager, and he eventually Margaret Seddon, Margaret McWade.
becomes the heavy-weight challenger. Dra- Direction by Ray McCarey. Para-
matic action is provided by pictures of fights mount.
and the attempts of the youth to avoid being
The small town boob, played in this picture
matched against his friend who is the defender
by Edward Everett Horton, is so like a dozen
of the title. The plot is interestingly and other characters in Mr. Horton’s repertoire
logically worked out and the acting is ade-
that, to many people, he will seem like an
quate. There no striving for melodramatic
is
old acquaintance. The story too is familiar.
effects. Thepicture though unimportant is
Harrison Gentry, none too bright and domi-
good light entertainment for all who have nated by his maiden aunts, is victimized by
interest in prize-fighting.
swindlers. Having lost not only his own but
Adolescents, 12 to 16 Children, 8 to 12 his friends’ money, he blunders into a bit of
Good Little interest good fortune and becomes the man of the
hour. The film is passably amusing.
Yes No interest
EVERY SUNDAY
Deanna Durbin, Judy Garland. Story
by Maurice Grashin. Direction by
Felix E. Feist. M-G.M. MAID OF SALEM
A delightful little musical interlude pre- Claudette Colbert, Fred Mac Murray,
sents the early work of Deanna Durbin. De- Harvey Stephens, Louise Dresser, Gale
anna’s lovely voice and the dancing of her
Sondergaard, Edward Ellis, E. E. Clive,
Bonita Granville. Direction by Frank
friend Judy save the day for the elderly orch- Lloyd. Original by Bradley King.
estra leader who is about to lose his position Screen Play by Walter Ferris, Bradley
when he can no longer hold the Sunday King and Durward Grinstead. Para-
mount.
crowds.
Salem in 1692 is the background of this
Good Good
impressive photoplay. The opening scenes
show the home life and the community activ-
ities of the Puritan settlers candle making,
;
visiting neighbors, young girls reading a for-

bidden book on witchcraft, a "house-raising,”
THE HOLY TERROR Sunday prayer meeting where the Minister
Jane Withers, Anthony Martin, Leah usually inveighed against frivolity and the sex-
Ray, Joan Davis, El Brendel, Joe ton promptly rapped on the head any inat-
Lewis. Direction by James Tinling. tentive or sleeping member of the congre-
20th Century-Fox.
gation.
Jane Withers scores again in comedy with Suddenly the atmosphere changes, and the
able assistance from El Brendel and Joe once peaceful community is seething with big-
Lewis, while Anthony Martin and Leah Ray otry, suspicion, superstition and terror. Gossip
cover the romantic phase of the film. A naval and a child’s desire to attract attention have
base is used as colorful background for the started the wave of fanatical persecution that
pranks of little Corky who is designated as according to history resulted in the hanging
the "Holy Terror,” beloved of the sailors of nineteen innocent persons who were sus-
and detested by those in command until she pected of being witches. Throughout the
proves herself sufficiently quick-witted to tragic account of this frightful episode runs
thwart the activities of spies in search of the romantic love story of a Puritan girl and
specifications for a new aeroplane. While the a young political refugee from Virginia. The
casting of Claudette Colbertand Fred Mac is goodfor the cinema audience is proved a
Murray in these parts is once an asset and
at fallacy in this film. It takes more than a good
a detriment. Miss Colbert is exquisite in her singing voice to make a success in motion pic-
Puritan dress, as charming and graceful a tures: stage presence, the art of reading lines
heroine as could be imagined, and her acting and an ability to act, all of which James Mel-
is extremely effective, but the high-lighting of ton has yet to acquire. Even the best of
her familiar delicate beauty detracts from the actors would be handicapped with such trivial
realism of the film. The inclusion of a more material, a number of night club and radio
or less stereotyped love interest, no matter how audition scenes held together by a precariously
charmingly portrayed, puts the stamp of ro- thin thread of plot. The humor is exempli-
mantic fiction on a picture that might other- fied by "She eats like a bird. Yeah? vul- A
wise seem as undeniably authentic as an ture.” There are several melodious songs by
historical document. The production's real Melton and a feature song and dance in the
claim to distinction comes not from the story sultry manner by Winifred Shaw, which call
of the young lovers but from the authenticity for applause —and that will be all.
of its atmosphere and the expert presentation
of the tremendous drama inherent in its theme.
Poor entertainment No
Interesting Too emotional
THE MIGHTY TREVE

MAN OF AFFAIRS
Noah Berry, Jr., Barbara Read, Sam-
George Arliss, Rene Ray, Romilly uel S. Hinds, Hobart Cavanaugh, Alma
Lunge, Jessie Winter. Direction by Kruger, Tuffy. Direction by Lewis D.
Herbert Mason. From a story by Neil Collins. Universal.
Grant. Gaumont-British.
To all lovers of dogs and dog stories this
In this latest Arliss picture we have the picture will be a delight. Noah Beery, Jr.,
one-time popular plot of "The Masquerader" plays the part of Bud, a young man left alone
brought up to date and converted into comedy. and homeless, who with a horse, a parrot and
In this case twin brothers exchange roles. One dog for companions starts out to find himself
is a prodigal adventurer in far countries, the
a job. The dog, Treve, is the real hero. He
other a foreign secretary in His Majesty’s does everything that a dog hero should do.
Government. Opening scenes depict the mur- He loves his master with undying devotion;
der of a powerful sheik by two of his rivals he saves human beings from danger; he per-
who plan to extort rich mineral concessions forms the duties of a well trained shepherd,
from the English Government by placing and he even wins the prize in a show. In the
blame for the crime upon an English tourist. end he has made friends with a confirmed
Unable to make his brother adopt a wise dog-hater, and his master has found romance
course in dealing with the assassins, the ad- and a home. In his directing Mr. Collins has
venturer takes his place at the council table missed no opportunity to play upon the sym-
and by a clever ruse betrays the conspirators pathy of the audience and in so doing he was
into a confession. An interesting feature of ably abetted by the animal actors and by young
the story is the playing of the double role by
Noah Berry whose naturalness is most win-
Arliss. His acting is polished as always, but
ning. Photographed against a background of
Arliss fans will be disappointed in a story
lovely out-door scenery, the theme will meet
which makes but small demand upon the with universal response from audiences of all
actor's talents. The picture is light and ages though the pathos is sometimes too sharp
amusing. The characterizations are delightful, for imaginative children.
and audiences will relish the absurdities and
the smart dialogue. Though not by an means Adolescents, 12 to 16 Children, 8 to 12
the best of this artist’s vehicles the film is a Emotional but very Not for the
good evening’s entertainment. interesting sensitive
Entertaining No interest
NO PLACE LIKE ROME

MELODY FOR TWO Frank Albertson and Suzanne Karon.
Story by Val Burton, Will Jason and
James Melton, Patricia Ellis, Marie Stanley Rauch. Direction by Reginal
Wilson, Fred Keating, Winifred Shaw. Lee Borg. M-G-M.
Direction by Louis King. Warner Bros.
This marks a new departure: very clever
The precept that what is good for the radio two-reel comedy, which may be used to abate
the problem of the double bill. A delightful PENROD AND SAM

burlesque of old Roman customs, garnished
Billy Mauch, Frank Craven, Spring
with modern quips, this offers talented actors, Byington, Craig Reynolds, Harry Wat-
joyousness, youth and wit. The situation is son, Jackie Morrow, Bernice Pilot. Di-
one to tickle the imagination. In the year 34 rection by William McGann. From the
story by Booth Tarkington. Screen
there is a royal edict that in order to repopu- play by Lillie Hayward and Hugh
late Rome, every young man must be married Cummings. Warner Bros.
by the time he is twenty-one years old or be
thrown to the lions; consequently the bachelor The problemof putting adult interest into
Flavius barely escapes the jaws of the beasts. a picture featuring children has been solved
in this dramatization of Penrod and Sam"
'
though not by the same methods that Mr.
Amusing Mature
Tarkington employs in his stories. While Mr.
Tarkington makes his appeal through humor
and a subtle understanding of young emotions,
ONCE A DOCTOR the picture version adds a melodramatic plot
Gordon Oliver, Henry Kolker, Jean and terrifying scenes of an automobile careen-
Muir, Donald Woods. Direction by ing through a crowd of children, the acci-
William Clemens. Warner Bros. dental shooting of V er man’s mother and the
Presented to the audience as an important boys held captive by desperate criminals. The
picture with good photographic values, sin- earlier sequences are more nearly what we
cere acting, careful direction of many scenes, expect from our knowledge of the "Penrod and
"Once a Doctor" fails to deliver its message Sam” stories; Penrod's gang in trouble with
because it relies too heavily on coincidence. the town bully; Penrod trying to explain to
It is remotely possible that a conscientious, his father why he cannot divulge the secrets
highly-gifted young interne should be visited of the society of "Junior G-Men” Penrod and ;
with all the troubles of Job through no fault his dog consoling each other when both are
of his own, but that he should encounter on in disgrace; Verman, Penrod’s staunch friend
the high seas his relentless persecutor with the tagging along behind the gang. Then the
exact type of brain concussion he is able to melodrama begins. In their zeal to be good
cure, places too great a strain on human G-Men the boys set out to trail three robbers.
credulity. The implied slur cast on medical They actually overcome the criminals in a
associations because they do not permit bril- hand-to-hand battle and become the town
liant young men to practice without licenses heroes. Thus the producers in seeking to im-
remains unjustified. prove upon the original material have intro-
duced a false and perhaps dangerous ambition
to susceptible youngsters who will undoubtedly
No No Billy Mauch Penrod is a
see the picture. as
likeable, idealistic little boy. Frank Cravens
as the continually perplexed but loving father
PARK AVENUE LOGGER is especially good good in his scenes with
Penrod. Verman played by tiny Philip Hurlie
George O'Brien, Beatrice Roberts, Wil-
liard Robertson, Ward Bond, Bert Han- is delightful, and Duke, the nondescript dog,
lon. From the Saturday Evening Post is another lovable character. In spite of its
story by Bruce Hutchison. Direction faults the picture has tnany entertaining mo-
by David Howard. R.K.O.
ments, and in much of it the delightful spirit
This is a melodrama of the logging camps of Booth Tarkington's stories is gratifyingly
which nothing remarkable or unusual,
offers evident.
although the beautiful views of the forest
country are up to standard for an out-of-door
Entertaining No; too emotional
picture. George O'Brien is first seen as a
"sissy" when his father packs him off to the
wilds to make a man of him. There he uncov-
ers the nefarious schemes of two men who
are plotting to ruin his father and the owner THE PLAINSMAN
of a rival company, who of course has a Gary Cooper, Jean Arthur, James El-
pretty daughter, and after punching many ruf- lison,Helen Burgess, Charles Bickford,
fians on their respective noses, he brings the Robert Barratt, Bruce Cabot, John Mil-
wicked to justice, emerges triumphant —with jan. Direction by Cecil
Based upon data from a book by Frank
B. DeMille.
the girl. The dialogue isaverage, the best J. Wilstach. Screen play by Walde-
lines going to Bert Hanlon who contributes mar Young, Harold Lamb and Lynn
Riggs. Paramount.
some good comedy.
Adolescents, 12 to 16 Children, 8 to 12 Whether we call it an American epic, a
Yes, especially boys Possibly frontier melodrama or an historical romance,
"The Plainsman" is intrinsically a "western" parts with no visible effort, and whose voices
and therein lies its appeal. The formula of a in the chorus add to the musical value of
"western” calls for a hero who possesses all the film.
the qualities of "Young Lochnivar." He must Adolescents, 12 to 16 Children, 8 to 12
perform daring feats, always with an unselfish Good Good
purpose, and he must above all possess an un-
erring sense of justice. Gary Cooper as Wild
Bill Hickok fits this description like a glove,
and to those who have seen him in "The READY, WILLING, AND ABLE
Plainsman” he will seem to be the mould in
Ruby Keeler, Ross Alexander, Allen
which all heroes are cast. Other ingredients Jenkins, Louise Fazenda. Direction by
in the "western” formula are beautiful horses, Ray Enright. Warner Bros.
hard riding, open country, sharpshooting, des-
perate fighting. All of these are abundantly
Aproducer, a composer of lyrics, and an
actors' agent form an ambitious but penniless
and superlatively supplied in "The Plainsman."
trio whose struggles to produce a Broadway
With a thrilling story written round the ex-
ploits of real people, a new kind of love
show are the theme of the picture. When the
over zealous agent mistakes an American girl
interest and the flavor of frontier history, it
for a celebrated English actress of the same
cannot fail to enthrall an American public. We
have been assured that Mr. DeMille allowed name, the American, in a spirit of innocent
adventure, signs a contract to appear in the
no anachronisms to slip into the production.
same production. Her action almost results
He is to be congratulated upon its atmosphere in disastrous consequences for the producer,
of realism and authenticity. That Calamity who falls in love with her as rehearsals get
Jane was probably less fascinating than Jean under way. The course of true love does not
Arthur and that Wild Bill Hickok actually run smooth, but all ends well when, in an
had drooping mustaches and wore his hair unexpected manner at the eleventh hour, the
long on his shoulders are matters of no im- miscreant comes to the rescue of the pro-
portance. ducer. This is a light, entertaining farce, with
interpolations of music and dancing, in which
actors, agents and producers are subtly ridi-
Excellent Too exciting for some
culed.
Entertaining Little interest
RAINBOW ON THE RIVER
Bobby Breen. May Robson, Louise
Beavers, Alan Mowbray, Charles But-
terworth, Benita Hume, Henry O'Neill,
SHE'S DANGEROUS
Marilyn Knowlden, the Hall Johnson Tala Birrel, Cesar Romero, Walter
Singers. From the novel "Toinette's Pidgeon, Walter Brennan, Warren Hy-
Philip” by Mrs. C. Jamison. Directed
. mer. Direction by Lewis R. Foster.
by Kurt Neumann. Principal Produc- Universal.
tions. R.K.O. Release.
Given a dime novel plot with a woman
Bobby Breen comes to the motion pictures secret service agent, dressed up patrons of
in a play which relies on sentiment rather night clubs, a gang of thieves, an airplane
than subtlety, with scenes from the Old South wreck, a love interest and a death walk to
and New York of the sixties. He is a waif the gallows, a picture is not likely to be an
brought up by an old colored woman until the intellectual triumph, though clever direction
time when the priest who has guided his moral may make it absorbingly interesting to audi-
progress traces his surviving relatives. The ences who like an exciting spy story. This
cast is a good one with May Robson, Louise
picture has for its heroine, a young woman
Beavers, Alan Mowbray, Charles Butterworth

whose activities as secret agent have been so
successful that when she poses as a criminal,
and Marilyn Knowlden all giving very
little
is caught and sentenced to death, there is no
human and laugh-provoking presentations.
one who can identify her as a law-abiding
Bobby’s voice is beautiful, whether he sings citizen, and only the timely confession of the
light snatches of his flower song or the full, real criminal preserves her for the necessary
soaring strains of the Ave Maria. Perhaps it happy ending. In this production the director
is asking too much to hope that so fine a and actors have handled their material un-
songster might also be a natural boy. He usually well.
postures and gazes aloft as expertly as a sea-
soned church soloist. Worthy of note are the
No; sordid atmosphere No
colored actors of the play who take their of crime
THEY WANTED TO MARRY WE'RE ON THE JURY

Gordon Jones, Betty Furness, Henry Victor Moore, Helen Broderick, Louise
Kolker, E. E. Clive. Direction by Lew Latimer, Vinton Halworth, Robert Mc-
Landers. R.K.O. Wade. Direction by Ben Holmes. From
the play “Ladies of the Jury,” by
The trials and compensations of a camera John Frederick Ballard. R.K.O.
man's life have never been shown in a livelier
manner than in this gay and occasionally mad Jurors and their foibles are the target for
story of one, Jim Tyler, who is always landing
good natured but well aimed ridicule in this
amusing farce. On the jury are a chiropractor,
in jails and hospitals, not to mention elaborate
a garage owner, a real estate broker, a ticket
wedding receptions. Gordon Jones is the irre-
seller,a bride and several others, the most
pressible youth, who, abetted by his carrier
prominent among them being J. Clarence
pigeon Emily, seeks to get a candid camera Beaver, the real estate broker, and Mrs. Dean,
shot of a publicity-shunning capitalist and housewife. All are more interested in their
thereby meets his delectable daughter. It is own problems than in the guilt or innocence
light pleasant comedy with some good repartee of the woman who is on trial for murder, and
and sufficient pep to make the broken glass- their inconsequential conversations and absurd
ware quite unnecessary. behavior afford hilarious comedy. Victor
Children, 8 to 12
Moore and Helen Broderick are outstanding.
Others in the cast are extremely capable and
Y es Little interest
make the most of the clever lines and situ-
ations. While some few people may react un-
favorably to such an unflattering picturization
of the administration of justice, most audiences
UNDER COVER OF NIGHT will enjoy its obvious exaggerations and its
Edmund Lowe, Florence Rice, Nat ludicrous take-offs on petty human beings.
Pendleton, Henry Daniels, Sara Haden. Adolescents, 12 to 16 Children, 8 to 12
Direction by George B. Seitz. M-G-M. Yes Too mature
This is excellent entertainment for sensation
hungry fans. Though it follows the usual
formula of the audience-knows-who-did-it kind WITH LOVE AND KISSES
of plot, it makes use of ingenious methods of
Pinky Tomlin, Toby Wing, Kane Rich-
plot complications, and the setting, a uni-
mond. Original story by A1 Martin
versity family home, gives a novel and sur-
and Sherman Lowe. Direction by
prisingly respectable atmosphere for a murder Goodwins. Melody Pictures released
story. The picture opens with commencement through Television Pictures.
exercises at a typical university. The retiring
president promises that the name of his suc- What with a trite story of a country boy
cessor will be given the public the following who comes to town and makes good, mediocre
week. Ambitious and convinced that he de- acting, no outstanding musical numbers, some-
serves the appointment because of a scientific what ordinary photography and bad lighting
discovery he has recently completed, Dr. Gris- effects, this film makes a poor and unentertain-
wold, seen plotting the discomfiture of a
is ing picture. The plot is that the country boy
colleague. He quarrels with his wife over his comes to town and is exploited by a crook.
attentions to another woman, and when she He meets and falls in love with the girl who
threatens to leave him and take with her his eventually, with the help of a drunken lawyer
laboratory notebooks, he deliberately plans a brother, extricates him from the clutches of
deed which is responsible for her death. the villain and succeeds in securing him suit-
Meanwhile notebook is lost, and in his
the able reward for the music which he writes.
frantic search forit Griswold commits a mur- There are preposterous touches such as the
der to cover up his guilt. He commits two insistence of the country lad that he is home-
more murders and is about to accomplish a sick for his pet cow with the result that the
third when the law discovers evidence to prove cow is sent for and installed in his swell
his criminal actions. Thus in witnessing four New York apartment. It would seem that
deaths and in collaborating in imagination there might be good opportunities for funny
with Edmund Lowe to solve the mystery, fans comedy but the picture, while ridiculous, is
will receive their money's worth. not really funny.

No No Harmless No appeal
“WOMAN-WISE" wayward son is of a type more often seen in
the movies than in real life. In so far as the
Rochelle Hudson, Michael Whalen, play attempts to expose a real evil it may be
Thomas Beck, George Hassell. Screen
play by Ben Markson. Direction by said to have value.
Allan Dwan. 20th Century-Fox.
This an adequate picture of Class B type
is Harmless but little value Better not
showing the struggle for a living by prize
• • •
fighters who have passed their prime and can
no longer make a good showing against
younger men. It exposes the cruelty of the SHORT SUBJECT
proprietors of some sporting clubs who hire
these old-timers to fight for a nominal sum, MAGICIAN MICKEY
using their names as drawing cards for sports
lovers who remember their former prowess. Walt Disney Studios.
Michael Whalen gives an excellent portrayal
While Mickey is in bed reading “Alice
of a newspaper sports reporter who crusades
Through the Looking Glass” he falls asleep
against this practice. George Hassell as the
and follows Alice through the mirror, where
crotchety old newspaper owner whose bark is
inanimate objects come to life. The scene of
so much worse than his bite, deserves com-
the playing cards is especially diverting, and
mendation. Thomas Beck as the weakling
the fun goes on till he awakes from his ex-
gives his usual good performance. There is
citing dream. The color of the film is an
nothing especially original about the story, and
added joy. Excellent for family and children.
the nobility of the reporter who allows himself
to be put in the wrong on all occasions and Adolescents, 12 to 16 Children, 8 to 12
silently accepts the blame for his employer’s Excellent Excellent


1936
I am inclosing for subscriptions to Motion

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PICTURE
REVIEWS

MARCH, 1937
reference.
*
Borderland Marked Woman
'Breezing Home Men Are Not Gods
'Clarence Men in Exile
Dangerous Number Michael Strogoff
Devil's Playground Midnight Court
Don't Tell the Wife Murder Goes to College
Espionage 'Off to the Races
'Fair Warning 'On the Avenue
'The Good Earth Sea Devils
'Green Light 'The Ski Chase
Her Husband's Secretary Step Lively Jeeves
'Land Beyond the Law Time Out for Romance

The Last of Mrs. Cheney 'Twenty-three-and-a-Half-Hours-Leave
Love Is News 'When's Your Birthday
Mama Steps Out 'Wings of the Morning
'Man of the People Women of Glamour
The Man Who Could Work Miracles You Only Live Once
•Film suitable for family entertainment but not necessarily appropriate for children under
Long Beach: Mrs. H. A. Barr, Chairman Whittier: Miss Jeanette Perdew, Chairman
Glendale: Mrs. H. B. Payne, Chairman Santa Monica: Mrs. Wilmer Morhy, Chairman
Motion Picture Reviews is fully protected by copyright and nothing that appears in it may be
WOMEN'S
THEANGELES
LOS
UNIVERSITY CLUB
BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN
•
LOS ANGELES BRANCH
Mrs. Raymond Young, Subscription Chairman
—
EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. Georgb Ryall
The Women’s University Club, 943 So. Hoover St.. Los Angeles. Calif.
10c Per Copy - - S1.00 Per Year
Vol. XI MARCH. 1937 No. 3

•
FEATURE FILMS
BORDERLAND a carefully-planned 'accident” in his first race,
William Boyd. Jimmy George Hayes,
Ellison,
has some difficulty getting entered in the sec-
Stephen Morris. Charlene Wyatt. Based on ond, comes through the great race victoriously,
the story "Bring Me His Ears”, by Clar- and added to these there is the romance of two
ence E. Mulford. Screen play and dialogue
people profoundly interested in the horse. With
by Harrison Jacobs. Direction by Nate Watt.
Paramount. little chance for surprise, the success of the
picture depends upon the suitability of the
flop, dong Cassidy rides again in an exciting
actors and minor quirks of plot. This is a
melodrama of the border. ''The Fox", a notori-
moderately good sport picture which gives
ous bandit, is carrying on his activities of cattle
rustling and robbery on the border of Texas
William Gargan a chance to make a very like-
able person of the horse-trainer, Steve Rowan;
and Mexico. He has eluded all attempts at
the high-light of the film is his talk on the
capture by both the Mexican and the American
devotion of a fine horse to his human masters.
authorities. As a last resort, Hopalong Cassidy
is persuaded by the head of the Rangers to
Wendy Barrie is an attractive young heroine.
pose as an accomplice of the cattle rustlers and
Raymond Welburn is a fair comedian. Binnie
in this way lure "The Fox" and his gang into
Barnes is effective as the woman who com-
his power. His success is not without the usual
petes for Steve' r affection. The film has a
gun-play and hair-breadth escapes. The desert
good tempo, rising to the exciting victory at
Santa Anita.
settings are beautifully photographed, the char-
acter portrayals clear-cut, and the story dra- Adolescents, 12 to 16 Children, 8 to 12
matically told, with no love interest motivating Yes No
the action.
CLARENCE
P os-ne K. rns, Charlotte Wynters, Eugene Pal-
Yes Exciting
lette, Eleanor Whitney, Johnny Downs, Spring
• • •
Byington. Direction by George Archainbaud.
BREEZING HOME Paramount.
William Gargan, Binnie Barnes, Wendy Bar- There are many who will recall Booth Tark-
rie, Raymond Walburn. Direction by Mil- ington's Clarence, an unassuming character who
ton Carruth. Universal. sometimes seems preternaturally stupid but lives
Racing stories seldom vary greatly in com- to gain the mastery of mean, suspecting, vex-
ponent parts: there are the enemies of true ing and malicious individuals. Mistaken for a
sport who care only for gambling, those who is taken home by Mr. Greene, to
cab-driver, he
truly love their horses, a fine horse which is in whom he proves invaluable as plumber, piano-
s
tuner and gardener, meanwhile curing psycho- DON'T TELL THE WIFE
logical ills of all members of the household
until at the end someone has the inspiration to
Guy Kibbee, Una Merkel, Lynne Overman.
From the play "Once Over Lightly" by
look for his name in "Who’s Who". Here is George Holland. Screen Play by Mark Nat.
the light, satirical treatment of human foibles Direction by Christy Cabanne. R.K.O.
for which Tarkington is known. The cast is
In this light comedy we
see crooked pro-
pleasing if not note-worthy, and the story pro-
moters ridiculed. The
picture commences with
ceeds in a lively manner with a sprinkling of
a scene showing a convict being released from
good dialogue. Wholesome in tone, "Clarence"
the penitentiary. He plots a new venture, the
should make a good family picture.
promotion of a fake mine, and to lend the deal
Adolescents, 12 to 16 Children, 8 to 12 the earmarks of respectability he persuades a
Good Insufficient interest naive and honest gentleman to become presi-
dent of the company. Guy Kibbee is convinc-
ing and entertaining as the lamb who turns
the tables on the lions. On the whole however
the picture is only mildly amusing. Much of
DANGEROUS NUMBER
the comedy is overdone and the plot is too
Robert Young, Ann Sothern, Reginald Owen, absurd to be interesting.
Cora Withspoon. From a story by Leona
Dalrymple. Direction by Richard Thorpe. Adolescents, 12 to 16 Children, 8 to 12
Metro-Gold wyn- Mayer. Questionable No interest
A young business man and his temperamental

actress wife engage in a succession of squab-
bles from the extreme divergence in
arising ESPIONAGE
their views of life. It is light, improbable farce
Edmund Lowe, Madge Evans, Paul Lucas,
with an effect of smart, flippant modernity in Ketti Gallian. From the play by Walter
dialogue, costumes and settings, depending for Hackett. Direction by Kurt Neumann. Metro-
entertainment value on such ludicrous situa- Gold wyn-Mayer.
tions the heroine in full wedding regalia
as Kenneth and Patricia are secret service agents
flying past on a motorcycle. Direction is not following the movements of the powerful muni-
entirely smooth, acting is sometimes overdone, tions manufacturer, Kronsky, whose endeavors
but it is the sort of thing which evokes laugh- are supposed to be the key to the European
ter if one is in an irresponsible mood. war situation. Most of the action takes place
Children, 8 to 12
on a train to which Kronsky’ private car is
No No interest attached, and the pair strike up an acquaintance
with the important gentleman because of Ken-
neth’s flair for music. A gun goes off, and a
charge of dynamite is thrown from a window
and detonated, but one is never very much im-
DEVIL'S PLAYGROUND pressed with the seriousness of the affair, for
it is all done in a light vein with emphasis on
Chester Morn's, Richard Dix, Dolores Del Rio.
minor anecdotes and encounters which foster
Story by Liam O'Flaherty. Direction by Erie
C. Kenton. Columbia. the romance of the two spies. Towards the end
there is a good deal of harmless fun of the
The fear of being trapped became a part of strain usualy employed in musical comedy with
our experience far back in the history of the Edmund Lowe (Kenneth) masquerading in a
race. Consequently, a plot which involves a black mustache and Alpine costume. Action
sunken submarine with its trapped men be- moves along in jaunty fashion, with enough
comes vitally dramatic. A diver in the United complications to keep one interested if not
States navy believes that his close friend, a highly intrigued.
chief petty officer, has made advances to his
wife. When the officer is trapped in a sub-
Fair Too intricate a plot
marine, the diver refuses to go to his aid but
when his wife explains that his suspicions
were unfounded, he rushes to the rescue. Sus-
pense is heightened by the delay of the diver FAIR WARNING
in responding to the need for his services, the
struggle of the trapped men to sustain life J. Edward Bromberg, Betty Furness, John
Howard Pavne. Victor Kilian. From a story
until help reaches them and the difficult con- by Philip Wylie in the American Magazine.
ditions under which the rescue is effected. It Direction by Norman Foster. 20th Century-
is a fairly good melodrama. Fox.
Adolescents, 12 to 16 Children, 8 to 12 When a young engineer finds himself a tem-

No No porary job as swimming instructor at a resort
in Death Valley, little does he guess that he novel by Lloyd Douglas. Screen play by Mil-
ton Krims. Direction by Frank Borzage. War-
will soon be in the thick of murder and mys-
ner Bros.
tery, but so it happens. Two men are killed,
and all survivors are placed under suspicion. Lloyd Douglas' books attract many readers.
The story is a little slow in getting under way They combine gripping dramatic plots with a
and never does attain sufficient speed, and the very real and satisfying philosophy of living.
characterizations are sketchy. The casual atti- "The Green Light" is one of his most popular
tude towards death makes the tale less harrow- staries and the film is an excellent adaptation,
ing and at the same time less convincing. minor changes not affecting the theme. The
plot concerns the difficulties confronting a
Adolescents, 12 to 16 Children, 8 to 12 young surgeon who assumes the responsibility
Yes Not objectionable
of a mistake made by his chief. His career
seems ruined but acting upon the council of a
saintly Cathedral Dean, who understands the
facts of human relationships, he pushes ahead
THE GOOD EARTH
"toward the green light” because of that great-
Paul Muni, Luise Rainer, Walter Connolly, er force outside ourselves which drives us on
Tilly Losch, Keye Luke, Roland Lui. From to the solution of life's deepest problems. The
the novel by Pearl Buck. Direction by Sidney
Franklin. Art direction by Cedric Gibbons. cast is and the director has created
excellent
Metro-Goldwyn-Mayer. a sympathetic atmosphere which leaves a mem-
ory of sincerity and spirituality as well. It is
Storm and and all the inimical
drought an exceptional picture, offering entertainment
forces of nature war against the poor Chinese and a rationalized plan for meeting crises.
farmer, Wang, and his wife O-Lan who was
once a slave, but an endurance almost beyond Adolescents, 12 to 16 Children, 8 to 12
Good Yes
the credence of an Occidental and an abound-
ing faith in the deep, rich soil bring the ulti-
mate reward of security and the establishment HER HUSBAND'S SECRETARY
of a great house. Pearl Buck has a keen under-
standing of the Chinese people, and everyone Jean Muir, Beverly Roberts, Warren Hull,
who has assisted in the making of the film is Joseph Crehan. Screen play by Lillian Hay-
ward. Direction by Frank McDonald. Warner
imbued with her spirit; Paul Muni and Luise Brothers.
Rainer seem to have entered into the yellow
There is probably no more devastating criti-
skins of the man Wang and his wife. Every
religious custom, every detail of dress, habita-
cism of a picture than that it is dull. Occa-
sionally actors and director rise above a time
tion and family procedure has been presented
with unusual care.
worn, mediocre plot to salvage something in
entertainment value. Unfortunately, though the
There is conversation, and perhaps for
little
effort is pronounced, no such feat is accom-
that reason, one has a strong feeling of elapsed
plished in this instance and the picture remains
time from beginning to end. The treatment
has much in common with the work of Eisen-
— dull. If you are still interested in the plot
of this triangle drama, the title tells all.
stein dramatic use of nature, ominous banks
;
of cloud, fierce winds blowing down, the Adolescents, 12 to 16 Children, 8 to 12

wheat fields, pitiless rains, the devastating on- No No
slaught of the locusts. A
picture which deals
with such primitive forces and simple peo-
ple requires mastery of conception and exe-
LAND BEYOND THE LAW
cution if it is to surmount the level of the To lend a of authenticity General
feeling
sordid, and Sidney Franklin, Cedric Gib- Lew Wallace introduced in the first part of
is
bons and all who participated in the making this story of the early days in New Mexico.
of The Good Earth have risen to the challenge. The film is a good rousing Western with shoot-
The whole picture has a haunting spiritual ing and fast riding, fine photography and a
quality that grows even more apparent in retro- hero who can sing a cowboy song to warm a
spect, but dominant in the minds of all who maiden's heart. Chip Douglas leaves his
have seen it will linger the exquisite memory father’s ranch because of undue parental re-
of Luise Rainer’s O-Lan. straint, soon finds himself in a more difficult
situation when his employer proves to be a
villainous cattle rustler. When Chip is elected
Very fine Too heavy and too mature
sheriff, his position becomes really desperate,
but in the end good wins over evil as in all
true Westerns.
GREEN LIGHT
Errol Flynn, Anita Louise, Margaret Lindsay, Good Yes, except for the
Sir Cedric Hardwick, Walter Abel. From the excitability
THE LAST OF MRS. CHENEY Withthe same central idea as "Dodsworth”,

the social-climbing American, "Mama Steps
Powell, Frank Morgan. Direction by Richard
Boleslawski. From the play by Frederick Out” is as far removed from that picture as
Lonsdale. M.G.M. the sub-basement from the pent-house. The
scene shifts from ocean liner to Paris and on
In spite of the fact that much of the dia- to the Riviera. While the mother is vainly
logue of the play seems to have been rewritten trying to acquire important Continental friends,
to suit present-day tempo, the plot itself is the daughter with the resiliency of a rubber
conspicuously dated. The opening sequences ball is being repulsed daily by a crooner from
are amusing and the dialogue at this point home. The bad characteristics of both Euro-
spritely, but the last half of the picture suffers peans and Americans are magnified the comedy ;
from excess verbiage which in no way keeps offers more noise than wit, and very little fresh
pace with the progress of the plot. Com- treatment of old situations is employed to save
parisons are sometimes inevitable and in re- the play from the realm of mediocrity.
calling William Powell's work in more recent
films, you will find his role in this one dis- Adolescents, 12 to 16 Children, 8 to 12
No No
appointing. Joan Crawford, that ultra-sophisti-
cate, is satisfying, while Frank Morgan adds
moments of delightful comedy. The plot is MAN OF THE PEOPLE
fantastic and absurd but excusable since plausi-
bility is waived in the interests of good fun. Joseph Calleia, Florence Rice, Thomas Mitch-
Joan Crawford, as the alluring decoy, working ell, Ted Healy. Story and Screen Play by
Frank Dolan. Direction by Edwin L. Marin.
for a band of gem thieves, rents a palatial Metro-Goldwyn-Mayer.
home in London and is accepted by British
society. While she is the house guest of an A self-respecting, ambitious young lawyer of
elderly Duchess, she steals a pearl necklace Italian parentage is forced by circumstances to
and there ensues a battle of wits between her join a political gang, and backed by these in-
and the Duchess’ guests who are torn between fluential but crooked politicians, he rises to the
their desire to turn her and her accomplices position of District Attorney. Because of his
over to the police and terror lest she reveal the insistence upon honest law practice he is
intimate scandals of their lives for publication. double-crossed by his backers but his integrity
is rewarded, he attains prominence and
later
Too sophisticated No wins the woman he loves. The story is not
unusual, and there is nothing striking about
the manner of its telling. It does however
present convincingly the part played by crooked
LOVE IS NEWS politicians in many American cities. Joseph
Calleia is well suited to his role, and the lesser
Tyrone Power, Loretta Young, Don Ameche,
Italian characters are extremely good.
Slim Summerville. Direction by Tay Garnett.
20th Century-Fox.
Mature problem No
A comedy wherein
a beautiful socialite turns
the burning eye of publicity on an ace reporter
who all but withers through the ordeal. Loret-
ta Young is quite delightful as Tony, Tyrone
Power is spirited and unbeatable as the usual
THE MAN WHO COULD WORK MIRACLES
cinema newsgatherer and Don Ameche satisfac- Ralph Richardson, Sophie Stewart, Roland
tory, if cast in a less attractive part than usual. Young. Direction by Alexander Korda.
Adaptation of story by H. G. Wells. United
It is moving, well photographed but
jolly, fast
Artists.
it suffers mainly from a repetitious quality.
Just as there are too many falling grille doors Screen technique has given high comedy
in the jail, an accumulation of minor climaxes value to this adaptation of a rather mediocre
becomes tiresome before the plot is two-thirds short story. As is often the case with fantasy
run —
and the principals do an inordinate the moving picture proves a more successful
amount of laughing at their own jokes. vehicle than the printed page. In this story
the gods decide to give to one mortal the
Fair Too mature power to perform miracles withholding only
the supreme miracle of transforming human
nature. They choose for their experiment a
MAMA STEPS OUT clerk in an English drapery shop, who startles
his associates by his fantastic tricks and soon
Guy Kibbee, Alice Brady, Betty Furness, becomes famous for his magic power. Intoxi-
Stanley Mornor. Direction by George B. Seitz.
Art direction by Cedric Gibbons. Metro-Gold- cated by his sudden rise to fame, he attempts
wyn-Mayer. too much and is wrecked by his own experi-
.
MOTION PICTURE REVIEWS Sevan
ments. The story contains the familiar Wells his own wife who
playing the part of "Des-
is
philosophy lightened and made deliciously demond’ The humor
is unsuited to American
humorous by witty lines and excellent acting. audiences, and one is left with a feeling of
regret that a talented cast should have been
Intersting but mature Beyond theircomprehension used in such an ineffectual production.
No No
MARKED WOMAN
Bette Davis, Humphrey Bogart. Original MEN IN EXILE
screen play by Robert Rossen and Abem
Finkle. Direction by Lloyd Bacon. First Na- Dick Purcell, June Travis, Alan Baxter, Vic-
tional-Warner Bros. tor Varconi. Direction by John Villiers Far-
row. Warner Brothers.
It our opinion that the theme is of im-
is
mense importance in estimating the value of a A band of exiled crooks join in a
sinister
picture, whether for mere entertainment or plot to overthrow the government of the little
for its social significance. There are import- island of Caribo which has given them sanctu-
ant contributions to literature, to the stage and ary. They urge the newest arrival, Jimmy
to films which show the tragedy, frustrations Carmody, to join in the gun-running, but he
and ugliness of life but which also indicate finds a more desirable occupation in the local
some way in which the evils may be alleviated hotel until by mischance he too is involved in
or corrected. We
doubt whether "Marked the imbroglio. It is a second-rate picture, akin
Woman” is of this class. The ending alone, to the pulp magazine stories, given whatever
with its absence of sentimental compromise, merit it possesses by the convincing portrayals
saves it from utter oblivion. The cast has been of Dick Purcell, June Travis and Alan Baxter
well chosen. Bette Davis always adds distinc- in the respective parts of Jimmy, Sallv the girl
tion to any character she plays. The direction he loves, and her weak brother, Danny.
is good. But it is a story of the underworld, Adolescents, 12 to 16 Children, 8 to 12
of the murderous power of a man who con- Poor No
trols all the night clubs of a great city, who
intimidates his employees and kills anyone
who knows too much or who ciosses him.
The "hostesses” in one bar are paralyzed with MICHAEL STROGOFF
fear and their behavior is motivated by this Anton Walbrook, Elizabeth Allan, Akim Tam-
emotion. It is only when an innocent girl is iroff, Margot Grahame, Fay Bainter, Eric
murdered and one of their number is cruelly Blore, Edward Brophy. From the novel by
beaten and disfigured that they appreciate their Jules Verne. Screen play by Mortimer Offner,
Anthony Veiller, and Anne Morrison. Direc-
impotence and become witnesses for the State, tion by George Nicholls, Jr. R.K.O.
thereby incriminating their vicious leader. It
is a bitter indictment of the underworld and of This is a regulation romantic story after a
the laxity of society’s attitude toward the type time-honored formula. Unusual and interesting
of entertainment offered in these night clubs, backgrounds and the varied types among the
but it leaves the spectator nauseated by its minor characters give the film more than or-
brutality and with no clues to how to help. dinary interest. Scenes taken in Bulgaria for
the French version and now incorporated in
this production create an atmosphere that even
By no means, shocking No
the most discriminating choice of location in
this country could not have provided. Rus- A
sian agent of the Czar carries military secrets
MEN ARE NOT GODS to the Grand Duke whose army is about to be
attacked by the Tartars. With super-human
Miriam Hopkins, Gertiude Lawrence, Sebastian courage and infinite good luck he completes
Shaw, Rex Harrison, A. Matthews, Val Giel-
his dangerous mission at the crucial moment
gud. Direction by Walter Reisch. Alexander
Korda-London Films. and saves the Grand Duke’s forces from an-
nihilation. His adventures are complicated by a
Apparently the authors never came to an seductive woman spy working for the enemy,
agreement on the form of drama they were and a lovely young girl in need of chivalrous
writing, for they fail to establish any semblance protection. Anton Walbrook is a good type
of artistic unity. It all begins in fun when a for the role of Strogoff. Akim Tamiroff is a
critic’s stenographer is implored to alter a forceful Ogareff, the cruel and crafty Tartar
critical estimate of a performance of "Othello”, general whose practice of torturing his victims
but it ends in a burst of melodrama verging on is shown in several altogether too realistic
tragedy, when the actor tries to rid himself of scenes. Fay Bainter, though appearing in only
two or three sequences, is easily the outstand- in recent months, are visited by Uncle George
ine figure in the cast. Her characterization of in the person of Slim Summerville, a pleasant
Strogoff’s mother will be remembered long but persistent "sponge”, and his small daugh-
after the rest of the film has been forgotten. ter, Winnie May, wbo is an unmitigated nui-
sance. Before they know it the Joneses are in-
Interesting but somewhat Children, 8 to 12
volved in the excitement and financial hazards
harrowing No, too tense of the race track, and while all ends well, they
come close enough to disaster to be convinced
of the evils of gambling. The dialogue is funny
and fast, acting good, and one is always inter-
MIDNIGHT COURT ested in the outcome.
Ann Dvorak, John Litel, Carlyle Moore, Jr., Adolescents, 12 to 16 Children, 8 to 12

William Davidson. Direction by Frank Mc- Yes Yes
Donald. Warner Bros.
A renegade prosecutor becomes defense at-

torney for a gang of automobile thieves, adroit-
ON THE AVENUE
ly securing acquittals for his clients, until his Dick Powell, Madeleine Carroll, Alice Faye,
protege Bob becomes a victim of the racketeers. George Barbier, Alan Mowbray. Direction by
The shock restores a sane attitude towards Roy Del Ruth. Music and lyrics by Irving
Berlin. 20th Century-Fox.
society and his own obligations to it. John
Litel gives a fine performance, other members A Dick Powell picture always offers certain
of the cast are good, while swift action and things: breezy manners, gay-hearted fun, good
human interest are maintained by the director. songs and peppy dances. Not one of his best,
The moral is straight from the shoulder: crime this offers a satisfactory amount of diversion
doesn’t pay. It is weakened somewhat by com- for those who like the type of musical. The
promise with fact in order to secure a happy Ritz Brothers are grand if you like them, a
ending, and one is left with the feeling that little tiresome if you don’t. The story con-
if the gangsters had been an nth degree more cerns a youth who is a star in a revue. He
clever they might have escaped punishment. enters into a feud with "the richest girl in
Adolescents, 12 to 16 Children, 8 to 12 America”, cures her of her snobbish notions

Better not No and saves her from the pompous explorer to
whom she is engaged. Scenes from the revue
are as gorgeous as those in some of the big
MURDER GOES TO COLLEGE stage productions, such as "As Thousands
Cheer” and occasionally as daring, i.e. the
Roscoe Karns, Marsha Hunt, Lynn Overman, back-drop of The Girl From the Police Gazette.
Astrid Allwyn. Direction by Charles Reisner.
Madeleine Carroll and Dick Powell make a
Paramount.
good team, particularly in the insouciant com-
The picture is a rather involved humorously panionship of their evening in the hansom, the
treatedand fast detective story. The
moving park and the dining-car restaurant. The songs
atmosphere is not altogether wholesome behave melody and swing, and the plot moves
cause of the inappropriate mixing of college along gaily to its romahtic conclusion.
faculty life with drinking, night clubs and
gambling. Comedy consists mostly of the con- Yes Fair
stant smashing of whiskey bottles and wise-
cracking by a seemingly nitwit detective. Out-
side of the unravelling of the mystery the pic- SEA DEVILS
ture has little to offer except to fans of Roscoe
Victor McLaglen, Preston Foster, Ida Lupino,
Karns and Lynn Overman. The casting and Donald Woods, Helen Flint. Direction by
acting are adequate, and the directing is pass- Ben Stoloff. R.K.O.
able considering what there was to work with.
Doubtless there has been a call for the
Adolescents, 12 to 16 Children, 8 to 12 rollicking "he-man” parts McLaglen used to fill,
Waste of time No sometimes as a doughboy, sometimes as a
Marine. Now he becomes "Medals” Malone,
chief petty officer in the Coast Guard, swag-
OFF TO THE RACES gering and bellicose, treated with scant respect
by his subordinates, his sterling qualities being
Slim Summerville, Jed Prouty, Shirley Deane, his devotion to the service and his love for his
Spring Byington, Ann Gillis. Direction by
pretty daughter Doris, whom he tries to shield
Frank R. Strayer. 20th Century-Fox.
from the attentions of Mike O' Shay (Preston
The Jones family, who have furnished enter- Foster) a younger edition of himself. In ad-
tainment for many average American families dition to stirring scenes aboard a burning ves-
MOTION PICTURE REVIEWS Nin*
sel, an iceberg and a hurricane-driven yacht, In this picture, the machinations of gangsters
there are enough blows to afford vicarious joy are exposed in a farcical light. Jeeves, a highly
to fight-loving men. Most women will not care respectable English valet and familiar figure of
for it at all. The influence of the "Code” is many P. G. Wodehouse stories, is duped into
seen in suppression of vulgar language and in believing that he is the missing heir of Sir
the type of women presented, Ida Lupino as Francis Drake. Under the guidance of two
Doris having a lyrical beauty and even Helen crooks, he finances a trip to America where
Flint as Sadie Medal’s inamorata, displaying a
,
he is eagerly sought by ambitious hostesses.
certain wistful sweetness. Nevertheless a great What follows is amusing if your taste runs
deal of emphasis is placed on Malone’s un- toward light, rollicking entertainment.
quenchable thirst.
Adolescent*. 12 to 16 Children, 8 to 12 Questionable No
Probably better not No
TIME OUT FOR ROMANCE

THE SKI CHASE
Claire Trevor, Michael Whalen, Joan Davis.
Hannes Schneider, Leni Reifenstahl. Direction Direction by Malcolm St. Clair. 20th Century-
by Arnold Franck. Produced by George Kras- Fox.
ka.
In a second rate, rough and tumble comedy
A distinct novelty is a film devoted to ski- Claire Trevor plays the part of a young woman
ing in the Austrian Tyrol. The picture features who starts out to hitch-hike to California, and
Hannes Schneider, famous ski instructor. No manages to beat her way by pretending to be
news-reel is this with carefully prepared slides, the wife of one of the drivers in a motor cara-
but real skiing across rugged mountain country van. She is trying to elude a bridegroom whose
with jagged rocks half-concealed in the snow interest is solely in a marriage settlement. It
to bring about the downfall of the incautious. is all decidedly nonsensical. Some of it is
The picture shows the annual "fox hunt" or quite funny and some of it pretty poor.
ski chase of the little town of St. Anton am
Arlberg, Austria. Hannes and Leni are chosen Adolescents, 12 to 16 Children, 8 to 12
as "foxes”, given fifteen minutes start and lead
Undesirable No
a band of some fifty expert skiers over the
mountains of the Hyrol. Two visitors from
Hamburg, determined to win the chase against TWENTY-THREE-A-HALF-HOURS LEAVE
the natives furnish much amusement by their
James Ellison, Terry Walker, and Morgan
antics on or off skis. The pursuers are foiled
Hill. Adapted from the Saturday Evening
by the skilful tactics of the foxes, until finally Post Story by Mary Roberts Rinehart. Direc-
a small boy cuts across lots and corners the tion by John G. Blystone. Produced by Doug-
fugitives in a mountain cabin, emerging with las MacLean. Grand National.
their caps in token of victory. The chase Movie audiences who are not already sur-
shows every imaginable jump, twist and turn feited with stories based on the playful pranks
known to tbe sport, with innumerable headlong of soldiers during the World War will be
falls down the steep slopes. Direction and amused by the antics of Sergeant Gray, a good
photography are remarable, showing every de- looking young smart-aleck, who makes and
tail of the ski-runner’s art. Many slow motion
wins a bet that within a month he will break-
shots of the leaps and turns end in a cloud
fast with the General. The humor is largely
of powdery snow, flashing in the sun against
slapstick including a tomato throwing bout
a background of beautiful mountain scenery.
and a sequence depicting the hero in his under-
The picture ends in a wild snowball fight to
wear racing up and down the stairs of an office
the accompaniment of a little Tyrolean band.
building. The horse-play is interspersed with
Adolescents, 12 to 16 Children, 8 to 12 songs by Sergeant Gray (James Ellison) and
Excellent Excellent his barrack room playmates. The production
romps along without offense and equally with-
out originality, but to many people certain
STEP LIVELY. JEEVES situations are perennially funny.
Arthur Treacher, Patricia Ellis, Robert Kent, Adolescents, 12 to 16 Children, 8 to 12

Alan Dinehart, George Givot, Helen Flint. Amusing Little interest
Based on the character "Jeeves” created by
P. G. Wodehouse. Screen play by Frank Fen-
ton and Lynn Root. Direction by Eugene
Forde. 20th Century-Fox.
WHEN'S YOUR BIRTHDAY?
Poking fun at even the more grisly aspects Joe E. Brown, Marian Marsh. Direction by
of our social life has became a national pastime. Harry Beaumont. Warner Bros.
In one of the funniest parts he has ever The others are adequate. The plot, though not
played Joe E. Brown represents Dustin W'illou- startling, has some interest.
by who has become so immersed in the study
of astrology that every event of life, including
Unsuited
marriage, must be prophesied by the stars.
When his horoscope reads, "Victory as the
moon rises”, undaunted, he plunges into the
boxing arena against trained fighters, and . . .
it would never do to divulge the result. The YOU ONLY LIVE ONCE
cast as a whole is pleasing, direction never Sidney, Henry Fonda, Barton MacLane,
S, lvia
lags; the film furnishes entertainment for all William Gargan. Direction by Fritz Lang.
the family with good-natured jibes at those Walter Wanger-United Artists.
who take their astrology too seriously.

Here we reduction ad absurdum of
find a
Adolescents, 12 to 16 Children, 8 to 12 the doctrine "There but for the grace of God
Good Probably go 1". Because he is young and can love
deeply, we are expected to feel a sense of kin-
ship with a criminal who has a not unusual
history as a "three time loser”, and who al-
WINGS OF THE MORNING though innocent of the crime for which he is
Annabella, Leslie Banks, Henry Fonda, Stew- sentenced to the electric chair, nevertheless is
art Rome, Irene Vanbrugh. From stories by willing to kill anyone thwarting his effort to
Donn Byrne. Direction by Harold Schuster. escape from prison, and in fact does murder
Art direction by W. Ralph Brinton. New
World Pictures, Ltd. the man who has befriended him. In a further
effort to befuddle the wits of the public Henry
Much of the romance and warmth of the Fonda, one of the best-liked and most capable
Donn Byrne stories has entered into this tale of the younger actors, is cast in the part with
of the Irish Lords of Clontarf, whose fate is Sylvia Sidney, always exceptionally good in
swayed by the gypsy race even unto the third tragic surroundings, as his young wife whose
generation. The color work is enchanting; heroic love transcends all fear of death. For a
there are lovely scenes of the country life in few, fine acting and direction may compensate
the British isles, gaily-hued sequences of the for the strain of witnessing a picture which is
guard at Buckingham Palace, fascinating views as dismal from the beginning as the croaking
of the races at Epsom Downs, when the famous frogs which are oddly enough given as the
gypsy horse, Wings of the Morning, speeds to symbol of imperishable love.
victory. The picture boasts a varied and in-
teresting cast, Annabella deserving first place
Anti social influence Decidedly not
in her dual role of the pretty younu gypsy girl
and the heroine of the modern tale. While
John McCormack's singing is an added feature,
his cinema appearance leaves much to be de-
sired. Direction is not as capable as that in
the best American pictures; some of the situa- SHORT SUBJECTS
tions are awkward ; often the dialogue misses
fire, but it is a picture that remains outstanding HOW TO BEHAVE
for sheer beauty and unusual charm.
Metro-Goldwyn-Mayer.
Adolescents, 12 to 16 Adolescents, 12 to 16
Excellent Yes A nonsensical group of episodes are based
upon a few laws of social etiquette. For ex-
ample: two ditch-diggers decide to ask Bench-
ley the proper rules for tipping. Good whole-
WOMEN OF GLAMOUR some laughs. Adults and family.
Melvyn Douglass, Virginia Bruce, Reginald
Denny, Pert Kelton. Direction by Gordon
Wiles. Columbia.
When find the work of a young

critics
artist interesting and well-painted but not in- TRAINED HOOF
spired ", the artist seeks inspiration in the Metro-Goldwyn-Mayer.
person of a night club entertainer who poses
for him. Looking beyond her life of glamour, A delightfully entertaining short explains the
he discovers true character and tries to develop training of a race horse from the time he is a
—
it a dangerous experiment, since he is already colt, his introduction to the saddle, first trials
engaged to be married. The part of the artist at trotting, intensive speed training for the
is convincingly played by Melvyn Douglass. famous race courses. Interesting for all ages.
UTILE cheeseb HURLING
Harman-izing Cartoon. In color. Metro-Goldwyn-Mayer. Pete Smith Novelty.
Cheeser is a mouse whose good and

Little The exceedingly rough Irish game of hurl- ’
bad intentions follow him around in devilish ing", somewhat akin to hockey, is treated in
or saintly form into the house and into the slap-stick comedy style and succeeds in being
food cupboard until his conscience (or the cat) neither funny nor authentic. The use of sport
persuades him to lock his bad self in Dante’s jargon is tiresome, the subject matter interest-
Inferno. Done in softly blended colors, this ing but poorly treated. Not recommended for
should delight many people. Good for all ages. anyone.
KILLER DOG
TORTURE MONEY
Metro-Goldwyn-Mayer. Pete Smith Novelty.
Educational film.
Although the effect would have been im-
This is an exposition of the methods used proved if people and events had spoken for
in detecting auto accident insurance frauds. themselves in place of the narrator, this is an
A young federal agent joins the ranks of gang- excellent short subject. Based on an actual
sters, learns that they shake dice to decide case in court, a dog, accused of sheep killing,
which of their number is to be maimed and is put on trial for his life, exonerated when
placed in a car which is subsequently wrecked, a coyote appears as the marauder. It is an
and for whom damages are collected. An en- appealing drama with wide interest and fine
lightening picture with a strong lesson. Not pastoral settings. Family but not for sensitive
for adolescents and children. children.


1936

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entertainment.
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MOTION PICTURE
REVIEWS
Call It a Day
The Cherokee Strip
Dead Yesterday
Family Affair
Girl Loves Boy
Head Over Heels in Love
The King and the Chorus Girl
Lost Horizon
The Man Betrayed
The Man Who Found Himself
Maytime
Mountain justice
Nancy Steel Is Missing
Nation Aflame
Nobody’s Baby
Outcast
Personal Property
Quality Street
Revolutionists
San Quentin
Seventh Heaven
The Soldier and the Lady
Swing High, Swing Low
That I May Live
That Man’s Here Again
When Love Is Young
When You’re in Love
White Bondage
Servant of the People
(Short feature)
APRIL, 1937
10c Per Copy $1.00 a Year
• •
LOS ANGELES BRANCH
Cooperating Branch Chairman
Long Beach: Mrs. H. A. Barr Whittier: Miss Jeanette Perdew
Glendale: Mrs. H. B. Payne Santa Monica: Mrs. Wilmer Morby
EDITORS
Mrs. Walter Van Dyke Mrs. John Vruwink
Address all communications to
Vcl. XI APRIL, 1937 No. 4

• <
F I ''he purpose of this magazine is to provide a handbook of com-

plete and unbiased information concerning current motion
pictures. It is designed for those who wish to choose their him
entertainment with discretion and is indexed every six months for
easy reference. For the guidance of parents the reviews carry evalu-
ations of the films' suitability for children. Reviews are compiled

from the detailed comments of university trained women who volun-
teer their services. The Women’s University Club of Los Angeles
is incorporated under the laws of California as a non-profit making
organization, and the subscription price of the magazine is merely

to cover cost of printing and mailing. “Motion Picture Reviews”,
is fully protected by copyright. Permision to quote in full or in part
may be secured by special arrangement with the copyright owners.

For information address the Women’s University Club.
FEATURE FILMS
CALL IT A DAY tery in comedy vein. A youth, once involved
with a gang of bank robbers and having served
Olivia De Haviland,
Ian Hunter, Alice Brady,
Roland Young, Freida Inscourt, Bonita Gran- a prison sentence, is on probation and is try-
ville. From the play by Dodie Smith. Screen ing to go straight when he inadvertently en-
play by Casey Robinson. Direction by Archie
counters the same gang. To escape from a
Mayo. Warner Bros.
compromizing situation, he seeks refuge in the
This picture recounts the happenings of one hospital where his sister is a nurse, and with
eventful spring day in the lives of the members her help and that of an interne, he evolves a
of a delightful English household. From the unique plan of dodging the police as well as
moment when the twenty-year-old son bursts the criminals who are out gunning for him. Sev-
into his mother’s bedroom and interrupts her eral patients, the surgeon, the superintendent
reading of the morning paper to complain and even a corpse take part in the exciting
that his sister has monopolized the bathroom, events that finally lead to the satisfactory solu-
there is scarcely a minute when someone in tion of a murder. The tenser moments are
the audience is not chuckling with sympathetic relieved by the blunders of a stupid detective
amusement. At bed time when the family is and the antics of a ganster posing as a patient.
at last safely reunited after a day packed with The picture is sufficiently entertaining, if one
fun and romance and near disaster, no one likes the type.
would venture to state that life even in a Adolescents, 12 to 16 Children, 8 to 12
normal family lacking in variety. The play
is
No No
is witty, keenly perceptual and immensely di-
verting.
Adolescents, 12 to 16 Children, 8 to 12 FAMILY AFFAIR
Yes Yes Lionel Barrymore, Cecilia Parker, Eric Linden,
Mickey Rooney, Spring Byington, Julie Hay-
don. From the play Skidding" bv Aurania
'
THE CHEROKEE STRIP Rouverol. Screen play by Kay Van Riter.

Direction by George B. Seitz. M.-G.-M.
D ck Foran, Jane Bryan, David Carlyle, Helen
Valkis. Story by E. E. Repp. Screen play by
In endeavoring to balk the schemes of dis-
Joseph Watson and Luci Ward. Direction by
Noel Smith. Warner Bros. honest engineers who have a contract to build
an aqueduct through the small town where he
Using the theme of the frontier rush (in this lives. Judge Hardy clashes with political en-
case in Oklahoma) as its motif, this western emies. How the situation reacts upon each
picture drags the spectator through the usual member of his family and affects his domestic
hero-villain feud while the heroine and her life is shown in a series of entertaining inci-
precocious small brother complicate the action. dents. Lionel Barrymore as Judge Hardy heads
Cattle rustling and the familiar problems of an exceptionally well chosen cast. The story
westerners are settled by physical violence, but is not unusual butit deals sympathetically with
even the gun play is too mechanical a device wholesome, people whose problems are
real
to rouse the spectators to either pity or horror. the familiar ones of every day life.
The picture has neither freshness of plot nor Adolescents, 12 to 16 Children, 8 to 12
beauty of setting to commend it, and though Yes No
it might have served to portray the interesting
events in the homesteading of the "Cherokee

Strip”, it did not make the most of its one GIRL LOVES BOY
opportunity to be different.
Eric Linden, Cecilia Parker Dorothv Peterson,
Adolescents, 12 to 16 Children, 8 to 12 Roger Imhof. Original story by Karl Brown
Poor No and Minton Smith. Screen play by Duncan
Mansfield and Carroll Graham. Direction by
Duncan Mansfield. Grand National.
DEAD YESTERDAY This
is a romantic comedy of the horse-and-
Jane Darwell, Sig Rumann, Sally Blane, buggy days. It deals with the difficulties of
Thomas Beck, Joan Davis, Wm. Demarest, growing up, with a boy almost ruined by too
Geo. Walcott, Wade Boteler, Howard Phil-
lips. Based on a story by Mignon Eberhart. much money, with a girl consumed with a love
Screen Play by Bess Meredyth, William Con- for music and a real talent for the piano, with
selman and Jerry Cady. Direction by James their conflicts, and finally the unselfish love
Tinling. Twentieth Century-Fox.
that unites the two. The sweet and simple
A hospital is the setting for a murder mys- home life of a financially impoverished home
is emphasized in a tender, almost sentimental strife of world affairs, where life is devoted
fashion, but the generally well sustained scenes to contemplation and human existence is pro-
and uniformly good acting of both the children longed far beyond the usual span. If from
and the older players save the picture from reading the book, one has imagined this lama-
mawkishness. The backgrounds of small town sery as symbolic of everyman's land of hearts
life are carefully detailed. desire, seeing it pictured on the screen is apt
Adolescents, 12 to 16 Children, 8 to 12 to destroy a great deal of its symbolic quality.
Good Good On the other hand, to one who has not read
the book, the fantastic unreality of such an
ideal spot is not easily conveyed in pictures.
HEAD OVER HEELS IN LOVE Judged solely as a motion picture, "Lost
Jessie Matthews, Louis Borell, Robert Flem- Horizon” is a fascinating adventure story with
yng, Whitney Bowine. Based on the plav by
an unusually interesting theme, tremendously
Francois de Crviscet. Adapted bv Fred
Thompson and Dwright Sayer. Songs by Gor- beautiful scenic effects and some of the most
don and Revel. Direction by Connie Hale. spectacular snow pictures ever photographed.
The plot is changed in a number of details
Jessie Matthews is very pretty. She dances
from and to many people it
that of the novel,
well, sings charmingly and is a good actress.
will not seem to have been improved by the
But this film is too heavy a load for her slender
changes. Five persons, four men and a woman,
shoulders. Extremely bad backgrounds detract
are kidnaped in a giant aeroplane and ground-
from the dances, the story is poor and the
ed near "Shangri-la”. Their adventures in the
leading men will never set feminine American
plane, the strange life in the lamasery, the re-
hearts to palpitating.
actions of the different characters to their odd
Adolescents, 12 to 16 Children, 8 to 12 situation and the explanation of the kidnaping
—
Harmless but tiresome No interest
are absorbingly interesting. The dominant
character is Conway, an English diplomat
whose adventures in the war have convinced
THE KING AND THE CHORUS GIRL him of the failure of civilization to provide a
Fernand Gravet, Joan Blondell, Edward Ever- satisfactory life. The most thrilling scene oc-
ettHorton, Alan Mowbrav, Mary Nash, Jane curs when a party of mountain climbers is
Wyman, Luis Alberni. Original screen play swept off the trail by an avalanche; the most
byNorman Krasna and Groucho Marx. Direc-
tion by Mervyn LeRoy. Warner Brothers. interesting is Conway r audience with the High
’
.
Lama when the tradition of "Shangri-la” is re-

In this extremely sophisticated satirical com- vealed to him. A
great deal of critical com-
edy, an habitually intoxicated ex-monarch of a ment has been written upon the philosophical
mythical kingdom is rehabilitated by a piquant message in the theme, but to one who is not
American chorus girl who refuses to be awed already familiar with the underlying thought,
by his rank. In spite of the appalling con- the pictorial effects will probably be more im-
sumption of alcohol demanded by his role, pressive than Conway’s search for an ideal
Fernand Gravet, who plays the king, is prob- existence.
ably destined to become a new
screen idol. Children, 8 to 12
Adolescents, 12 to 16 Too long and
The story is adroitly handled in the continental Interesting but mature too mature
manner and will amuse those whom it does not
disgust.
Adolescents, 12 to IS Children, 8 to 12
No No
THE MAN BETRAYED
Eddie Nugent, Kay Hughes, Lloyd Hughes.
An original script by Torell and Stuart Mc-
LOST HORIZON Gowan. Direction by John H. Aner. Reli-
able Pictures.
Ronald Coleman, Jane Wyatt, Edward Everett
Horton, John Howard, Thomas Mitchell,
Margo, Isabel Jewell, H. B. Warner, Sam Again an innocent man is tricked by crooks
Jaffe. Screen play by Robert Riskin. From and "railroaded” to prison for murder. He
the novel by James Hilton. Direction by
Columbia.
escapes en route by the curious coincidence of
Frank Capra.
being handcuffed to a prisoner who is rescued
"Lost Horizon,” the novel, expounds a philo- by confederates. This gang provides a refuge
sophical thought combining its philosophy with for our hero until he and his brother, a
subtle humour, adventure, and a rather unusual priest, can prove his innocence and incriminate
degree of suspense. It describes a miraculous- the guilty parties. The plot is melodramatic
ly fertile valley in the inaccessible frozen and hackneyed, but it is not without some in-
mountains of Tibet and a mysterious lamasery teresting phases. The priest is likeable, human
called "Shangri-la”, far removed from the and worthy of respect, although his influence
in the gang is almost too good to be true and as an operatic star. That night the man who
these lawbreakers are pictured as rather more had discovered her and directed her progress,
big hearted and kindly than experience would proposes marriage, and her gratitude causes her
seem to indicate. It is a picture which because to accept him. Immediately afterward she meets
of its drama and humor will appeal more to a younger man with whom she falls in love.
adolescence than to maturity, yet the ethics in- The moral, if any is intended, is that gratitude
volved require adult evaluation. alone not a sound basis for matrimony and
is
Adolescents, 12 to 16 Children, 8 to 12 that sacrifice of love for a career does not in-
Not recommended No sure happiness. However, the plot is not the
essential phase of the picture. Music is. The
score, arranged by Herbert Stothart, includes
THE MAN WHO FOUND HIMSELF excerpts from Myerbeer’s "Les Huguenots”,
flashes from "The Bohemian Girl”, "Tristan”,
John Beal, Joan Fontaine, Philip Huston, Jane
B. Walsh, George Irving. From the story Martha”, "Faust”, and "Lucia”; "Sweethearts”
"Wings of Mercy" by Alice F. Curtis. Direc- by Sigmund Romberg; "Les Filles de Cadiz” by
tion by Lew Landers. R.K.O. Leo Delibes; European folk songs and many
If it were not for misjudged doctors and
novelties. Music lovers will find certain an-
emergency operations many of the current films achronisms in the presentation of the various
could not have been written. An unimportant operas and, some will object to the unconven-
tional rendition of Tchaikowsky’s "Fifth Sym-
addition to the cycle is "The Man Found Who
Himself". Jim Stanton, surgeon by profession, phony” as a Russian opera sung in French. But
reckless aviator by preference, happens to Miss MacDonald and Mr. Eddy are ideally
cast, and their voices are superbly recorded.
wreck a plane when another man’s wife is his
companion, and the resultant scandal causes the John Barrymore, in an ungrateful role, gives
hospital board to suspend him. He leaves the a surpassingly fine performance. The produc-
hospital in a mood of resentment and hikes to tion justifies popular approval and should ap-
California where first as hobo, then as aero- peal to all ages.

plan mechanic, he lives incognito until a co- Adolescents, 12 to 16 Children. 8 to 12
incidence restores him to the medical profes- Good Yes
sion. The story differs from others of its
genre in that the young doctor allows his dis-
grace to warp his attitude towards his profes-
sion, and it is necessary for him to "find him- MOUNTAIN JUSTICE
self" before his regeneration is complete. That
the film misses distinction is largely due to the Josephine Hutchinson, George Brent, Guy
Kibbee, Mona Barrie, Robert Barrat, Margaret
fact that the doctor's regeneration is brought
Hamilton, Fuzzy Knight. Robert McWade.
about more through external causes than by Original screen play by Norman Reilly Raine
strength of character. and Luci Ward. Direction bv Michael Curtiz.
Warner Brothers.
Passable Children, 8 to 12
In this grim melodrama of life among the
ignorant mountaineers of the South, cruelty
and mob hysteria are directed against young
MAYTIME a
woman who has tried to break away from the
Jeannette MacDonald, Nelson Eddy, John unreasoning domination of her father. The
Barrymore, Herman Bing, Paul Porcasi, Guy
Bates Post, Don Cassack Chorus. Based on the girl has returned home from "outside” where
play by Sida Johnson Young and the stage pro she has learned a little nursing, and she is
duction by Sigmund Romberg. Adaptation by helping the old country doctor.
Noel Langley. Direction by Robert Z.
Her father
Leonard, M.G.M. chooses to misconstrue her motives and at-
tempts to discipline her with a rawhide whip.
Maytime has a lilt and an infectious charm. Conflict follows conflict, the older generation’s
The exquisite costumes, which are especially prejudicies against a new generation’s concep-
becoming to Miss MacDonald, the elaborate tion of justice. This theme has been used
and varied and the almost continuous music
sets, numerous times in much the same setting and
make one willing to overlook
to suit all tastes, always brings shudders of horror from audi-
the sentimentality of the story. The play opens ences but when well presented, as it is in this
with an old lady telling her life's story to a picture, it is excellent material for melodrama.
young girl who is about to give up marriage Comedy relief is in the
capable hands of Mar-
in favor of a musical career. then see the We garet Hamilton and Fuzzy Knight. Robert Bar-
older woman as she appeared in her glorious rat is most convincing as the brutal father.
youth, singing before Louis Napoleon and cre-
ating a sensation which leads to her success Too much brutality Impossible
,
NANCY STEELE IS MISSING various humorous complications develop, the

Victor McLaglen, Walter Connolly, Peter baby is passed from person to person until no
Loore, June Lang, Robert Kent, Shirley Deane. one seems quite sure where the child belongs
Based on a story by Charles Francis Coe. and everyone is suspected of being a parent.
Screen play bv Gene Fowler and Hal Long.
D rection by George Marshall. 20th Century- The comedy proceeds along well known lines
Fox. but nevertheless is absurdly amusing in spots.
The baby is a good-natured paragon of infant
A study in violent reactions is presented by virtues.
Victor McLaglen in the role of Danny O’Neill
a man whose only means of self expression is Passable No interest
to start a fight but whose conduct, paradoxical-
ly ,is motivated by aversion to war and the OUTCAST
desire to hurt a munition manufacturer. In his Warren William, Karen Morley, Lewis Stone,
frantic hatred he kidnaps the man’s baby Christian Rub. From a story by Frank R.
A.dams. Screen nlay by Doris Maliou and
daughter. The plot however is not particularly Dore Schary. Direction by Robert Florey.
concerned with the solving of the kidnaping Paramount.
mystery. It follows Danny to prison where he
is sent for assaulting a policeman and where Unjust persecution of a doctor is more
he is kept for a long term because, again, plausibly here than in several recent
treated
through his beligerencv, he is involved in an films concerning the medical profession. Hound-
attempted prison break. His final softening ed out of the city, the doctor goes to a back-
through his love for the young girl who be- woods town where with the aid of a kindly
lieves he is her father, strikes a sentimental old lawyer who has acquired a deep under-
chord in an otherwise consistent characteriza- standing of human motives, he gains a new
tion. Peter Loore gives another of his brilliant foot-hold on life. The first part of the picture
performances as the crafty murderer who is is an interesting study of the impulses and
Danny's cell mate. The film is interesting, but ambitions of the three main characters and
one comes away feeling bruised by the sight of others in the small town, but towards the end
so much brutality and wondering why the pro- it suddenly bursts into a blood and thunder
ducers saw fit to release a picture in which a melodrama with an attempted lynching. Al-
kidnaper is shown in a sympathetic light and together it is only fairly good.
permitted to escape adequate punishment for Adolescents, 12 to 16 Children, 8 to 12
No No
his hideous crime.
No No PERSONAL PROPERTY
Jean Harlow, Robert Taylor, Reginald Owen,
Una O'Conner, Henrietta Crossman. Direction
NATION AFLAME by W. S. Van Dyke. M.-G.-M.
Noel Madison, Lila Lee. Direction by Vic- In order become

acquainted with an
to
tor Halperin. Story bv James Dixon. Treas-
ure Pictures-Edward Halperin.
American who
has attracted his interest,
girl
the black sheep of an English family has him-
Well intentioned but poorly executed, "Na- self appointed sheriffs officer and moves into
tion Aflame” attempts to point the way to the young woman's home with authority to
better citizenship. It is evidently designed to remain there until she has paid a debt. Obvi-
unmask so-called patriotic organizations run by ously the situation has comic possibilities, and
racketeers, but in spite of the obvious sincerity these are used to fairly good advantage by
of the author the incidents are so forced and Robert Taylor and Jean Harlow. Mr. Taylor
the lines so bombastic that the picture fails to with his American accent is not a convincing
convey its message. English gentleman, and Miss Harlow makes
Adolescents, 12 to 16 Children, 8 to 12 an unnecessarily shallow and petulant character
Passable No of the girl. The film is only moderately enter-
taining.
NOBODY'S BABY Not recommended No
Patsy Kelly, Lyda Roberti, Lynne Overman,
Robert Armstrong, Rosina Lawrence, Don Al-
varado. Direction by Gus Meins. Hal Roach QUALITY STREET
Production. Katharine Hepburn, Franchot Tone, Eric
Blore, Fay Bainter, Cora Witherspoon, Estelle
Two girlstraining at a hospital decide
in Winwood, Florence Lake, Helena Grant. From
to give temporary shelter to a very new baby the play J. M. Barrie. Screen play by
by
Mortimer Offner and Allan Scott. Direction
while the baby’s mother is busy trying to get by George Stevens. Pandro S. Berman Pro-
the father to acknowledge their marriage. As duction. R.K.O.
After the turbulent, emotional films that too material and bad continuity. It is undoubtedly
often usurp the screen, "Quality Street" is like designed to create sympathy for the Russian
a daintv miniature in a gallery of battle scenes, workers in their long struggle for freedom. It
but its daintiness does not rob it of virility, is well cast and skilfully acted.
and it is neither too pastel tinted nor too Adolescents, 12 to 16 Children, 8 to 12

Needs adult discount No interest
whimsical to^ppeal to modern taste. Great
credit is due to tiê director and to the excellent
cast for preserving^ the spirit and humor of the
original play. Characters who by present day
SAN QUENTIN
standards might easiV have seemed absurd are Pat O'Brien, Humphrey Bogart, Ann Sheridan,
Barton McLane, Joseph Sawyer. Screen play
never exaggerated to the point of losing reality.
by Peter Milne and Humphrey Cobb. Story
Phoebe and Susan Thrabsel, who lived in 1805 by Robt. Tasker and John Bright. Direction
and were perhaps even\more ladylike than by Lloyd Bacon. First National.
other spinsters of the period, are made delight-
The very presence of men who are in con-
fully human in the persons of Katharine Hep-
flict with the world and with themselves gives
burn and- -Gay Bainter, and ^Phoebe’s gentle
to prison pictures their dramatic force. Whether
-rotnance with the dashing Captaw Broivn is as
or not one enjoys the spectacle of derelict hu-
touching as any modern love story. The play
manity, the rebellion of individuals against ac-
will delight women who will shale Phoebe's
cepted morality is provocative of thought and
resentment against her suitor when, upon re-
emotionaly stirring. "San Quentin” has one
turning from the war, he notes her added years,
aspect that might label it as constructive enter-
completely forgetting that time has dâlt no
tainment. It attempts to show the necessity for
more gently with him. Special commenoation
disinguishing between first offenders and re-
should be given to Franchot Tone for his hand-
peaters in the disciplinary systems in force in
ling of a difficult role. With exactly the right
penitentiaries. Pat O'Brien appears as Captain
blending of humor and sympathy he creates a
\ Jameson, a man used to training men in the
Captain Brown who, without being priggish,
army and appointed yard Captain at San Quen-
is a perfect balance wheel for the capricious
tin because of his ability to enforce strict dis-
Phoebe.
cipline while retaining the respect of the men
Very good. Children, 8 to 12 under him. The former yard Captain, demoted
particularly for girls Little interest to ma\e way for Jameson and hated by all
the prisoners, is the trouble maker who stands
between Jameson’s projected reforms and the
skeptical prison board. The atmosphere is ex-
REVOLUTIONISTS tremely realistic, and the usual thrills are
V. V. Shchukin, N. P. Khmelev, K. I. Tara- abundantly provided by the spectacular escape
sova, V. P. Maretskaya, N. S. Plotnikov. of two prisoner\from the road gang. The film
is robbed of some of its sincerity by the ro-
Direction bv Vera Stroyera. Soviet film.
This unusual film presents a fictiohized ver- mance between Jameson and the sister of one
sion of the Russian revolution during the dec- of the prisoners, wfhy movie criminals have
ade preceding the fall of the Imperial govern- to have beautiful, innocent and well-bred sis-
ment. Interwoven with the historical details ters who ensnare the auctions of officers of
are the loves of Sofia, a wealthy girl who joins the law and lead them hato undiplomatic in-
the radical movement and becomes one of its discretions is known only \o scenario writers.
leaders. The story opens with a student up- Pat O'Brien has not the bearing of an army
rising in the classic halls of the Imperial Rus- captain but his acting is unaffected and others
sian University. In sharp contrast !is a police are appropriately cast. \
raid on a group of conspirators in a poverty- Adolescents, 12 to 16 Children, 8 to 12
strick quarter of the city. The /Scenes shift

Unsuitable \ No
rapidly from parks and buildings of old St.
Petersburg to the frozen wastes of Siberia and
SEVENTH HEAVEN
then to deadly street fighting in Moscow. A
pathetic incident occurs when women carrying Simone Simon, James Stewart, Jean Hersholt.
Gregory Ratoff, Gale Sondergaard, J. Edward
their icons march to plead with the Czar for Bromberg, John Qualen. Adapted from the
relief, confident that the "Little Father” will stage play by John Golden. Screen play by
help them, only to be fired on by troops. Im- Melville Baker. Direction by Henry King.
20th Century-Fox.
pressive is the singing of the "Internationale”
by rough-looking deputies to a labor congress. The theme of an enduring love that makes
The production is superior technically to most home a heaven and brings God to those who
of the recent Russian films. The story is mov- trust, is full of beauty, strength and romance
ing and interesting but suffers Trom excess of in this version of an inspiring stage play. In
the background, Paris during the World War, adverse circumstances, who, as portrayed by
are sorrow, misery and want, but the love of Robert Kent, will touch the hearts of senti-
Chico, the street sweeper, and Diane, the little mental audiences by his appealing personality.
waif, is so far above material surroundings Immediately upon his release from prison, he
that there is no touch of sordidness to mar the falls in with his old gang, and it is only by
poignant beauty of their unselfish devotion to the miraculous understanding of a young
each other and their belief in the goodness of woman whom he tries to hold up that he is
life. Simone Simon is an appealing Diane saved from returning to a life of crime. The
though lacking the emotional depth necessary story will entertain those to whom an attrac-
for her role. James Stewart as Chico and Jean tive leading man, suspense and a love story
Hersholt as Father Chevillion are eminently are more important than originality or sound
satisfactory. Those who cherish the memory of reasoning.
an earlier version may be disappointed in this Adolescents, 12 to 16 Children, 8 to 12
one, but for others it provides rare enjoyment. No No
Delightful Mature
THAT MAN'S HERE AGAIN
Hugh Herbert, Mary Maguire, Tom Brown,
THE SOLDIER AND THE LADY Joseph King. Story by Ida A. R. Wylie.
Screen play by Lillie Hayward. Direction by
Reviewed in the March issue under the title Louis King. First National.
"Michael Strogoff".
Playing benefactor to a pair of young lovers
is an unexpected role for an alcoholic old
skalawag, and acting as godfather to an infant
SWING HIGH, SWING LOW is still more surprising. However after this
eccentric person kisses a cab horse in the first
Carole Lombard, Fred MacMurray, Charles
Butterworth, Harvey Stephens, Jean Dixon, few feet of the film, one should be prepared
Dorothy Lamour. Direction by Mitchell Leisen. for something unusual. The picture is a com-
Paramount. edy romancewith about equal portions of
Swing music accompanies a "he's-my-man” Hugh Herbert being funny as an amiable old
reprobate and Tom Brown and Mary Mcguire
type of story in the film which is based on the
being youthfully appealing in a naive boy and
stage play "Burlesque". In the beginning the
setting is Panama with its atmosphere
tropical
girl romance. The baby seems to be in the
picture partly for the sake of the plot but
of heat and untidiness. Here Maggie, a strand-
mostly because a great many people will enjoy
ed chorus girl, meets Skid, a down-and-out
his smile and his well timed gurgles. "That
trumpet player, and together they find employ-
Man’s Here Again” is a strange mixture of
ment as entertainers in a cheap night club.
Later the scene shifts to New York where
hokum and sophistication but it combines the
two rather entertainingly.
Maggie finds Skid in an alcoholic daze and
sobers him up in time to appear on a radio
Not recommended '
No
programme. The sordidness of the plot is al-
leviated by Charles Butterworth and Jean Dix-
on in comedy parts, elaborate music and dance
sequences in New York and Paris cafes, and WHEN LOVE IS YOUNG
Carole Lombard, who as Maggie has a chance Virginia Bruce, Kent Taylor, Walter Brennan,
to speak the kind of clever lines by which girls Greta Meyer, Christian Ruh. Direction by
Hal Mohr. Universal.
of tbe Maggie r type are supposed to hide their
breaking hearts. Because of its popular cast IVanda VTerner is a shy country girl, snubbed
the film will probably get its share of patron- by her classmates because of her retiring nature
age though it has little else to recommend it. and because her parents are foreign born. Her
Adolescents, 12 to 16 Children, 8 to 12 uncle, delightfuly portrayed by Walter Bren-
Unsuitable No nan, insists upon taking her to New York to
study for an operatic career. There she finds
only discouragement until a publicity agent
THAT I MAY LIVE
for a theatrical booking office uses her in a
Rochelle Hudson. Robert Kent, J. Wedward stunt to further his own ends. She becomes a
Bromberg, Jack LaRue. Screen play by Bon
glamorous success. The story is unconvincing
Markson and William Conselman. Direction
by Allan Dwan. 20th Century-Fox. but has, withal, a goodly supply of sweetness
and family affection, which makes it fairly en-
This is one of a cycle of pictures dealing tertaining.
with the problems of an ex-prisoner who wants Adolescents, 12 to 16 Children, 8 to 12
to go straight. The hero is a weak victim of Fair Little interest
WHEN YOU'RE IN LOVE SHORT SUBJECTS

Grace Moore, Cary Grant, Aline McMahon,
Henry Stephenson. Direction by Robert Ris-
kin. Columbia. SERVANT OF THE PEOPLE
Grace Moore is charmingly vivacious and
Two reel feature. Produced and released by
in excellent voice in her latest screen appear-
M.-G.-M.
ance. As Louise Fuller, an opera star, she is
first seen in Mexico awaiting her quota number Here is a short photoplay which will rate with
for a passport to the United States. When the
passport delayed she arranges to marry an
is any feature on a program. It pictures the critical
American with the understanding that she will period immediately following the Revolutionary
divorce him as soon as she is safely across the
border. At this juncture it is clear to the audi- War when strife and state jealousies almost
ence that a romance is brewing. While many destroyed the "Confederation”, so recently freed /
situations are absurdly farcical, a good cast,
amusing dialogue, colorful settings and Miss which will interest any audience and which. is-
Moore’s varied songs make the picture thor- made a central government a necessity and—
oughly enjoyable.
Children, 8 to 12 visualizes the able men who labored during the
Adolescents, 12 to 16 Little interest except
Entertaining in music summer of 1787 to effect a compromise result-
ing in the Constitution which has served the
United States so admirably for 150 years. It
WHITE BONDAGE is a timely subject and it has been stirringly
Jean Muir, Gordon Oliver, Howard Phillips,

dramatized. No one can fail to be moved by
Joseph King, Harry Davenport, Virginia Bris- the drama, or impressed by the exceptional de-
hac. Original story and Screen Play by An-
thony Coldeway. Direction by Nick Grinde. tail of the production. The cast is unusually
Warner Brothers.
fine. Settings are authentic and the characters
Growing class hatred is one of America’s
greatest problems today. Handled expertly and splendidly delineated. Benjamin Franklin is
without undue exaggeration, it offers a moving pictured with rare skill, and his tactful influ-
theme for pictures, but "White Bondage"
treats the subject with no suggestion that in ence in bringing the statesmen to an agree-
the end both Capital and Labor can legitimate- ment is an illuminating feature. It is a subject
ly have the same objectives. A picture of this
type only adds fuel to the growing bitterness which wil interest any audience and which is
fostered in many quarters, true as the facts invaluable for teaching purposes. An excellent
may be in certain instances. It is a story of
the cotton belt. A
family of "share croppers” study guide prepared by Ernest D. Lewis,
are bound in economic slavery through the President, department of Secondary Education,
dishonesty of a plantation owner. The film
National Education Association, is available
arouses sympathy for the workers and bitter
antagonism toward the employers. It is melo- through Educational and Recreational Guides
dramatic, brutal and at times unbelievable, but
Inc., 138 Washington Street, Newark, N. J.
is vividly acted by an excellent cast.

No No Very fine. Good

1936

Name
Address
Name
Address.
Fox West Coast
THEATRES
"The Place to Go"
For Theatre Information
Call
REpublic 4111
Trim ib
BROWN
WiUhire at Alexandria
LOS ANGELES
Vine Street near Hollywood Blvd.

HOLLYWOOD
Rodeo
$ ^Vilshiro at
BCVERn HILLS 4
MOTION PICTURE
REVIEWS
Another Dawn Let Them Live
As Good As Married Lucrezia Borgia
Cafe Metropole Make Way for Tomorrow

California Straight Ahead Midnight Taxi
Captains Courageous Night Key
The Case of the Stuttering Bishop Night Must Fall
Charlie Chan at the Olympics The Outcasts of Poker Flat
Dance, Charlie, Dance The Prince and the Pauper
Elephant Boy Public Wedding

Fifty Roads to Town Shall We Dance
Fire Over England Song of the City
The Girl From Scotland Yard A Star Is Born
The Co Getter Think Fast, Mr. Moto

The Good Old Soak Too Many Wives
Her Husband Lies Top of the Town
Hills of Old Wyoming Waikiki Wedding
History Is Made at Night Wake Up and Live
Hollywood Cowboy We Have Our Moments

Internes Can’t Take Money Woman Chases Man
The Jones Family in Big Business The Woman I Love
Kid Galahad You Can’t Buy Luck

King of Gamblers
MAY, 1937
MOTION • PICTURE • REVIEWS*
LOS ANGELES BRANCH
M&s. Palmer Cook, General Co-Chairman Mrs. John Vruwink, General Co-Chairman
EDITORS
10c Per Copy - - SI. 00 Per Year
Vol. XI MAY, 1937 No. 5

• •
Copyright 1937 by Women’s University Club of Los Angeles
npHE purpose of this magazine is to provide a handbook of com-

plete and unbiased information concerning current motion
pictures. It is designed for those who wish to choose their film
entertainment with discretion and is indexed every six months for
easy reference. For the guidance of parents the reviews carry evalu-
ations of the films’ suitability for children. Reviews are compiled

from the detailed comments of university trained women who volun-
teer their services. The Women's University Club of Los Angeles
is incorporated under the laws of California as a non-profit making

organization, and the subscription price of the magazine is merely
to cover cost of printing and mailing. “Motion Picture Reviews”,
is fully protected by copyright. Permission to quote in full or in part
may be secured by special arrangement with the copyright owners.

For information address the Women’s University Club.
FEATURE FILMS
ANOTHER DAWN American youth who cannot pay his gambling
Kay Francis, Errol Flynn, Ian Hunter, Frieda debts, he sees immediately an opportunity to
Inescourt, Herbert Mundin. Original screen use blackmailing tactics to induce the young
play by Laird Doyle. Direction by William
Dieterle. Warner Bros. man to carry out a plot by which he hopes
to raid the pocket-book of an American mil-
From the first reel, the plot of this story is
lionaire. The millionaire has a daughter, and
apparent. It is a triangle romance in which a
the young man falls in love. The original
woman marries for companionship, believing
plans are altered but M. Victor collects. So
that after the tragic death of her fiance, she will
fascinating are the methods of the charming
never love again. Arriving with her English
AI. Victor that we almost overlook the fact
soldier husband at an Arabian desert post, she
that he in no way suffers from his rascality.
finds immediately the man in whom she sees
Extravagantly beautiful sets, clever dialogue
the reincarnation of all the virtues of her first
and excellent acting help to make the picture
love. Since all persons concerned are honor-
immensely entertaining.
able, it is obvious that the husband’s inevitable
sacrifice is all that is needed to unite the lovers
No No
and provide a satisfactory ending to the picture.
Gowns by Orry-Kelly preserve the tradition of
Miss Francis’ ultra-fashionable appearance. Dia- CALIFORNIA STRAIGHT AHEAD
logue intended be philosophical is artificial
to John Wayne, Louise Latimer, Robert McWade,
Theodore von Eltz, Tully Marshall, Emerson
and stilted and prevents the actors from ap- Tracy. Original story by Herman Boxer.
pearing at their best. Only the background of Screen play by Scott Darling. Direction by
the Arabian desert, beautifully photographed Arthur Lubin. Universal.
by Tony Gaudio, makes "Another Dawn" Aclean and wholesome portrayal of an in-
worth seeing. teresting and very American theme, the compe-
Adolescents, 12 to 16 Children, 8 to 12 tition between the railroads and the trucking
No No industry for the freight business of the nation.
Audiences who are not too critical in the mat-
ter of plot and acting, will like the efforts
AS GOOD AS MARRIED
of two young men to win their way as pioneers
Doris Nolan, John Boles, Walter Pidgeon, Al-
an Mowbray, Tala Birrell. Direction by Ed- in a worthwhile enterprise and will be thrilled
ward Buzzell. Universal. by the close-ups of a train and a caravan of
Drew, a successful architect, proposes a mar- trucks racing through mountain passes, snow-
riage of convenience to save
his secretary to drifts and falling timber.
himself from income taxes in the higher brack- Adolescents, 12 to 16 Children, 8 to 12
ets and from breach of promise suits.

Good Exciting
John
Boles is at a disadvantage in a silly role which
he endeavors to make supportable, while Wal- CAPTAINS COURAGEOUS
ter Pidgeon, as a normal, attractive youth, prof-
Freddie Bartholomew, Spencer Tracy, Lionel
its by comparison. It is frivolous comedy which, Barrymore, Melvyn Douglas, Charley Grape-
while rather weak ethically, is given entertain- win, Mickey Rooney, John Carradine, Jack
LaRue. Screen play by John Lee Mahin, Marc
ment value by clever dialogue, smooth direc- Connelly, and Dale Van Every. Direction by
tion, good acting by many members of the cast Victor Fleming. M.G.M.
and superlative settings in the modern manner. "Captains Courageous” is one of the few
Adolescents, 12 to 16 Children, 8 to 12 pictures which can be said to be completely
Too sophisticated No satisfactory in theme, philosophy, acting, di-
rection and technical detail. It cannot fail to
move any spectator, young or old. It is high
CAFE METROPOLE in entertainment value, a true tale of adven-
Loretta Young, Tyrone Power, Adolphe Men- ture in a realistic setting, and it tells a human
jou, Gregory Ratoff, Charles Winninger. Or-
iginal story by Gregory Ratoff. Screen story story of character achievement. Freddie Barth-
by Jacques Deval. Direction by Edward H. olomew plays the role of a spoiled but neglect-
Griffith. 20th Century-Fox. ed son of a rich father. The boy believes that
Romance and rascality, gambling debts and his father’s money can buy anything but, after
mistaken identities, complicate the plot of this an ignominious failure to win the respect of his
suavely entertaining comedy. Adolphe Menjou schoolmates, he has to leave school. Accident-
as M. Victor of the Cafe Metropole possesses ally lost overboard from an ocean liner, he is
a quick wit that serves him better than honesty, picked up by fishermen on the Grand Banks
and when he gets the upper hand over an of Newfoundland, and when no offer of money
will cause the captain of the vessel to turn home town.

so that he can buy the hotel in his
back to the shore with him, he is forced to The path by which he approaches his goal is
spend three months with the rough but sterling beset with many dangers of which he is ob-
seamen from whom he learns different values livious, but his preposterous financial ventures
and a new point of view. The picture is beau- always turn out to his advantage. It is a lively
tifully done. Freddie Bartholomew is excep- picture with many amusing incidents, the part
tionally fine as the poor little rich boy, and of Andy being well suited to the talents of
his metamorphosis is moving and convincing. Stuart Erwin Dances, music and lyrics have
Lionel Barrymore and Spencer Tracy are par- been added to the stage version of Kaufman’s
ticularly good, and Melvyn Douglas, as the play making this a musical film with less im-
boy's father, gives a fine performance. The portance attached to the plot.
spectacular background of the sea, the rough Adolescents, 12 to 16 Children, 8 to 12
hardships and dangers of the life, are par- Yes Not sufficient interest
ticularly interesting and provide a unique set-
ing for a splendid story.
Excellent Excellent
ELEPHANT BOY
Sabu, W. E. Holloway, Walter Hudd, Alan
THE CASE OF THE STUTTERING BISHOP Jeayes, Bruce Gordon. Based on "Toomai of
the Elephants” by Rudyard Kipling. Screen
Donald Woods, Ann Dvorak, Anne Nagel, play by John Collier. Direction by Robert
Linda Pern'. Screen play bv Kenneth Garnet Flaherty. Photography by Osmond Borradaile.
and Don Ryan. Story by Erie Stanley Gard- London Films-LInited Artists.
ner. Direction by William Clemens. Warner
Brothers. We have all loved Kipling’s Jungle Book in
When childhood days, and it is an unexpected joy
an Australian bishop comes to Ameri-
to find his India again, not weakened with the
ca to help an heiress recover her inheritance,
passing years but pulsating with warmth and
Perry Mason unravels another puzzling mystery.
beauty, even more remarkable than we remem-
A great many characters complicate the rather
involved plot. This is only a fair addition to bered it. There are the crumbling walls of
majestic temples, little towns with shadow-
the F.rle Stanley Gardner "case” series.
flecked streets, and beyond them trails leading
to the jungle which is almost like a presence,
No No
luxuriant, brooding, mysterious, filled with
echoing voices. One never has the objective
CHARLIE CHAN AT THE OLYMPICS point of view characteristic of many pictures
Warner Oland. Katherine de Mille, Pauline of far-off lands, for one rides again with little
Moore, Allan Lane, Keye Luke, C .Henry Toomai on Kalag Nag to the vast assemblage
Gordon, John Eldredge, Layne Tom, Jr. Or- of elephants who perform their mystical dance
iginal story by Paul Burger, based on the char-
acter created by Earl Der Biggers. Direction in the full of the moon. He is a wonderful
by H. Bruce Humberstone. 20th Century-Fox. child, this little bronze Sabu, this scrap of hu-
manity who sits astride the head of a gigantic
When anewly invented mechanical device
elephant and holds him in his sway. And we
for operating an airplane is stolen from the
are deeply touched by his sorrows and his high
United States Government, Charlie Chan is del-
ambition, for he bears with him the appeal
egated to trace the thieves to Berlin where
of universal childhood, irrespective of race or
they are supposed to be concealing themselves
among the crowds attending the Olympic hue of skin. As the Sahib Petersen, Walter
games. This is a typical Charlie Chan picture,
Hudd upholds the British tradition of fair
dealing with the natives, sportsmanship and
with the addition of views of the Olympics.
cool courage which for a long time proved
It is most agreeable light entertainment.
successful in remote parts of the Empire. Again
Adolescents, 12 to 16 Children, 8 to 12 Robert Flaherty has achieved distinction in his
Good Mature
field of direction; perhaps this is the finest
work of his career; certainly one has the feel-
DANCE, CHARLIE. DANCE ing that the denizens of the jungle as well as
the people are behaving as they would if the
Stuart Erwin, Jean Muir, Glenda Farrell, Al-
len Jenkins. From the play "Butter and Egg camera were a thing unknown. It is a picture
Man” by George S. Kaufman. Direction by to delight children who are old enough not to
Frank McDonald. First National.
be frightened by a fierce tiger and the sight of
Stuart Erwin is cast as a greenhorn who ar- a funeral pyre, and one that older people will
rives in New York City with twenty thousand enjoy and long remember.
dollars. He wants to invest in a theatrical Adolescents, 12 to 16 Children, 8 to 12
company wih the idea of doubling his money Splendid Yes, for most of them
,
FIFTY ROADS TO TOWN In the beginning of this mystery melodrama,

Don Ameche, Ann Sothern, Slim Summerville, various disasters by land and sea are pictured,
Jane Darwell, John Qualen, Douglas Fowley, and gradually the ideas develops that one
Allan Lane, Alan Dinehart, Stepin Fetchit.
agent is the cause of them all. By a twist of
Screen play by George Marion, Jr. and Wil-
liam Conselman. Based on a novel by Louis circumstances, an American newspaper man
Frederick Nebel. Direction by Norman Tau- travelling abroad becomes involved in the
rog. 20th Century-Fox.
search for the criminal. Moving about in
Three people disappear at the same time. diplomatic social circles, is a woman operative
It isthe dead of winter. Millicent Kendall, at- from Scotland Yard, and the two, after many
tired in a fur coat over her nightgown with thrilling experiences, finally solve the mystery.
only a dinner frock in her suitcase, is rushing The story is well told though very involved.
in her car to elope with a lover of whom her Photography and acting are good, and a con-
father disapproves. Peter Nostrand having vincing though premature view of the Coro-
filled his suitcase with bottles of liquor, drives nation ceremony adds interest. England should
madly in the same direction, fleeing an en- be gratified that exalted patriotism, courage
raged husband who thinks Peter is to blame in and cool judgment are shown as the normal
a quarrel between his wife and himself. Dutch attitude of mind in the personnel of the Brit-
Nelson, a gangster who has just killed a man, ish Secret Service.
is the third person in flight. All three find Adolescents, 12 to 16 Children, 8 to 12
refuge in a summer cabin in the woods. There Very heavy No
is much merriment over the county sheriff and
his posse, and all kinds of mistakes are made THE GO GETTER
as to identity, but eventually everything turns
George Brent. Anita Louise, Charles Winnin-
ger, John Eldredge. Story by Peter B. Kyne.
out happily for Peter and Millicent. The story Screen play by Delmer Daves. Direction by
is farce-comedy and the kind of thing that has Busby Berkeley. Cosmopolitan Productions.
been done to death. There is too much in- Warner Bros.
sanely fast driving, noisy machine gun firing In this comedy we have a
farcical fav-
and forced humor. orite theme, the achieving of business suc-
Adolescents, 12 to 16 Children, 8 to 12 cess by a popular fictional character. The
No No result is hilarious fun. Plausibility is thrown
to the winds, but the spectator watches with
FIRE OVER ENGLAND sympathy the meteoric rise to a position of re-
Flora Robson. Morton Salten, Laurence Oli- sponsibility in a big lumber company, of Cappy
vier,Raymond Massev, Vivien Leigh. Direc- Ricks, an ex-navy man who has lost a leg in a
tionbv William K. Floward. An Alexander seaplane accident. The irascible old president
Korda-London Films production. U.A.
of the firm has a heart of gold and a beautiful
The Elizabethan era provides a wealth of daughter, and because of both of these, the
dramatic material, and in this case a previously hero is given his opportunity to make good.
untouched aspect is presented. When Philip He accomplishes this despite the surly efforts
of Spain is about to dispatch his great Armada of his rival to oust him from his position and
to conquer England, and is plotting to kidnap to win the affections of the girl. In the final
Queen Elizabeth, intrigue and fighting follow scene he settles a strike by the magic of his
in thrilling sequence. A charming romance personality, obtains the coveted post as the
between a young Englishman and a Spanish company’s representative in Shanghai, and
girl finally saves the day for England, and the The scene
marries the president’s daughter.
young man returns home to honors and his old in which he jumps overboard from an
love. Flora Robson is superb as the Queen, ocean liner and swims fourteen miles to San
and Morton Salten has a remarkable character Francisco to settle the strike issue, is an un-
part as Lord Burleigh. Other members of the fortunate defect in an otherwise amusing series
cast are well chosen. The direction is sympa- of triumphs, since there are limits to the sym-
thetic and thoughtful, and the scenes of court pathetic credulity of any audience. The in-
life in Spain and England hold much of in-
cidents and characterizations are overdrawn,
terest. Battle scenes and ensembles have been
but the acting is spontaneous and the humor
effectively produced with comparatively few
wholesome and refreshing. Altogether it is
"extras” instead of the customary mob. The good entertainment.
film is an agreeable semi-historical romance.
Adolescents, 12 to 16 Children, 8 to 12 Yes Fair
Yes Mature • • •
THE GOOD OLD SOAK

THE GIRL FROM SCOTLAND YARD Wallace Beery, Una Merkel, Eric Linden,
Karen Morley, Robert Baldwin, Katherine Al- Judith Barrett, Betty Furness, Ted Healy,
exander, Eduardo Ciannelli. Direction by Rob- Janet Beecher, George Sidney, Robert Mc-
ert Vignola. Paramount. Wade, James Bush, Margaret Hamilton. From
the play "The Old Soak” by Don Marquis. HISTORY IS MADE AT NIGHT
Screen plav by A. E. Thomas. Direction by
Walter Ruben. MGM. Charles Boyer, Jean Arthur, Leo Carrillo, Col-
J.
in Clive. Screen play and original story by
This is good old fashioned hokum in which Gene Towne and Graham Baker. Direction
a lazy but likable "old soak" named Clem by Frank Borzarge. Walter Wanger.
Hawley comes to the rescue of his erring son Ugly realism and whimsical
romance are
and reinstates himself in his wife's good graces. interwoven in this three main
picture. The
The son Clemmie has been playing the market characters are an insanely cruel and jealous
and stealing cover his losses and to buy
to husband, his lovely young wife, and a hand-
expensive presents for a chorus girl. Mrs. some Frenchman. The latter turns out to be
Hawley has suffered long and patiently from not only an ideal prince charming who rescues
old Clem’s continued drinking, and their the lady in distress, but also the best head
daughter is fearful that because of her father’s waiter in the world. Colin Clive, Jean Arthur,
reputation she will never be able to marry the and Charles Boyer are excellent in these three
right sort of man. When everything is at the parts, and Leo Carrillo, who plays the role of
worst, old Clem performs miracles, and when a famous and temperamental chef, adds a de-
the picture ends the Hawley family is at least lightful touch of humor. To provide a high
temporarily united and peaceful with ten thou- spot of dramatic thrill, and perhaps to make
sand dollars in cash to keep the wolf from the this one of the "big" pictures of the year, a
door. Wallace Beery's part seems made for sequence is included showing what is said to
him, and he gives his usual convincing per- be a reinactment of the sinking of the Titan tic.
formance. The material though not new is en- While it is sufficiently thrilling and offers a
tertainingly handled, and all parts are well cast. means of bringing
the complications of the
Adolescents, 12 to 16 Children, 8 to 12 plot to a logical conclusion, it is unnecessarily
Not recommended No. melodramatic and out of proportion to the rest
of the picture. The gaiety and charm of the
romantic love story make the production en-
HER HUSBAND LIES
joyable. The heavier moments are too morbidly
Ricardo Cortez, Gail Patrick, Akim Tamiroff,
Louis Calhearn, Tom Brown. Direction by disagreeable to be entertaining.
Edward Ludwig. B. F. Schulberg-Paramount. Adolescents, 12 to 16 Children, 8 to 12
With gambling main incentive in life,
as the
No No
"Spadd' Martin neglects his wife and makes
everything secondary to his love of games of HOLLYWOOD COWBOY
chance. Ironically enough, in trying to save his
George O'Brien, Cecilia Parker, Maude Eb-
brother from the same life, he breaks his iron- urne, Joe Caits, Frank Milan, Charles Mid-
clad rule of fair play and so meets destruction. dleton. Original screen play by Dan Jarrett
and Ewing Scott. Direction by Ewing Scott.
Whether we are attracted by the glamour of A George A. Hirliman Production. R.K.O.
gambling or whether we are depressed by a
This is a picture built along the lines of
bird’s-eye view of the underworld, the picture
the usual western but having several new
is a long step backward toward the gangster
angles. Its theme is closely allied with the
films we bemoaned a few years ago.
social unrest and prevalence of strikes currently
Destructive of ethical values Impossible in newspaper headlines, a fact which gives it
more contemporary interest. The hero, George
O’Brien, instead of playing his usual bonafide
HILLS OF OLD WYOMING cowboy role is cast as a movie star imperson-
ating a ranch hand. The conflict is one between
William Boyd, Gail Sheridan, George Hayes.
Story by Clarence E. Mulford. Direction by local ranch owners and racketeers who have
Nate Watt. Paramount. come west from Chicago to "cut in" on a ship-
The Hopalong Cassidy stories would seem to ment of livestock and terrorize the cattlemen
be running thin, if one may judge by this by organizing local strikers to perform acts of
latest example. Scenes of rocky slopes, sage- sabotage. The movie star becomes a valorous
dotted desert and cloud-veiled skies are up to hero and wins the niece of one of the ranchers.
the standard of the newer westerns, and glimp- Along with an interesting plot the picture
ses of life on an Indian reservation add in- offers good lines, beautiful scenery, expert
terest, but the plot of cattle rustlers and the horsemanship and plenty of excitement.
ultimate capture of the lawless is a theme so old Adolescents, 12 to 16 Children, 8 to 12
that it has become tedious. Many of the actors Yes Possible
are like puppets, and the unreality of various

episodes would be apparent even to a junior INTERNES CAN'T TAKE MONEY
audience.
Barbara Stanwyck, Joel McCrea, Lloyd Nolan,
Adolescents, 12 to 16 Children, 8 to 12 Stanley Ridges. Direction by Alfred Santell.
Dull Only fair Paramount.
A double plot, treats of a young surgeon, pecially the scenes of the ring. As one might
reprimanded for peforming experimental oper- expect in a picture about racketeers, there is
ations in a clinic, and an unfortunate young murder, but its unpleasantness is somewhat off-
mother who has been deprived of her baby. set by the love story.
The film acquires its name when a grateful Adolescents, 12 to 16 Children 8 to 12
gangster, whose life saved by an
has been No No
emergency operation, proffers a sheaf of green-
backs for the interne’s services. The leading
parts are well played, and there is a certain
KING OF GAMBLERS
amount of human interest, but on the whole it
Claire Trevor, Llovd Nolan, Akim Tamirotf,
ranks only as passable melodrama. Larry Crabbe, Helen Burgess, Porter Hall,
Adolescents, 12 to 16 Children, 8 to 12 Harvev Stephens, Barlowe Borland. Original
No Mature story by Ben Hecht and Charles MacArthur.
• • • Direction by Robert Florey. Paramount.
In this story, interest is divided. A
THE JONES FAMILY IN BIG BUSINESS gangster makes a prosperous living by selling
led Prouty, Shirley Deane, Spring Byington, and illegally operating slot machines, brib-
Russell Gleason, Kenneth Howell, Allan
Lane, George Ernest, June Carlson, Florence ing people in high public office and killing
Roberts, Billy Mahan. Original story by Ron anybody who gets in his way. The typical
Ferguson and Eleanor De Lamater. Based on reporter aided by the usual
hero, night
the characters created by Katherine Kava-
naugh. Direction by Frank R. Strayer. 20th club singer, uncovers the graft. During the
Century-Fox. progress of the several plots, people are tossed
Movie audiences are becoming so interested out of windows, thrown down elevator
office
in the members of the Jones family that it them out

shafts, poisoned, etc. in order to get
matters very little what they do as long as they of the way and to provide horrific thrills for
are themselves. Their troubles in this picture the audience. The heroine, who has accepted
are due to a promoter who persuades the father a luxurious apartment from the chief gangster,
to invest in bad oil stock. However Granny is finally betrays him to the reporter and thus
as astute as ever, and with the cooperation of wins a husband. Such a picture as this has no
the boys, including Bonnie’s fiance, she averts constructive social value. It serves only to feed
disaster. The picture has the same simple, a morbid interest in criminals and their tech-
human qualities that have made its forerunners nique of graft, and the fact that the characters
so popular. mingle with respectable people and have no
Adolescents, 12 to 16 Children, 8 to 12 apparent taint of the underworld, unfortunately
Entertaining Yes only increases its trashy allure.
• • • Adolescents, 12 to '6 Children, 8 to 12
Extremely bad Impossible
KID GALAHAD
Edward G. Robinson, Bette Davis, Humphrey
Bogart, Wayne Morris. From the Saturday LET THEM LIVE
Evening Post story by Francis Wallace. Screen
John Howard, Nan Grey, Edward Ellis, Jud-
play by Seton I. Miller. Direction by Michael From a story by
ith Barrett, Robert Wilcox.
Curtiz. Warner Brothers.
Richard Wormser. Direction by Harold Young.
For those who like the prizefight-racketeer Universal.
picture, "Kid Galahad” will be an exciting ex- The subject of slum clearance is given em-
perience. Edward G. Robinson as Nick Donati, phasis by this dramatic personal story where-
a fight promoter, has sworn vengeance against in a young doctor crusades to obtain better
Turkey Morgan, played by Humphrey Bogart, living conditions for the submerged groups in
another promoter who has doublecrossed him. a small city which is dominated by a greedy
Donati discovers a bellhop just from the coun- politician. John Howard and Edward Ellis give
try and anxious to make money. He calls him good performances in these divergent roles, and
Galahad because of his innocence and decency the social lesson is one of value. The plot be-
and decides to train him for the great bout comes less convincing when the callous poli-
with Turkeys entry. Bette Davis, splendid as tician is grief-stricken over the illness of one
usual, playing Fluff, Donates sweetheart, falls of the waifs he has befriended.
in love with Galahad, but his love is given to Adolescents, 12 to 16 Children, 8 to 12
Donates unsophisticated sister. Donati, de- Yes Too mature
• • •
termined to keep his family away from the
crookedness of the ring, is furious, and in a LUCREZLA BORGIA
mad attempt to get rid of Galahad, sends him Edwige Feuillere, Gabriel Gabrio, Aime Gab-
into the ring unprepared. The picture is ex- rio, Roger Karl. Direction by Abel Gan.
ceptionally well directed and acted, and splen- European Films.
did photography makes it seem very real, es- The names of the Borgias and their sinister
henchman, Machiavelli, once create a picture

at become extremely tiresome. Victor Moore and
of evil. As nothing
to the character of Cesar, Beulah Bondi are excellent. Miss Bondi is par-
is left to the imagination. Debauchery, mur- ticularly convincing, and it is difficult to believe
derousness and cunning appear as his sole she is a generation younger than the woman
characteristics with no relieving virtues. On she impersonates.
the other hand, Lucrezia is shown, not as the Adolescents, 12 to 16 Children, 8 to 12
ruthless poisoner of history, but as a frivolous Depressing No
wanton with no part in her brother’s plots.
The scene is in Rome during the papacy of MIDNIGHT TAXI
Brian Donlevy, Frances Drake, Alan Dine-
Alexander the Sixth, father of the Borgias.
hart. Based on a story by Borden Chase. Di-
Famous paintings, tapestries and buildings of rection by Eugene Forde. 20th Century-Fox.
fifteenth century Rome are freely used as back-
A routine G-man picture in which the Fed-
grounds. The story recounts the plots of Cezar eral operator becomes a taxi driver and un-
Borgia to become ruler of Italy. He uses his covers clues to catch a ring of counterfeiters.
beautiful sister in forming an alliance to For romantic interest there is a charming young
strengthen his own position, and when it be- woman accomplice with whom the G-man falls
comes convenient he murders her husband, in love. This is another example of muddled
preparatory to another alliance. The fanatical ethics, for while all the men crooks are shot,
Savanarola who dies at the stake in the end, the woman is let off with a suspended sen-
is seen exhorting the populace to rise against
tence and is paroled "for life’’ to the Federal
the wicked Pope and his brood. Both cast and officer who is to become her husband.
direction are excellent, and photography is
Adolescents. 12 to 16 Children, 8 to 12
good except awkward camera angles and
for No. unsuitable No.
bad lighting in a few sequences. The dialogue
is in French with English sub-titles. The pic- NIGHT KEY
ture is a fascinating history of the drama of the Boris Karloff, J. Warren Hull, Jean Rogers,
Borgias. Alan Baxter, Hobart Cavanaugh. Screen play
by Tristam Tupper and John C. Moffitt. Or-
iginal story bv William Pierce. Direction by
No No Lloyd Corrigan. Universal.
Psuedo-science and melodrama of the dime
MAKE WAY FOR TOMORROW novel variety are the ingredients of a picture
Victor Moore, Beulah Bondi, Fay Bainter, which is interesting chiefly because it intro-
Thomas Mitchel, Porter Hall, Minna Gom- duces Boris Karloff in a sympathetic role. An
bell, Louise Beavers. Based on a novel by
Josephine Lawrence and on a play by Helen old man who has been robbed of a profitable
and Nolan Leary. Screen play by Vina Del- invention is determined to get even with the
mar. Direction by Leo McCarey. Paramount.
swindler and make money on a new invention.
Adapted in part from a depressing and dis- He succeeds, but only after many exciting en-
heartening novel of the tragedy of old age, counters with sinister enemies. The production
this picture leaves one with a most unhappy is a thriller involving gangland but is not a
sense of the futility of life. Barkley Cooper horror picture.
and his wife Lucy have grown old without Adolescents, 12 to 16 Children, 8 to 12
security for their declining years and must de- No No
• • •
pend on their five children (approaching mid-
dle age) for support. Since none of the chil- NIGHT MUST FALL
dren can take both parents, Barkley and Lucy Robert Montgomery, Rosalind Russell, Dame
are separated, and this is the beginning of their
May Whitty, Merle Tottenham, Kathleen Har-
rison, Mathew Boulton, Alan Marshall, For-
unhappiness. In each case the presence of a resterHarvey. From the play by Emlyn Wil-
well-meaning parent causes friction and dis- liams. Direction by Richard Thorpe. MGM.
rupts the lives of younger members of the As a psychiatric study of a type of congenital
household until finally it becomes necessary for criminal who has an irresistable fascination for
Lucy to enter an old ladies' home and for women, this is an exceedingly interesting pic-
Barkley to be sent still further away to a ture. Robert Montgomery proves what many
daughter in California. Because the story is so of us have suspected that he is capable of pow-
exactly a reproduction of the petty annoyances erful characterization, once the opportunity
that occur at some time in almost every home, presents itself. He uses every gesture and
it is as real as it is painful, although one subtle intonation to build up the part of
sometimes wonders whether a good social serv- Danny, page-boy from a small English hotel,
ice worker could not have smoothed out the whose artless manner covers an egomania so
difficulty. The problems seem gripping and great that he believes he can oppose all social
vital until the old couple’s meeting before laws and remain unscathed. Of somewhat less-
their separation, but after that the picture lags er importance is his play on the emotions of
interminably and the sentimental reminiscences the unawakened Olivia, whose transition to the
status of a normal woman is the one ray of his worthless father seems more realistic on
light an atmosphere of deepening gloom.
in the screen than in the book, but on the whole
Rosalind Russell is very good indeed as Olivia. the action has been handled with skilful re-
Dame May Whitty is praiseworthy as the de- straint. The story is set in that picturesque,
testable old woman who protects the criminal, pictorial period in English history, the 1 6th
and minor parts are well done. Production
all century. The contrast of the pageantry of the
values are high. Photography is beautiful, and luxurious palace with the extreme poverty of
the treatment is in the maner of the best dra- Offal Court and the comparison of the ruth-
mas of the stage. However, no one should go to less power of the nobility with the hopeless
see "Night Must Fall" without being warned impotence of the downtrodden people are clear-
that it is a long, sombre picture with a tensity ly delineated. Both prince and pauper are
which at times becomes unbearable. It has little splendidly played and win the respect and love
value as a mystery, all interest being centered of the audience. Miles Herndon as played by
in the havoc caused by a criminal in an isolated the dashing Errol Flynn, is a delight. Monta-
English household. gue Love gives a superior portrayal of Henry
Adolescents, 12 to 16 Children, 8 to 12 the Eighth which is a high light of the film.
Too morbid Decidedly not Adolescents, 12 to 16 Children, 8 to 12
• •
• Excellent Good
THE OUTCASTS OF POKER FLATS
Preston Foster, Jean Muir, Van Heflin, Vir- PUBLIC WEDDING
ginia Weidler, Marget Irving. From the story
Jane Wyman, William Hopper, Dick Purcell,
by Bret Harte. Direction by Christy Cabanne. Marie Wilson, Berton Churchill, James Rob-
R.K.O. bins, Raymond Hatton. Direction by Nick
Although this picture is named for one par- Grinde. Warner Bros.
ticular Bret Harte story, the plot combines Tony Burke, whose artistic talents bloom un-
several of his sketches of the gold rush days. seen in a garret, is hustled into the spotlight
Oakhurst is the owner of a gambling house, of publicity by a wedding before a carnival
but that he has aspirations for better things is audience. The result, logical or otherwise, is
evidenced, sometimes if not always in his that all the wealthy women implore him to
treatment of the orphan child, named Luck as paint their portraits. The vehicle offers little
well as in his love for Helen, the clear-eyed opportunity for good acting, although some of
young schoolmarm. The film is one of the the parts are fairly amusing, some of the songs
higher grade westerns with good character- fairly good.
izations, fine pictures of California in the early Adolescents, 12 to 16 Children, 8 to 12
days and a surprise ending. While the moral Waste of time No interest
is sound, one is less aware of it because of
the great amount of drinking and the presence SHALL WE DANCE

of a child in a gambling resort. Fred Astaire, Ginger Rogers, Edward Everett
Adolescents, 12 Horton, Eric Blore, Jerome Cowan, Ketti
to 16 Children, 8 to 12
Gallian. Suggested by the story 'Watch
No No Your Step." Screen play by Allan Scott and
Ernest Pagano. Adaptation by P. J. Wolfson.
THE PRINCE AND THE PAUPER Music by George Gershwin. Lyrics by Ira
Errol Flynn, Claude Rains, Henry Stephenson, Gershwin. Direction by Mark Sandrich. R.K.O.
Barton MacLane, Alan Hale, Montague Love, A new Fred Astaire-Ginger Rogers picture
Billy Mauch, Bobby Mauch. Story by Mark
Twain. Screen play by Laird Doyle. Dramatic is a welcome event
to admirers of these danc-
version by Catherine Chisholm Cushing. Di- ing stars, and their latest achievement should
rection by William Keighley. First National. be especially welcome because it is one of their
Mark Twain’s classic has always been a fa- best. Mr. Astaire plays the role of Petroff, re-
vorite, and in this film version it has lost none nowned Russian ballet dancer, but in
as a
of its romantic glamour. The picture is par- reality an American youth who tap dances for
ticularly successful in that the roles of prince his own
gratification in the elegant seclusion
and pauper are played by twins who are so of his private suite at a ballet school. His
alike in appearance that it is difficult to tell romantic pursuit of an American cafe entertain-
them apart and yet individual in
sufficiently er who is trying to avoid him is very enter-
their different costumes and characterizations taining. Of course they dance often, alone or
to make the audience appreciate the dilemma together, in all sorts of new and interesting
into which their masquerade thrusts the char- settings,accompanied at one time by the mod-
acters of the story. The plot has been simpli- ernisticmachinery in a boiler room and at an-
fied and much of the original omitted. The other by a pack of polite dogs who travel de
dialogue is modernized and incidents have been luxe on an ocean liner. Music and lyrics, by
slightly altered but the spirit of the romantic George and Ira Gershwin respectively, are ex-
tale is intact and it makes capital entertain- tremely successful. One sequence in the picture
ment. The brutal treatment of John Canty by which everyone will remember enthusiastically
isthat in which Eric Blore tries to spell "Sus- THINK FAST, MR. MOTO
quehanna Street Jail” over the telephone. For Peter Lorre, Virginia Field, Thomas Beck,
Lotus Long. Based on a story by J. P. Mar-
good measure, added to all its other features
quand. Direction by Norman Foster. 20th
this entertaining picture offers graceful Harriet Century-Fox.
Hoctor in several specialty dances.
This is a new departure for Peter Lorre. As
Excellent Good Air. Moto, the alert Japanese, he conceals his
• • • motives so adroitly that for a good part of the
SONG OF THE CITY mystery one is undecided whether he is on the
Margaret Lindsay, Jeffrey Dean, J. Carroll
side of the wicked or the upright. The plot
Naish, Nat Pendleton, Stanley Morner, Marla
Shelton, Inez Palange, Charles Judels. Story is well constructed with close attention to de-
and screen play by Michael Fessier. Direction tails, and the hair-breadth escapes seem more
by Errol Taggart. M.G.M.
credible than in many films of this type. Set-
A bond broker falls from a ferry boat into tings on shipboard and in Shanghai add a touch
San Francisco Bay. He
is rescued by an Ital-
of glamour, as we follow the adventures of
ian fisherman and taken to the fisherman’s
young Bob Hitchings sent to the Orient to
home in the Italian Colony. There he learns investigate the activities of a gang of jewel
to love the people, the life and particularly
and opium smugglers.
the daughter of his host. Various complica-
tions develop when the broker’s fiancee, a rich Not advised No
divorcee, tries to interfere in his new romance. • • •
The picture includes some melodramatic scenes TOO MANY WIVES

of a ship set on fire at sea, but the quiet charm Anne Shirley, John Morley, Gene Lockhart.
of the life in the fishing colony and the views From a story by Richard English. Direction
by Ben Holmes. R.K.O.
of the bay and the bridges are its more worth-
while features. The name little idea of the story which
gives
Adolescents, 12 to 16 Children, 8 to 12 offers up-to-the-minute features such
several
Yes No interest
as the dog- walking service heralded by The
A STAR IS BORN New Yorker, the employment of a young man

Frederic March, Janet Gaynor, Adolph Men- on a newspaper to be the scapegoat taking the
jou. May Robson, Andy Devine, Lionel Stand- blame for all complaints, and the wily tricks
er, Kennedy, Vince Barnett. From the
F.dgar of some philatelists which are nearly foiled by
story by William A. Wellman and Robert
Carson. Screen play by Dorothy Parker, Alan a snail and a Scotty dog. The film is clean
Campbell and Robert Carson. Direction by and sets a good pace, and the cast is satisfac-
William A. Wellman. United Artists. tory. It is not a Class A picture but fairly
From Hollywood have come many scenarios,
agreeable comedy.
both real and false, about the people whose Adolescents, 12 Children, to 12
to 16 8
private lives are a subject for conjecture for Yes Passable
the rest of the world, but nothing previously
depicted has approached the complete unequiv- TOP OF THE TOWN
ocal realism of Frederic March’s role in "A Doris Nolan, George Murphy, Ella Logan,
Star is Born In general outlines the plot of Hugh Herbert, Gerald Oliver Smith, Mischa
young A Auer, Gregory Ratoff. Screen play by Brown
this picture resembles many others.
Holmes and Charles Grayson. Original story
girl with no experience, but a tremendous by Lou Brock. Direction by Ralph Murphy.
amount of faith in herself, comes to Hollywood Universal.
to become an actress. By chance she meets This is musical on a gigantic
vaudeville
Norman Maine, famous matinee idol of the scale. The different numbers are strung to-
screen, and when he falls in love with her and gether on a thin thread of plot about a society
asks her to marry accepts him though
him she girl who undertakes to produce a new kind
she knows that he is an inebriate and fast of floor show in an enormous and spectacular
losing his popularity. Through his influence night club. She sets Hamlet’s Soliloquy to
she gets her first role and immediately rockets music but the musical director steals the show
to fame while he drops lower and lower in by introducing a new song which, to the tune
public favor until he becomes the most pa- of "Three Blind Mice,” stampedes the patrons
thetic creature, a "has-been.” Both Janet Gay- into an impromptu dance. Among the special-
nor and Frederic March are remarkably good, ty acts are some unusual clowning by the
but Mr. March’s part is the outstanding one "Three Sailors” and excellent tap dancing by
and he plays it superbly. The color photogra- petite Peggy Ryan. The director sets a rapid
phy is beautifully effective throughout and pace, and the enthusiastic cast seem to be en-
actual scenes in and near Hollywood will inter- joying themselves. The production is enter-
est audiences particularly in other parts of the taining of its kind, though not outstanding.
world. Adolescents, 12 to 16 Children, 8 to 12
Adolescents, 12 to 16 Children, 8 to 12 Amusing Too tiring and
No No too mature
WAIKIKI WEDDING WOMAN CHASES MAN
Bing Crosby, Bob Burns, Martha Raye, Shirley Mirriam Hopkins, Joel McCrea, Charles Win-
Ross, George Barbier, Leif Erikson. Direction ninger, Erik Rhodes, Ella Logan. Direction
by Frank Tuttle. Paramount. by John Blystone. United Artists.
This light musical film is made enjoyable A girl with a million dollar idea
architect,
by Hawaiian music and dancing and lovely and an empty purse tries to persuade an elderly
scenery. The plot is sketchy and unimportant. promoter to give her her first commission. The
Bing Crosby is adequate in the part of Tony promoter’s conservative son who protects the
Marvin, a carefree young man who lives in the family fortune against his father’s wildcat
islands and furnishes wonderful ideas for ad- schemes proves a reversal of the usual formula,
vertising pineapples. Shirley Ross is the "Pine- but even his conservatism is ineffectual against
apple Girl' who is supposed to carry out Mar- a combination of champagne, brandy and the
vin’s ideas. Martha Raye, secretary for the wiles of the girl. The
billboard advertise-
company, acts her usual boisterous comedy part ments exploiting picture say, "It’s dizzy.
this
and is a discordant note in her surroundings. It’s daffy. It’s de-nuts.” This inadequately
Adolescents, 12 to 16 Children, 8 to 12 prepares one for the really clever dialogue and
Entertaining Possible hilarious situations. It is "dizzy" and "daffy”
• • •
enough to be sure and "de-nuts” probably ap-
WAKE UP AND LIVE plies to a final sequence which takes place in
Walter Winchell, Ben Bernie, Alice Faye, a tree. Here the whole mood of the picture
Patsy Kelly, Ned Sparks, Jack Haley. Based changes from skilful farce to silly slap-stick.
on a book by Dorothea Brande. Direction by
Sidney Lanfield. 20th Century-Fox. Were it not for this transition, the picture
For sheer gay amusement here
might easily be rated one of the most amus-
is a film that
ing farces of the season.
rates "tops." The main theme concerns a
young man who has developed a truly A.D. Adolescents, 12 to 16 Children, 8 to 12
1937 disease, microphone-phobia, and here is

No No
applied the message of Dorothea Brande's
book, that obstacles to success can be overcome
by the driving force of human will. In this
case much
of the will power is contributed by THE WOMAN I LOVE
sympathetic friends who urge Jack Haley to Paul Muni, Miriam Hopkins, Louis Hayward,
Colin Clive, Minor Watson, Elizabeth Risdon,
sing into a receiver he believes to be discon-
Paul Guilfoyle, Wally Albright, Mady Chris-
nected and which in reality is so active that he tians, Alec Craig, Owen Davis, Jr., Sterling
becomes the famous "Phantom Singer’’ over- Holloway, Vince Barnett. From the novel
night. An offshoot of the whole affair is the "L’Equipage' by Joseph Kessel. Screen play
’
by Ethel Borden. Direction by Anatole Lit-

continuation of the feud between Ben Bernie vak. R.K.O.
and Walter Winchell, with the victory in this L' Equipage, the name of the French novel
bout going to Winchell who proves himself from which this photoplay was made, is a term
an affable and entertaining screen performer.
which was applied during the war to a team
The picture abounds in amusing dialogue, of bomber and pilot who manned a plane. Be-
catchy new songs and excellent numbers by
tween these two there was supposed to exist,
Bernie’s orchestra.
for complete efficiency, a perfect, almost word-
Adolescents, 12 to 16 Children, 8 to 12 less understanding that enabled them to act
Good fun Yes
• • • instantly and in absolute accord. The ironical
WE HAVE OUR MOMENTS circumstance in "The Woman I Love” is that

both men in an equipage love the same woman
Sally Eilers, James Dunn, Mischa Auer, Thurs-
ton Hall, David Niven, Warren Hymer. Di- and that one of them is married to her. The
rection by Alfred L. Werker. Universal. situation is not unusual in motion pictures
Bad taste, a silly plot, cheap dialogue and about but Paul Muni characterization of
flyers,
poor continuity characterize this film. The story the husband is an unusually artistic piece of
revolves around the adventures of a small town acting. Otherwise the film is just another of
school teacher who decides to go to Europe the better-class war pictures, with realistic at-
and see the world before settling down as the mosphere and high idealism. Miriam Hopkins
wife of the town's most eligible young man. is strangely wooden and unsympathetic, and
She has her fling by getting drunk, hobnobbing Louis Hayward as Jean overdoes his churlish
with crooks, gambling at Monte Carlo and behavior when he finds it impossible to be
falling in love with a detective. All this does natural with the husband of the woman he
not make Mary Smith an appealing character, loves. Colin Clive is perfection as the re-
and the picture finally ends leaving the audi- strained but understanding British Captain, and
ence greatly disappointed that Sally Eilers and others are well chosen for their parts. This
James Dunn should have been cast in such a is a thoughtful, sincere, though not entirely
stupid picture. satisfactory picture.
No No Mature No.
Fox West Coast Trim ie
THEATRES BROWN
" The Place to Go"
MhuirwruttL
Wilsbirf al Alexandria
LOS ANCELES
For Theatre Information
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STORIES - VERSE - SONGS - PLAYS

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MOTION PICTURE
REVIEWS
Angel’s Holiday They Gave Him a Gun
Behind the Headlines The Thirteenth Chair
Border Cafe This Is My Affair
Fly away, Baby Turn Off the Moon
The Girl Said No You Can’t Buy Luck
Wings Over Honolulu

Hotel Haywire
1 Met Him in Paris
SHORT SUBJECTS
Love From a Stranger
Bosco’s Easter Eggs
The Man in Blue
Gilding the Lily
Marry the Girl
A Girl’s Best Years
Meet the Missus
Give Me Liberty
A Night of Mystery
Gcing Places with Lowell Thomas
Oh, Doctor
Mickey’s Cousin
Parnell
Penny Wisdom
She Had to Eat
The Romance of Digestion
Slim
Song of a Nation
Talent Scout What Do You Think?
JUNE, 1937
• •
LOS ANGELES BRANCH
EDITORS
The Women's University Club, 943 So. Hoover St., Los Angeles, Calif.
Vol. XI IUNE, 1937 No. 6

• •
Copyright 1937 by Women's University Club of Los Angeles
A PROSPECTUS FOR THE MOTION PICTURE*

A failure to see problems in the context of our needs and wishes. Literally thousands of
their historical perspective often leads to care- persons did make quite clear to Twentieth
less,hasty, and ill-advised action. Our treat- Century-Fox that they did not want The Siege
ment of the motion picture is a case in point. o f the Alcazar made into a motion picture.
We it is young.
forget that We
forget that Several pro-war pictures opposed by peace
printing, comparison, is very old.
by We groups have not done so well recently at the
forget that in the preliminary stages of the box office. But this method of procedure is
development of a new art, there is a period essentially negative. It tells the producers
of experimentation and possibly of inept what we do not want. The producers would
handling which must be reckoned with. also like toknow just what we do want made
These remarks should not be interpreted as into motion pictures as relating to peace and
war. If The Road. Back, Erich Remarque’s
meaning that we expect too much of the
sequel to All Quiet on the XY'estern Front,
motion picture. On the contrary, we ought
is a box-office success, this may give some
to expect a good deal more from it as a
indication as to what is really wanted.
source of enlightenment and understanding.
We have not thought through, however, the We also need ways of getting our words
changes in our
present motion-picture setup of praise back to the writers and directors
which would be necessary if it is to fulfill of the few really great pictures that have
our hopes and ambitions for it. We
need, for come from Hollywood. The author of a
example, much better techniques of presenting play which runs for several weeks on Broad-
to Hollywood, and to other centers of pro- way and is seen by a few thousand people
duction, information concerning what we want may receive wide acclaim in the critical jour-
and do not want in our movies. need We nals. Yet a scenario writer may do just as
a consumer's clearinghouse which can relay an good a job on a film which is seen not by a
accurate statement of our likes and dislikes, few thousand people but by ten million, and
receive little critical or popular acclaim. I
*Quotcd from Vol. II, Number 7, of The News am sure that Sheridan Gibney and Pierre Col-
Letter,published monthly except during July, August, lings, the writers, and William Dieterle, the
September, and October, by the Bureau of Educa-
tional Research, Ohio State University, Columbus, director of The Story of Louis Pasteur, would
Ohio. all have been pleased and heartened if they
could have heard the fifth- and sixth-grade governments? Our producers
of educational
children of the Ohio State University School films ? A
released by Erpi Picture Con-
film
say this morning that seeing this film as a sultants Incorporated, titled The Adventures
class was "the most interesting thing that we of Bunny Rabbit, leads me to believe that
have done this year." groups such as this may, with the assistance
We need better training programs for pros- of experts in the field of children's literature,
pective writers and directors. At the present produce motion pictures that will be highly
time this training is left too largely to chance. acceptable. But it is clear that the question
Provisions for scholarships and fellowships of who should produce films for children is
need to be made which will bring to Holly- one which has been little explored and little
wood for training a constant stream of new discussed.
writing and directing talent. The young men We need much deeper insight into the con-
and women throughout the country who to- tributions of the motion picture as an agency
day are beginning the production of 16-mm. of communication. Our objectives for the mo-
silent movies may prove to be the vanguard tion picture in education have been too
of a new movement for developing production largely informational. have not seen We
talent. Similarly, the production of educa- clearly enough the power of the motion pic-
tional and documentary films opens up ac- ture to reconstruct and revivify experiences.
quaintance with the whole field of writing We have not realized the power of the screen
and directing, but there has been no co- to give social and historical perspective on
ordination of these areas. They need organi- current problems. We
have failed to use the
zation and study. dramatic power of the motion picture to warm
We need a complete revision in our think- problems that are often intellectually cold. We
ing about the problem of children’s films. I
have not explored the power of the cinema
doubt seriously that such films offer a source in developing social sensitivities, interests, and
of substantial profit to the Hollywood pro- attitudes.
ducers. I doubt, too, whether these producers Though the movie is young, it is power-
have the competence, the insight, and the in- ful. Its power can be turned into constructive
tegrity to make films for children that would channels not by faultfinding or by petty criti-
be acceptable to thoughtful parents and teach- cism of the artistic weaknesses of the mo-
ers. Jf this broad statement is accepted as tion picture, but rather through searching
true by my readers, then we have an obli- analysis of the potential contribution of the
gation to develop a wholly new approach to film and through exploratory study of tech-
thisproblem of children's films. Is it a prob- niques for attaining this contribution.
lem for our national government? Our state —Edgar Dale.
FEATURE FILMS
ANGELS HOLIDAY of shipment and plot to waylay the ar-
the
Jane Withers, Joan Davis, Sally Blane, Rob- mored Two rival newspaper reporters
cars.
ert Kent. Direction by James Tinling. 20th with a portable radio prove invaluable in out-
Century-Fox.
witting the robbers. It is a play with rapid
A brat, a movie actress and some gangsters lire action, a fine performance by Lee Tra
cy,
form the personnel of this lively, impossible good work by others in the cast and no sym-
story. Jane Withers plays a role too old pathy or undue publicity wasted on the under-
for her and becomes a heroine when she helps world.
solve a kidnapping mystery. The plot is Adolescents, 12 to 16 Children, 8 to 12
complicated, the humor slapstick and not al- Yes Too tense
ways in the best of taste. • • •
No value No BORDER CAFE
• • •
Harry Carey, John Beal, Armida, George
Irving. From the story "In the Mexican
BEHIND THE HEADLINES Quarter” by Thomas Gill. Direction by Lew
Landers. R.K.O.
Lee Tracy, Diana Gibson, Donald Meek, Paul
Guilfoyle, Philip Huston. Direction by Rich- This Western is chiefly interesting for its
ard Rosson. R.K.O. out-of-door atmosphere and the zest which the
When the government is about to consign actors put into its interpretation. It tells the
a largequantity of gold to the impregnable story of a typical wastrel of a rich urban
vaults in the hills of Kentucky, gangsters learn family who is sent West to seek his fortune and
his salvation.He drifts down to a cheap border HOTEL HAYWIRE

cafe where, by deceiving his father into be- Leo Carrillo, Lynn Overman, Mary Carlisle,
lieving he is buying a ranch, he secures fur- Spring Byington. Direction of George Ar-
ther money to finance his riotous living. The chainbaud. Paramount.
necessity showing the ranch to his father
of The story is more than a series of
scarcely
leads to a climax, and succeeding events bring based on domestic misunder-
farcical situations
out some extenuating qualities in the young standings. The acting, done in an exaggerated
man. The story might have been an inter- style, is undistinguished, and the picture
esting and convincing character study if it had leaves much to be desired as entertainment.
followed the idea of regeneration through
work, but the lure of cattle rustling, shooting
Absolutely unsuitable No
affrays and kidnapping offered too great a
temptation to the producers. It is the usual
program picture with nothing constructive to

remember. I MET HIM IN PARIS
Adolescents, 12 to IS Children, 8 to 12 Claudette Melvyn Douglas, Robert
Colbert,
Unsuitable No Young, Mona Barrie, George Davis. Based
• • • on the by Helen Meinhardi.
story Screen
play by Claude Binyon. Direction by Wes-
FLY AWAY, BABY ley Ruggles. Paramount.
Glenda Fanell, Barton MacLane, Gordon This might better have been called "She
Oliver, Hugh O'Connell. Direction by Frank Went With Them Switzerland," for most
to
MacDonald. Warner Bros.
of the film is devoted to the adventures of
A fair mystery story in the "Torchy” series, a young woman who spends a vacation in
in which a newspaper woman's intuition and Switzerland in the company of two men. Their
ability again put the men to shame. It is a acquaintance commences when Gene Anders,
noisy picture full of loud repartee, but inter- a thoroughly unscrupulous though engaging
est is sustained by the photography of aero- American, rescues her from an obnoxious for-
plane clipper ships and views of various cities eigner in a Paris cafe. The trip is arranged
as the reporters tour the world in pursuit of later when the girl, piqued by the skepticism
a suspected criminal. of Gene’s friend, undertakes to prove that
Adolescents, 12 to 16 Children, 8 to 12 such an expedition can be conducted Platoni-
Unobjectionable if cally. The lady proves her point, but not
accompanied by
Fair adults without a struggle. The film is entertaining
because of many amusing situations and super-
latively good pictures of snow sports in the
THE GIRL SAID NO lovely winter playground at Sun Valley. It
Irene Hervey, Robert Armstrong, Paula Stone, is sophisticated but very lightly handled, and
William Danforth. Direction by Andrew L. is gay, pleasant entertainment.
Stone. Grand National.
It courage of a sort to attempt to
takes
Too unconventional No
combine the music of Gilbert and Sullivan
operas with a story of a dime-a-dance girl and
a bookie. It might possibly have been done
successfully, but in this the direction and the LOVE FROM A STRANGER
acting have left so much to be desired that Ann Harding, Basil Rathbone, Binnie Hale,
they detract from the enjoyment of the music Bruce Seton, Jean Cadell. From the play
though it is lovely in itself and fairly well by Frank Vosper, based on a story by Agatha
Christie. Screen play by Frances Marion.
sung. The operas are not smoothly woven Trafalgar Films-United Artists.
into the story, and the cast is not sufficiently
good to carry conviction. The story concerns It is, perhaps, a matter of unfortunate co-
Jimmie Allen, a bookie, who is trimmed by a incidence that two pictures should have ap-
gold-digging dance hall girl. He plans re- peared at the same time dealing with a mur-
venge, convinces her that he is a talent scout derer who possesses peculiar charm for women
and will put her on Broadway in sixty days. and leads them to grim destruction. Surely,
In devious ways he collects a former Gilbert one of the kind is enough. Of the two "Night
and Sullivan troup in a theatre for one night, Must Fall" is a much more notable production.
with the girl paying five hundred dollars for Here we find a plot akin to the horror stories
her chance to appear with them. The show of the Sunday supplements, ending in a cli-
pleases the critics, however, and all ends max so melodramatic that one is undecided
well. whether the required conduct is to faint or
scream. To be sure no play in which Ann
Fair No Harding appears can be devoid of distinction,
and her splendid acting, and to a lesser de- A NIGHT OF MYSTERY

gree of Basil Rathbone, raises this film
that Roscoe Karns, Helen Burgess, Elizabeth Pat-
to a higher category than that to which it terson, Grant Richards. From the novel
"The Green Murder Case" by S. S. Van
justly belongs. Even so Miss Harding is far Dyne. Direction by E. A. Dupont. Para-
more appealing in parts which call for nuances mount.
of feeling instead of the wrought-up emotional When, in the unwholesome atmosphere of
display so popular in the dramas of yester- the hatred and greed which exists in the
year. Greene household, various members of the
Adolescents, 12 to 16 Children, 8 to 12 family are murdered, Philo Vance is called
Impossible No indeed upon by the district attorney to assist in solv-
ing the mystery. This is not so good as some
of the picturizations of Van Dyne’s detective
THE MAN IN BLUE tales. It is taken from a book written some
years ago, and evidently its defects are due
Robert Wilcox, Edward Ellis, Nan Grey,
Alma Kruger, Ralph Morgan. Direction by in part to a rather outmoded style. The act-
Milton Carruth. Universal. ing is only fair, and the characterizations are
exaggerated. Interest is directed toward an
Here is the delineation of a serious social
intellectual pursuit of unravelling the crime.
problem which fails to clarify its thesis. Years
It does not stir the emotions.
of effort on the part of a foster father come
to nothing as the son reverts to the criminal Adolescents, 12 to 16 Children, 8 to 12
type of his natural parent. It is the story
No Gruesome
• • •
of a weakling, and the ending omits the
punishment which society demands for obvious OH. DOCTOR
transgressors. It is realistically acted but un- Edward Everett Horton, Donrue Leighton,
satisfactory in effect because of its unsound William Hall, Eve Arden. From the novei
ethical values. by Harry Leon Wilson. Direction by Ray
McCarey. Universal.
The satirical comedy of Harry Leon Wilson
No No
• • •
becomes exaggerated farce in this adaptation.
Edward Horton is the absurd hypochrondriac
MARRY THE GIRL who is cured by changing the focus of his
Mary Boland, Frank McHugh, Hugh Herbert, attention from himself to a pretty girl. He
Carol Hughes. Based on a novel by Ed- is sometimes funny and sometimes not, but
ward Hope. Direction by William McGann. the dialogue is sufficiently amusing to while
Warner Bros.
away an hour if one is in the mood for it.
It takes clever writing and acting to make
scatter-brained characters funny. Apparently,
Unobjectionable Unobjectionable
a group of mental defectives are trying to run
• • •
a newspaper and straighten out family difficul-
ties. The audience finds their troubles thor- PARNELL
oughly uninteresting. Claik Gable, Myrna Loy, Edna May Oliver,
Edmund Gwenn, Alan Marshal, Donald
Adolescents, 12 to 16 Children, 8 to 12 Crisp, Billie Burke, Berton Churchill, Donald
No No Meek, Montagu Love, Byron Russell, Bran-
don Tynan, Phyllis Coglan, Neil Fitzgerald,
George Zucco. From the play bv Elsie T.
Schauffler. Screen play by John Van Druten
MEET THE MISSUS and S. N. Behrman. Direction by John M.
Helen Broderick, Victor Moore, Ann Shirley, Stahl. M.G.M.
Alan Bruce. Direction by Joseph Santlev. Charles Stewart Parnell, "Uncrowned King
R.K.O.
of Ireland,” firebrand champion of Home Rule
Emma Foster has a passion for working on for Ireland, is a figure whose life presents
contests, and her ambition is to be Mrs. rich possibilities for dramatization. His ill-
America, champion housekeeper of the coun- advised love affair with Katie O'Shea, estranged
try. Curiously, she is no housekeeper, but wife of a meanly conniving colleague, may
her hen-pecked husband does the trick for her. not have had the idyllic qualities attributed
The picture is very thin entertainment, but to it in both the play and the present screen
Victor Moore always can be depended upon version, but it adds the final spark of ro-
for some laughs, and there is one absurdly mantic fire to of Parnell’s remark-
the story
funny scene where all the hen-pecked husbands able career. Months
of painstaking research,
revolt to embarrass the Angus Noodle Com- meticulous accuracy in setting and costuming,
pany representative who sponsors the contest. and skillful elaboration of the stage play to
Adolescents, 12 to 16 Children, 8 to 12 include the wider scope of action possible on
No objection If with family the screen have given tremendous interest to
s
the picture and made it one of the finer pro- TALENT SCOUT
ductions of its type. It is highly entertain- Donald Woods, Jeanne Madden, Fred Law-
rence, Rosalind Marquis, Joseph Crehan.
ing not only as a romantic love story but
Direction by William Clements. Warner
as an illuminating historical document. Its
Bros.
failure to merit unstinted praise lies in the
Talent Scout” is a fair run-of-the-mill pic-
miscasting of the leading character, for in
ture,concerning an irrepressible young man
spite of the splendid background and a part
who succeeds in his plans by sheer impudence
replete with stirring lines, Clark Gable gives
Donald Woods has a much more colorful part
a singularly uninspired performance. Myrna
than is usually alloted to him, and he re-
Loy, though stilted and cold in the earlier furbishes a situation which is slightly moth-
sequences, warms to her portrayal and handles
eaten: the little girls from the provinces who
the emotional scenes with understanding. Other Even if she has
takes Elollywood by storm.
characters are exceptionally well cast and seem
a clever agent, it is a strain on the imagina-
really to belong to England and Ireland of
tion to see Mary Brannigan (Jeanne Madden)
the period.
who is ain her first screen test and
"flop”
Adolescents, 12 to 16 Children, 8 to 12 probably would continue to be one, make the
Interesting but mature ascent to stardom. The inside workings of
in theme Too mature
a studio intrigue a number of people, and
thus many will derive their money’s worth.
SHE HAD TO EAT Only fair No
Jack Haley, Rochelle Hudson, Arthur Treach- • • •
er, Eugene Pallette. Based on stories by

M. M. Musselman and James Edward Grant. THEY GAVE HIM A GUN
Screen play by Samuel G. Engel. Direction
20th Century-Fox.
Spencer Tracy, Glad; s George, Franchot
by Malcolm St. Clair.
Tone, Edgar Dearing. From the novel by
An illogical, absurd andinconsequential William Joyce Cowen. Direction by W. S.
farce concerning a professional gold digger, Van Dyke. M.G.M.
several gangsters, a rich man whose best Some may see this picture as a strong argu-
qualities come out when he is drunk and a ment against war, on the grounds that teach-
boy whose identity is confused with that of ing a youth to use a gun in wartime is apt
a criminal. Ethically it is pretty poor, and to make a gangster of him when the war is
enjoyment of its qualities would depend en- ended. This is true in the case of the weak-
tirely upon an utterly irresponsible state of ling jimmy, ably played by Franchot Tone.
mind when seeing it. On the other hand Spencer Tracy as Bred is
Adolescents, 12 to 16 Children, 8 to 12 also a product of the war and is a splendid
Poor No example of manliness and decency. From any
point of view the film is tremendously inter-
SLIM esting as a character study of two types of
Pat O'Brien, Henry Fonda, Margaret Lind- men. In the first part it is the usual war
say, Stuart Erwin, J. Farrell MacDonald, picture; it then turns into a gangster story,
Dick Purcell. From a novel by William but all through it the personalities of jimmy ,
Wister Haines. Direction by Ray Enright.

Warner Bros. Bred and the girl (beautifully played by
Gladys George) are vividly brought out. The
Though the story follows a time-honored for-
whole is a dramatic,' impressively realistic
mula it the kind of material that is par-
is
tragedy.
ticularly fitted for the medium of the screen,
and it is convincingly dramatized. It presents Of doubtful value No
realisticallythe adventures of Red and Slim, • • •
linemen who work on the high tension power
lines and whose devotion to their job dis- THE THIRTEENTH CHAIR
counts all its dangers. The enmity of a Dame May Whitty, Madge Evans, Lewis
rival lineman. Slim’ love of a girl who wishes Stone, Elissa Landi, Janet Beecher, Ralph
Forbes, Holmes Herbert. From the play by
him to give up his work, and the strong Bayard Veiller. Direction by George B.
friendship between the two men preface a Seitz. M.G.M.
thrilling climax when the wires are blown An cast, headed by Dame May
excellent
down in a blizzard and must be replaced at Whitty, succeeds in making the revival of a
the risk of the workmen’s lives. The pic- popular old stage play entertaining. The locale
ture is an excellent one of its type is India, and the settings are interesting. An
Adclescents, 12 to 16 Children, 8 to 12 Englishman has been murdered in so mysteri-
Very interesting Too exciting and ous a fashion that his friends resort to spir-
too much empha-
itualistic seances to help detect the criminal.
sis on the lure of
danger In Inc process the unsavory details of for-
MOTION PICTURE REVIEWS Seên
gery, blackmail, and illicit love affairs come of a youthful pair. A medley of dancing,
to light, but because of superior direction and singing and wise-cracks makes it suitable for
acting, it holds its own as a mystery thriller. those who enjoy vaudeville, as emphasis is
Adolescents, 12 to 16 Children, 8 to 12 placed on individual "turns” rather than on a
No value Terrifying well-coordinated story.
No—waste of time No
THIS IS MY AFFAIR
Robert Taylor, Barbara Stanwyck, Victor
McLaglen, Brian Donlevy. Direction by Wil-
liam A. Seiter. 20th Century-Fox. YOU CAN'T BUY LUCK
Here a G-man-gangster picture in a new
is Onslow Stephens, Helen Mack, Hedda Hop-
per, Paul Guilfoyle, Maxine Jennings, Vinton
setting and said to be based on an historical
Haworth. From a story by Martin Mooney.
incident. In President McKinley’s regime a Screen play by Arthur T. Herman and Martin
leak in official service was thought to be sup- Mooney. Direction by Lew Landers. R.K.O.
plying information to a band of counterfeiters Joe Baldwin, millionaire owner of a race
(in this picture bank robbers), and the Presi- horse, spends money lavishly, believing that for
dent commissioned a young man to make a every bit spent another person will be pulling
secret investigation. How the investigation for his horse to win. Teaching at an orphan-
was carried on, the young man’s predicament age which profits by his extravagance is Betty
when McKinley was assassinated, and the dis- McKay with whom he falls in love. Here we
covery of the guilty official make an exciting have the makings of a pleasant romance, but
drama. The story is well told and derives about this time Joe’s former paramour is mur-
additional interest from the period in which dered and the picture turns into melodrama
it is set and from famous persons brought concerning the murder and a false conviction.
into the picture. Whether or not it is true, There are a few convincing scenes, but on the
it seems unfortunate that the Federal investi- whole the picture is only fair entertainment.
gaor has to run true to the modern movie Adolescents, 12 to 16 Children, 8 to 12
formula when he falls in love with the crimi- No No
• • •
nal’s sister.
Questionable because of
WINGS OVER HONOLULU
crime element No — too emotional Wendy Barrie, Ray Milland, Kent Taylor,
• • •
William Gargan, Polly Rowles. From the
Red Book story by Mildred Cram. Direction
by H. C. Potter. Universal.
TURN OFF THE MOON
Charlie Eleanore Whitney, Johnny
Ruggles,
The navy is ever romantic, as are the
Downs, Kenny Baker, Phil Harris and his islands of Hawaii, and with an attractive offi-
Orchestra, Ben Blue, Marjorie Gateson. Di- cer and his Southern wife as the main char-
rection by Lewis Seiler. Paramount. acters the film is bound to please many peo-
Too little of Charlie Ruggles and far too ple. The problem involved is the failure of
much of assorted performers from night-club a young wife to understand her husband’s
and radio land lessen the enjoyment of this intense loyalty to his work and her inability
film. Even Ruggles is at his second-best to relinquish social pleasures for the sake of
throughout an alcoholic scene in which he is his advancement. As it runs its course the
never convincingly drunk. It is a musical ver- story becomes superficial and often melodra-
sion of the "Boy Meets Girl” theme with matic, but there is enough sincerity in the
Ruggles as Dlnwiddy, president of a depart- characterizations to lend interest and human
ment store, sponsoring the romance because appeal.
his astrological advisor has proclaimed that Adolescents, 12 to 16 Children, 8 to 12
his marriage hour is dependent on the union No No interest
SHORT SUBJECTS
BOSCO'S EASTER EGGS GILDING THE LILY
One reel. In color. Metro-Goldwyn-Mayer. Two reels. Metro-Goldwyn-Mayer
Both drawing and color are delightful in Demonstrating what skilfully applied make-
this episode of a small darky who steals the up can do for an ugly duckling, this pictorial
eggs from a mother hen and dyes them to pre- essay on rouge and plucked eyebrows and tricky
sent to a little girl for an Easter gift. The coiffures is a good ad for the cosmetic indus-
action however is a bit noisy and helter- try. The results are amazing, not only in the
skelter, showing comic strip influence. present but in days of yore when perfumed
and ringletted knights went off to combat, and PENNY WISDOM

ladies wore top-knots five feet high. Fairly Two reels. A Pete Smith Specialty. Metro-
entertaining for adults and family. Goldwyn-Mayer.
When a young wife who is incredibly stupid
about cooking attempts an impromptu dinner
A GIRL'S BEST YEARS for important business associates of her hus-
John Warburton, Mary Doran. One reel. band, she practically ruins the provender. Then
Metro-Goldwyn-Mayer. presto, Prudence Penny appears like a fairy
"Off with the old love and on with the godmother, turns chaos into order and offers a
new" might well be the title of a theme for delectable repast, topped off by baked Alaska.
this miniature musical comedy, which relates It may be interesting chiefly to women, but it
the difficulties of a philandering playwright. is surprising how many men like to know
It is light, ridiculous, mundane, rather a waste about the preparation of good food. Family.
of time.
No No THE ROMANCE OF DIGESTION
• • •
Two Reels. Robert Benchley. Metro-Goldwyn-
Mayer.
GIVE ME LIBERTY
It is a proof of the clevernes of Robert
Two reels. Warner Bros.
Benchley that he can hold an audience at all
This is an historical drama depicting scenes with a subject which properly belongs in a
from the of Patrick Henry showing his in-
life
physiology text-book. Only those who enjoyed
fluence for the cause of freedom and specially
the diagrams of the digestive tract in the
featuring his great oration urging the Col-
"dear old school days” will fully appreciate
onies to fight England. The picture is beau-
this film.
tifully done in colors and the role of Patrick • • •
Henry, played by John Litel, is so well por-
trayed that the great orator seems to have come SONG OF A NATION
to life on the screen. It is particularly recom- Two reels. Warner Brothers.
mended for its educational and patriotic value Scenes of battle, with the flag waving in the
but also as pure entertainment. breeze of dawn, commemorate the moment
when Francis Scott Key was inspired to write
"The Star Spangled Banner.” The color is a
GOING PLACES WITH LOWELL THOMAS joy to the eye, and few Americans will fail
No. 18 to feel a stir of patriotism and renewed pride
1 reel. Universal. in the men who strove to maintain our dem-
An exceptionally interesting and instructive ocracy. Splendid for all ages.
demonstration of the technique of making the

dramas for animated cartoons and synchroniz-
ing action and sound. Excellent for all ages. WHAT DO YOU THINK?
Two reels. Metro-Goldwyn-Mayer.
Since the recent experiments at Duke Uni-
MICKEY'S COUSIN versity, mental telepathy has gained an aca-
One reel. Mickey Mouse Cartoon in color. demic standing. While the manner of thought
Walt Disney. transmission remains unknown, instances such
When Mickey attends the circus, he finds as the one depicted here can be verified. A
Donald Duck in charge of the trained seals, mother through her deep love of her son senses
and after many antics Donald lands in the danger to his life, and across a distance of two
tank, where the seals share their meal of fish thousand miles sends him a warning of im-
with him. Soft colors and the whimsey one pending disaster. Good acting and direction
associates with Disney. Children and family. make this an interesting film for adults.
INDEX . . . JANUARY through JUNE, 1937

A Girl Said No, The June
After the Thin Man January God's Country and the Woman January
Angel's Holiday June Go Getter, The May
Another Dawn May Gold Diggers of 1937 January
Arizona Mahoney January Good Earth, The March
As Good as Married May Good Old Soak, The May
As You Like It January Great Guy January
Great O'Malley, The January
B
Green Light March
Banjo on My Knee January
Behind the Headlines June H
Beloved Enemy January Head Over Heels in Love April
Black Legion January Her Husband Lies May
Border Cafe June Her Husband's Secretary March
Borderland March Hills of Old Wyoming May
Born to Dance January History Made at
Is Night May
Breezing Home March Hollywood Cowboy May
Bulldog Drummond Escapes February Holy Terror, The February
C Hotel Haywire June
Cafe Metropole May
I
California Straight Ahead May
Internes Can't Take Money May
Call It a Day April
I Met Him in Paris June
Camille January
Captains Courageous May J
Carnival in Flanders (La Kermesse John Meads' Woman January
Heroique) February Jones Family in Big Business, The May
Case of the Stuttering Bishop, The May Jungle Princess January
Champagne Waltz January
Charlie Chan at the Olympics May K
Kid Galahad May
Cherokee Strip, The April
King and the Chorus Girl, The April
Clarence March
King of Gamblers May
College Holiday February
Condemned Row February L
Conflict January Land Beyond the Law March
Country Gentleman, The January Last of Mrs. Cheney, The March
Crack-Up January Let's Make a Million February
Criminal Lawyer January Let Them Live May
Lost Horizon April
D
Love from a Stranger June
Dance, Charlie, Dance May
Love Is News March
Dangerous Number March
Love on the Run January
Dead Yesterday April
Lucrezia Borgia May
Devil's Playground March
Doctor's Diary, A February M
Don't Pull Your Punches February Maid of Salem February
Don't Tell the Wife March Make Way for Tomorrow May
E Mama Steps Out March
Elephant Boy May Man Betrayed, The April
Espionage March Man in Blue, The June
Every Sunday February Man of Affairs February
Man of the People March
F Man Who Could Work Miracles, The March
Fair Warning March
Man Who Found Himself, The April
Family Affair April
Marked Woman March
Fifty Roads to Town May
Marry the Girl June
Fire Over England May
Maytime April
Fly Away, Baby June
Meet the Missus June
G Melody for Two February
Girl Loves Boy April Men Are Not Gods March
Girl from Scotland Yard, The May Men in Exile March
Michael Strogoff (The Soldier and the Lady) March She Met Him in Paris June
Midnight Court March She's Dangerous February
Midnight Taxi May Sinner Take All January
Mighty Treve, The February The Ski Chase March
Mind Your Own Business January Slim June
Mountain Justice April Soldier and the Lady, The (Michael Strogoff) April
Murder Goes to College March Song of the City May
Mysterious Crossing .January Star Is Born, A May
Step Lively Jeeves March
N Stolen Holiday January
Nancy Steel Is Missing April
Stowaway January
Nation Ailame April
Swing High, Swing Low April
Night Key May
Night Must Fall May T
Night ol Mystery, A June Talent Scout June
Night Waitress January That Girl From Paris January
Nobody's Baby April That I May Live April
No Place Like Rome February That Man's Here Again April
They Gave Him a Gun June
O
March They Wanted to Marry February
Off to the Races
Oh. Doctor! June Think Fast, Mr. Moto May
February Thirteenth Chair, The June
Once a Doctor
One in a Million January This Is My Affair June
Three Smart Girls January
One Way Passage January
March Time Out for Romance March
On the Avenue
April Too Many Wives May
Outcast
Outcasts of Poker Flat, The May Top of the Town May
Trail Dust January
P Turn Off the Moon June
Park Avenue Logger February Twenty -three-and-a-Half-Hours-Leave March
Parnell June
Penrod and Sam February U
Pennies From Heaven January Under Cover of Night February
Personal Property April
Plainsman, The February W
Plough and the Stars, The January Waikiki Wedding May
Prince and the Pauper, The May Wake Up and Live May
Public Wedding May We Have Our Moments May
We're on the Jury February
Q When Love Is Young April
Quality Street April W'hen's Your Birthday? March
R When You're in Love April
Racing Lady January White Bondage April

Rainbow on the River February White Hunter January
Ready, Willing, and Able February Wings of the Mornings March
Rembrandt January With Love and Kisses February
Revolutionists April
Woman Chases Man May
Woman I Love, The May
S Women of Glamour March
San Quentin April Woman-Wise February
Sea Devils March Wings Over Honolulu June
Servant of the People April
Seventh Heaven April Y
Shall We Dance? May You Can't Buy Luck June
She Had to Eat June You Only Live Once March

, 1936

Name
Address
Name
Address.
MOTION PICTURE
REVIEWS TPIHIIB
for particulars regarding

advertising rates, etc.
BROWN
Telephone DRexel 2022, or write Wilihirc at Alexandria

LOS ANGELES
V 1'
THE WOMEN'S UNIVERSITY CLUB Vine Street near Hollywood Blvd.

HOLLYWOOD
943 Hoover Street
Los Angeles, California Wilshire at Kodeo

$ BEVFRIY HILLS 4

and a
Year-Round Friend
STORY PARADE
for Girls
From Six to Twelve
It isa distinguished group of contemporary authors and illus-
Parents write:
Our five children read it from cover to cover."
Ihave never seen a children's magazine as excellent in choice

MOTION PICTURE
REVIEWS
Armored Car One Mile from Heaven
The Californian Pick a Star
A Day at the Races Riding on Air
Ever Since Eve The Road Back
The Great Cambini Sing and Be Happy
The Lady Escapes Slave Ship
The Life of Emile Zola The Singing Marine
The Last Train from Madrid There Goes My Girl
Married before Breakfast They Won’t Forget
Midnight Madonna Two Who Dared
Mountain Music We Willie Winkie
North of the Rio Grande You Can’t Beat Love
JULY, 1937
• •
LOS ANGELES BRANCH
EDITORS
The Women's University Club, 943 So. Hoover St., Los Angeles, Calif.
Vol. XI JULY. 1937 No. 7

• •
A MOTION-PICTURE PROGRAM*
When a cameraman attempts to tell a story, As we have speeded up communication, both
he does it in a succession of photographs. of good ideas and bad ones, the
tempo of edu-
These photographs are of three types the long — cation has also been increased. We have not
shot, the medium shot, and the closeup. It is yet begun, however, educationally speaking, to
through the skillful blending of these three tap the potential resources of these two new
types of pictures that a good movie story is ways of communicating experience.
told. Let us borrow this method for a con- One big difficulty which we have had with
sideration of the motion-picture problem of the motion picture is that we have thought of
today. it primarily as an entertainment device. We
We with the camera a long way off
start first have not thought sufficiently about its power
from our subject. Seen with perspective, the to communicate important ideas and to develop
motion picture must fit into our conception of interests and attitudes of a socially desirable
the good life. The place we assign to it will sort. Too often we see the fanciful on the
depend upon whether we regard it as a form screen; too rarely the factual. We have been
of entertainment, merely, or a source of in- well entertained, yes, but not well enlightened.
spiration, or a means of instruction. First and Would we still have sweatshop child labor, for
foremost, it is a method of communication, and example, if we could see the subject treated
along with radio it is the most democratic that honestly and factually on the screen ? Would
has yet been discovered. Only the deaf are we not have hastened measures to insure a
immune to the radio, and the blind to the more intelligent use of the land if we could
movies.
have had not one film like The Plow That
It is essential to remember this fact in any
Broke the Plains but scores of them? Would
discussion of the motion picture. It means that
we still have had some one hundred fifty
fine experiences denied to people because they
deaths a year from diphtheria in Ohio if we
are unable to read, or because they find read-
could circulate a film showing factually and
ing difficult can now be secured by the movies,
which require only ability to see and hear, or dramatically how diphtheria might be wiped
by the radio, to which one need only listen. out? The motion picture is an educational tool
of which we have made scant use. It is one
* From "The News Letter” published by the Bu-
which might
of a score in civilization's tool kit
reau of Educational Research, Ohio State University. immeasurably improve human living were we
not too unintelligent, too inert, too apathetic great that it is hardly worth the chance. Even
to turn them to account. the Disney films, which certainly contain wit,
We need in general a more constructive use charm, and fantasy and are delightful for
of the motion picture. If it is primarily a means young people, have evoked from the British
of communication, we should communicate Film Institute the statement that "recent
matters of greater import —
but of greater im- Mickey Mouse films are apt to inspire terror
port to whom? Let us move the cameras a bit in some children, because the aggressive mo-
closer and consider specifically the needs of tive is too insistent.”
young people. A major distinction should be Turning briefly to the intermediate group,
made between the needs of young children (of aged nine to twelve, we find when we analyze
less than eight years), intermediates (nine to the film estimates published in the Educational
twelve years, inclusive), and youth (fourteen Screen from 1927 to 1936, inclusive, that only
and above). It is quite likely that certain films 2 percent of the film output was recommended
might be of interest to all these groups, yet as "excellent" for children, 9 per cent as
careful planning in terms of social needs must "good," and 15 per cent, "perhaps." If we
be emphasized. I do not stress the word "need" were to confine child attendance to "excellent"
entirely at the expense of the word "want,” films, there would be available, on the average,
but it does seem to me that we shall not get only seven or eight pictures a year. When we
far on the question of what movies are good remember the frequency of double features,
for children and youth unless we consider first the accompanying comedies and shorts, and the
their needs and only second, and subordinately, circumstances under which many motion pic-
what they want. tures are shown, we can only conclude that
To say what children need, so far as mo- for the intermediate group as well as for the
tion pictures are concerned, is a major psycho- primary the possibilities of getting a superior
logical task. We have not, as yet, adequate program are still remote.
data on the topic. Nevertheless, it is possible The situation on the youth level is not much
to make a number of observations on the needs better. There is an occasional picture like A
not only of children but of youth. Children Family Affair, which gives us a fairly accurate
need to secure a progressively enlightened, and certainly pleasant picture of an intelligent
factual understanding of the world in which family household. The Devil Is a Sissy is well
they live. As younger children they must contrived and shows excellent insight into
learn, for example, that fire burns, that too child psychology. Fury and Black Legion.
much candy may bring stomach aches, that which sensitized high-school students to grave
cuts and wounds should be sterilized. As they economic abuses of today, deserve the highest
become older, they need to learn such things praise. Nevertheless, if the role of the motion
as that there is no biological basis for a belief picture is to give youth an insight into the
in the superiority of one race to another; that world in which we live, we have as yet little
the Germans are not "Huns" as we were to offer. There are many diverting pictures,
taught to believe during the War; that a it is true, but do not these pictures also divert
slum environment is one of the important youth from honest, rigorous thinking about
causes of juvenile delinquency; that our na- social realities? Perhaps pictures of the type
tional resources —
soil, forests, and water power I am recommending do not belong in a com-
— are being depleted at an alarming rate; that mercial theater, but in the school, the church,
public health is purchasable; that many chil- the forum. No matter where they are shown,
dren and their mothers die needlessly each it is high time that we began producing them.
year because we are not intelligent enough to We are ready now for a close-up on the
use the scientific information already available; problem. What specifically should we photo-
that propaganda is not confined to wartime. graph? realize that at the outset we
I do not
These are but a few examples of the needs of have a complete bill of particulars as to what
children and youth. There are, of course, many we want in motion pictures for children yet ;
others. There is the need for gaiety and laugh- I can visualize intelligent groups of laymen,
ter, for drama, for richness and color in life. psychologists, librarians, social workers, par-
There is the need for the fun that comes from ents, and teachers who could, with careful
doing creative things, whether it be with study, formulate a motion-picture program
needle, crayon, clay, wood, metal, or other that would be socially desirable. I have sug-
medium. gested some of the types of problems which
Now when we consider present-day motion could be dramatically presented to advantage;
pictures as they relate specifically to the needs I suggest also that we turn to children’s litera-
of young children, there seems no reason at ture and see what there is there that would
all why parents should permit any child eight lend itself to photographic purposes. Let us
years of age or less to attend the movies. The see just what boys and girls would choose if
opportunity for valuable experiences is so rare, they had an opportunity to select among good
and the danger of harmful experience is so books those they would like to have filmed. A
—
study which I made in 1931 in cooperation films showing the spots of scenic and his-
with the Federation of Mothers Clubs in Cin- torical interest in the state. There has been
cinati showed that the following books re- an excellent film made at Wauwautosa, Wis-
ceived highly favorable votes on the part of consin, dealing with the life and activities of
boys and girls of elementary- and high-school the Menominee Indians. Many amateurs are
ages: Ivan hoe, David Copperfield, Lorna making interesting pictures on 16-mm. film.
Doone, Little Women, Anne of Green Gables, A forthcoming book will contain abstracts of
The Crisis, The Count of Monte Cristo, A approximately thirty-five articles dealing with
Tale o L
Two Treasure Island.
Cities, Many the production of 16-mm. films, by non-
of these books have since been made into professionals.
movies and have been successful. Young peo-
Where, you may ask, would the money come
ple's taste for this type of material, however,
from to finance these production activities? I
has not yet been satisfied.
suggest one important source: we can take the
The filming of children's literature should
money that will be used to build one of two
not blind us to the fact that we must even-
tually develop our film classics for children and
new battleships —about fifty million dollars
youth, not from literature, but directly through
and see what we might do to use this money
for educational instead of destructive purposes.
the medium itself. We
must develop scenar-
This fifty million dollars might be spent as
ists who can write honestly, intelligently, and
follows: There are approximately two hun-
dramatically for the screen. Production pro-
dred fifty thousand school buildings in the
grams on the gigantic Hollywood scale have
United States. For this amount every building
not permitted the kind of exploration of the
could be equipped with a $200 sound pro-
motion-picture medium that is necessary to ad-
jector. Obviously, however, it would not be
vance its progress as an art. Only as we have
necessary to equip them all. Let us assume
motion-picture craftsmen working on motion-
that we would equip half of them. The re-
picture production not only in Hollywood but
maining twenty-five million dollars could be
in the schools and universities straight across
expended in the production of twenty-five
the country will we arrive at the potentialties
hundred educational films at a cost of $5,000
inherent in this device.
each, and of five hundred films of a more ela-
A further suggestion is that each state in
borate character at $25,000. Then, indeed,
the country film its characteristic activities and
resources and make the resulting record uni-
we would see the start of a real educational
film program.
versally available. Ohio now
attempting to
is
do this through the production of a series of Edgar Dale.
FEATURE FILMS
ARMORED CAR Wright. Adaption by Gordon Newell. Screen
Robert Wilcox, Judith Barrett, Cesar Romero, play by Gilbert Wright. Produced by Sol
Irving Pichel, David Oliver. Direction by Lesser and Barney Brislcen.
Lewis R. Foster. Universal.
The unscrupulous plundering of Spanish
As the suggests here is depicted the
title
estates by Americans in the early days of Cali-
danger involved in piloting cars which carry fornia is the theme around which this film is
large sums of money for banks and other in- built. The sketchy scenario leaves much to
stitutions. Details of the service are interest- the imagination, and the whole picture lacks
ing; there is good suspense and swift action. the color it might have had from its romantic
As often happens when gangsters are involved setting. In the beginning Ramon Escobar, a
in the plot the audience is inclined to be more
youth of fifteen, is feted upon his departure
impressed with the clever technique of the for Spain where he is to receive his education.
criminals than the bravery and shrewdness Returning home several years later he finds
of the forces of the law, although the latter his father’s lands in the hands of Americans,
are successful in the end. and he sets out to recover the property, rescues
Adolescents, 12 to 16 Children, 8 to 12 his sweetheart from a bandit, and gets the
No No better of all his enemies. It is all rather
amateurish, and even the dialogue which
should have a definite Spanish flavor is more
THE CALIFORNIAN like pidgin-English.
Ricardo Cortez, Marjorie Weaver, Katherine Adolescents, 12 to 16 Children. 8 to 12
DeMille, Nigel de Brulier, George Regas. Di-
rection by Gus Meins.
Perhaps interesting for Yd
Story by Harold Bell historical background
A DAY AT THE RACES A mind reader is an unusual figure in a

Groucho, Chico, Harpo, Allan Jones, Maureen mystery play, particularly when his talents also
O'Sullivan, Margaret Dumont. Direction by include ventriloquy and fortune telling. When
Sam Wood. Screen play by Robert Pirosh,
a girl becomes engaged to the wrong man, her
George Seaton and George Oppenheimer.
M-G-M. parents seek the great Gamhini to ask his
The madantics of the Marx Brothers speed-

advice. Meanwhile the man is mysteriously
ily reduce their audience to hysterical laughter
murdered and the mind-reader comes to the
assistance of the police in the effort to solve
when Chico begins by selling tips on the races
to Groucho. Fortunately there is a thin thread
the case. The acting and direction are undis-
tinguished and the film moves haltingly. The
of plot, with a minor romance and some lovely
basic idea is sufficiently entertaining but the
dance numbers to relieve the strain of so
development of the plot soon becomes boring.
much slap-stick. It is said that the picture
was many months in making; certainly it is
No value No
too long and too crowded with incident. When
Harpo turns jockey and rides the winning
horse in a steeplechase, the clowning reaches THE LADY ESCAPES
a new peak even for these versatile brothers.
Gloria Stuart, Michael Whalen, George San-
The horse is likewise a successful comedian ders, Cora Witherspoon, Gerald Oliver Smith.
when he hears his master’s voice over the loud Direction by Eugene Forde. Based upon the
Harpo and Chico novel and play "My Second Wife." Screen
speaker during the race.
play by Don Ettlinger. 20th Century-Fox.
give their usual musical interpolations, while
Groucho, as a horse doctor, runs a sanitarium. After a year of quarreling and reconciliation,
The picture contains much less vulgarity than Michael Hilton and his wife Geraldine plan
a divorce. Michael agrees in the meantime to
some previous Marx offerings and cannot fail
find a suitable second husband for Geraldine.
to please devotees of the Marxian brand of
humor. The audience is not surprised when the Hiltons
eventually change their plans because it is
Yes Tiring easy to see that they are in love. The theme
• • • seems to be a popular one, judging by its
recurrent use in films. In this picture, it is
EVER SINCE EVE treated in light comedy style, verging on slap-
Maron Davies, Robert Montgomery, Frank stick and makes only fair entertainment.
McHugh, Patsy Kelly, Allen Jenkins, Louise Adolescents, 12 to 16 Children, 8 to 12
Fazenda, Barton MacLane. Direction by Lloyd Too sophisticated No
Bacon. From a stor/ by Margaret Lee and
Gene Baker. Screen pla" bv Lawrence Riley,
F.arl Baldwin, and Lillie Hayward. Warner
Bros. THE LIFE OF EMILE ZOLA
Obviously a good play can be hurt by poor Paul Muni, Gale Sondergaard, Joseph Schild-
kraut, Gloria Holden, Donald Crisp, Erin
acting, but in this case an excellent cast is
O'Brien-Moore, Vladimir Sokoloff, Grant
handicapped by an obvious story and trite dia- Mitchell, Ralph Morgan. Direction by Wil-
logue. After Mr. Montgomery's brilliant per- liam Dieterle. Warner Bros.
formance in "Night Must Fall” it is a great Emile Zola, imbued with passion for writ-
disappointment to have him cast again as the ing the truth, struggles against poverty and
playboy with nothing to do but stand around. public indifference until Nana, his story of a
Miss Davies' flair for comedy too, has little woman of the streets, achieves immediate rec-
opportunity for real expression, and Patsy ognition for his genius. Success follows suc-
Kelly, Frank McHugh and Allen Jenkins strug- cess until middle-aged man Zola is one
as a
gle with noisy, stereotyped roles. It is the story of the most honored writers of France and is
of a beautiful girl who masquerades as an proposed for membership in the French Aca-
ugly duckling. Her employer happens to see demy. His compassion for the humble and
her as her real self and falls in love with her down-trodden remains for sometime dormant
but does not recognize her as his plain secre- under the fat of public adultation until the
tary. The outcome is so evident that it fails to infamous Dreyfus case reminds him once more
hold much interest. It is a light program pic- that if truth is to triumph he, Zola, must sac-
ture —harmless but hardly worth attention. rifice life of comfort, his financial success,
his
Adolescents, 12 to 16 Children, 8 to 12 to lead
the battle for justice. His famous
Yes Yes J’Accuse arouses the French people against
himself and he is tried for libel. All efforts
to bring out the true facts of the Dreyfus case
THE GREAT GAMBINI are suppressed at the trial which follows, and
Akim Tamiroff, John Trent, Marian Marsh, Zola, condemned to prison, flees to England
Genevieve Tobin, Reginald Denny. Direction
in order to continue the fight. During his
by Charles Vidor. Original story by Frederick
Jackson. B. P. Schulberg-Paramount. years of exile, his friends continue to publish
— !
his pamphlets demanding vindication for Drey- takes place in the course of a single night, and
fus who is at last pardoned and restored to itis surprising how many mad and impossible
former honors. Zola, however, dies just be- things can happen as fast as marbles fall out
fore the public ceremony honoring Dreyfus. of a broken bag. Adept acting by Robert
The last scenes are of his funeral. Superb Young, Florence Rice and others in the cast
characterizations by Muni as Zola and by and able direction maintain a real spirit of
Schildkraut as Dreyfus lack reality in the later fun throughout.
sequences in which they are portrayed as Adolescents, 12 to 16 Children, 8 to 12
elderly, even feeble men while their respective Too mature No
wives, remaining untouched by time or the
tremendous suffering through which they have
passed, are shown as lovely twenty-year-old
MIDNIGHT MADONNA
Warren William, Madv Correl, Robert Bald-
girls beside their doddering seventy-year-old win, Nancy Clancy, Edward Ellis. Direction
husbands. A further hinderance to what is by James Flood. Original story by David
almost a top flight picture is the fact that the Boehm. Paramount.
story has a double focus of interest. The free- Asentimental melodrama using all the situ-
ing of Dreyfus after the long fight to bring ations possible to draw audience tears. A pen-
out the truth naturally constitutes the highly niless mother begs a gambler's help to buy
dramatic climax of the picture with the result medicine for her sick child. He divides his
that Dreyfus, and not Zola, becomes the focal last bill with her and then a streak of luck
point of the story and all action following the enables him to care for them. A rich grand-
vindication scene suffers by contrast. Thus the father then leaves a fortune to the child and
funeral scene is unnecessary anti-climax, and her worthless father appears to dispute her in-
the oration by Anatole France merely another heritance. The court scenes are emotional and
long added speech. unethical and the final happy denouement
Adolescents, 12 to 16 Children, 8 to 12 far from convincing.
Yes No interest
Too emotional
sentimental No
THE LAST TRAIN FRON MADRID
Lew A’ res, Dorothy Lamour, Gilbert Ro-
MOUNTAIN MUSIC
land, Lionel Atwell, Karen Morle \ Helen
Mack, Robert Cummings. Direction by James Bob Burns, Martha Raye, John Howard,
Regan. Based on a story by Paul Hervey Terry Walker, George Hayes, Jan Duggan,
Fox and Elsie Fox. Paramount. Fuzzy Knight, Rufe Davis. Based on a story
by MacKinley Kantor. Direction by Charles
Romance in a war setting, intrigue and sac- Riesner. Paramount.
rifice and the threat of sudden death are the
Those who have been missing their slap-
exciting elements which go to make up this
were given
stick or the sort of plays that in the
melodrama which deals with the adventures of Pumpkin Center op'ry house thirty years ago
various persons who for one reason or another
should rush for the box-office. Most moderns
are attempting to escape from Madrid. A simi-
should avoid this unless they have become ad-
lar tale might have been told with any other
dicted to Hill Billy humor through long asso-
country as its locale and any other revolution
ciation with the radio or the caricatured Ar-
in progress, since Spain and the politics of the
kansas feudists of Esquire fame who come to
Spanish revolution are not pertinent to the
life in the opening reel. Bob Burns is some-
plot. However its setting in Madrid of today times funny, if you like him, and Martha
makes seem more stirringly real and, in
it
Raye clowns through an adagio dance in a
spite of the glamour of romance, brings home
style of her own which will evoke spontaneous
the devasting tragedy of modern warfare. The
laughter from many who have endured the
complicated plot is interestingly developed and
preceding parts in stony silence. The singing
the cast and photography are excellent.
is tuneful, and mention should be made of the
clever vocal imitation of various musical in-
Too tragic Certainly not
struments, train whistles and so on.
MARRIED BEFORE BREAKFAST Harmless but rather
cheap No
Robert Young, Florence Rice, June Clayworth,
Barnett Parker. Direction by Edwin L. Martin.
M-G-M.
ONE MILE FROM HEAVEN
"Married Before Breakfast” is a light, gay
Claire Trevor, Sally Blane, Bill Robinson,
farce with a nonsensical plot about a young Douglas Fowley, Fredi Washington, Joan
inventor who wins success to the tune of a Carol. Direction by Allan Dwan. Based
quarter of a million dollars and is so over- upon the original stories of Judge Ben Lind-
sey, Robin Harris and Alfred Golden. Screen
joyed with life that he is impelled to make play by Lou Breslow and John Patrick. Twen-
everybody happy at once. The whole play tieth Century-Fox.
MOTION PICTURE REVIEWS Smn
A newspaper girl, following a hoax call, Joe E. Brown can usually be counted on for
stumbles accidentally upon a front page story. natural laughs, good pantomime, and hilarious
’’Why is a negro woman in Harlem claiming comedy. This is the sort of role he often fills,
a white child as her own?" As the mystery that of the small town boy with high ambi-
is unraveled we are taken to a prison, intro- tions who wants to go out and conquer the
duced to an extortion plot, and given an idea world for the sake of his "best girl. Here ”
of the "smart" and unfair methods with which he competes in an essay contest, and when he
newspaper reporters are supposed to trick each wins the prize is entrapped by a tricky pro-
other. The highlights of the film are Bill moter, played amusingly by rotund Guy Kib-
Robinson's dancing in a street scene, and the bee. When Elmer invests in a company to de-
excellent acting of Fredi Washington as the velop a radio beam for control of airplanes
colored foster mother. Enjoyment is a matter from the ground, he becomes interested in
of taste. aviation and sets forth in a plane to capture
Adolescents, 12 to 16 Children, 8 to 12 a gang of perfume smugglers. Some amazing
Nothing constructive No stunt flying, with Elmer sitting helplessly at
the controls, results in the capture of the crim-
inals. His antics in the air and later in the
attempt to kiss his girl while perched in a
NORTH OF THE RIO GRANDE tree are ridiculous in the usual Brown style.
William Boyd, George Hayes, Stephen Morris, Adolescents, 12 to 16 Children, 8 to 12
Russell Hayden. Based on "Cottonwood Very amusing Good
Gulch" from Clarence E. Mulford's book.
Direction by Nate Watt. Paramount.
A rip-roaring Western of the Hopalong Cas-
sidy series treats of the unmasking and punish- THE ROAD BACK
ment of a Lone Wolf bandit who poses as a John King, Richard Cromwell, Slim Summer-
ville,Andy Devine, Barbara Read, Louise Fa-
bank president. Pursuit of speeding planes, zenda, Noah Beery, Jr., Maurice Murphy.
hold-ups, gun play and hair-raising encounters Direction by James Whale. Based on the
keep excitement at a high pitch. As usual the book by Erich Maria Remarque. Screen play
by R. C. Sherriff and Cahrles Kenyon. Uni-
mountain scenery is good, the acting negligible versal.
except that of George Hayes as the funny
With the rest of the world alarmingly near
piano-strumming old direlect. Windy.
the verge of another war, perhaps such a
bitter preachment against war as Erich Remar-
If not too
Yes excitable que’s "The Road Back will appeal strongly
”
to American audiences. It has been exceedingly

well adapted for the screen and though it
PICK A STAR treats of conditions in Germany during the
Patsy Jack Haley, Rosina Lawrence,
Kelly,
Mischa Auer, Lyda Roberti. Direction by
World War and after the Armistice of 1918,
Edward Sedgwick. Original story and screen it shows impressively the plight of young
play by Richard Flournoy, Arthur Vernon soldiers returning to their home land and find-
Tones and Thomas J. Dugan. Hal Roach. ing themselves hopelessly maladjusted and piti-
M-G-M.
fully unable to fit themselves as civilians into
This is a typical musical comedy program
a satisfactory scheme of life. The war se-
filler about the winner of a beauty contest who
quences are tremendously realistic, and the
goes to Hollywood to get a job in the movies.
problems of the men upon their return are
Her hometown suitor goes along to protect logically and dramatically portrayed. There is
her, gets a job as a waiter in a night club
some ill-advised comedy relief which is doubt-
and manages to be on hand at the crucial less intended to placate those who do not like
moment to procure a screen test for the girl. to dwell upon serious matters, but this is a
Some of the dialogue is amusing and the elab- minor flaw in an otherwise well-balanced and
orate choruses are pleasing; however, various
intelligent picture.
incidents of the plot give the impression that
in Hollywood any path to success is accept- Very mature No
able.
No No
SING AND BE HAPPY
Anthony Martin, Leah Ray, Joan Davis,
Helen Westley, Allan Lane, Dixie Dunbar.
RIDING ON AIR Direction by James Tinling. 20th Centurv-
Fox.
Joe Brown,
E. Guy Kibee, Florence Rice,
Vinton Haworth. Direction by Edward Sedg- In the sketchy plot of this musical a rich
wick. From the Elmer Lane stories in the man’s son prefers leading an orchestra to parti-
Saturday Evening Post by Richard Macauley.
Screen play by Richard Flournoy and Richard cipation in his advertising business
father’s
Macauley. R.K.O. until his love for the daughter of a rival ad-
vertiserchanges his point of view. It is trivial parting at the altar and is for the most part
matter with swing bands, blue singers and in a farcical vein, man pursuing woman and
assorted radio performers presenting them- woman pursuingman, although the high-
selves on every occasion. Acting is mediocre powered drama of a murder case brings the
and incidents poorly coordinated. pugnacious lovers together in the end. Credit
Adolescents, 12 to 16 Children, 8 to 12 is due the director for swift sequence of events,
Waste of time Waste of time and the personalities of the two main actors
add color to a theme which, after all, has been
used a good many times in the past.
THE SINGING MARINE Adolescents, 12 to 16 Children, 8 to 12
Passable Too sophisticated
Dick Powell, Doris Weston, Lee Dixon, Hugh
Herbert, Allen Jenkins. Direction by Ray
Enright. Warner Bros.
The Marines and the radio become pretty THEY WON'T FORGET
well jumbled in this film of a young man in Claude Rains, Gloria Dickson, Edward Norris,
the service who in his off-time is permitted Otto Kruger, Allyn Joslyn, Lana Turner, Eli-
sha Cook, Jr., Clinton Rosemond, Ann Shoe-
by an unusually beneficent or absent-minded maker, Paul Everton, Trevor Bardette, Elliott
Uncle Sam to make $50,000 and travel on Sullivan,Wilmor Hines. Direction by Mervyn
luxury liners. Perhaps a musical does not LeRoy. From the novel "Death in the Deep
South" by Ward Greene. Warner Bros.
need to make sense. It has a good measure
of fun and frivolity, some sprightly tap danc- This remarkable picture tells the story of the
ing, a pretty heroine in the person of Doris brutal murder of a young girl in a Southern
Weston, a good deal of the debonair Dick city, and the conviction and subsequent lynch-
Powell and a bagful of new songs, including ing of a young school teacher from New York
the lively Lady Who Wouldn't Be Kissed. for the crime. While the book based on a
Locations shift from the shore near San Diego nationally known case, stresses the hatred of
to New York to China and include some very the unreconstructed South for the North, this
elaborate settings. It is not as good as Pow- aspect fortunately is given less importance in
ell s last picture, but those who like the type the film. The events described might well have
w'ill be entertained. occurred in any locality where mob prejudice
Adolescents, 12 to 16 Children, 8 to 12 and yellow journalism flourishes. Spurred by
Amusing Mature political ambition, the District Attorney en-
gineers a sensational trial with a maximum of
SLAVE SHIP publicity for himself. He scorns any attempt
Warner Baxter. Wallace Beery, Mickey Roo- to fasten the crime on the colored janitor
ne .Elizabeth Allen. Direction by Tay Gar- against whom a case might readily have been
nett. 20th Century-Fox.
worked up. Instead, aided by sensation seeking
A starkly realistic film, brutal, powerful, re- newspapers, he concocts a plausible enough
vives the horrors of the slave trade in the case against the young New York teacher, thus
years preceding the Civil War. Warner Baxter creating a scandal of nation-wide proportions.
as Captain Lovett, attempts to abandon his Claude Rains achieves a remarkable characteri-
evil calling for the love of a young girl in the zation as the District Attorney, and minor
town of Salem and encounters almost insuper- parts are well cast. The direction is fluent
able difficulties. The crew' of his ship mu- and thoughtful and the plot is unfolded with
tinies. and his unregenerate partner (Wallace merciless clarity. The story is depressing in
Berry) swiftly arranges murder. Both the the extreme but is intellectually fascinating.
parts are w'ell done, as are those of the cabin The ending leaves one wondering as to the
boy (Mickey Rooney) and the vicious slave true facts, and no attempt is made to explain
dealer (Joseph Schildkraut) It is a drama
.
or to point to a moral.
of cruelty and carnage, marked by exceptional
direction and outstanding photography, suit- By no means Impossible
able for those with strong nerves and stomachs.
• • •
Dreadful Dreadful
TWO WHO DARED
Anna Sten, Henry Wiltoxon. Direction by
THERE GOES MY Eugene Frenke. Grand National.
GIRL
Gene Raymond, Ann Sothern, Gordon Jones, In America where holiday spirit is expressed
Richard Lane. Direction by Ben Holmes in eating hot dogs and riding on roller coast-
R.K.O.
ers, we nevertheless enjoy seeing Russian peas-
An editor attempts to control the love-life ants at a country carnival, dressed in their
of his pet reporter and sets in motion quarrels, lovely costumes, singing and dancing and leap-
rivalry and no end of complications for a pair
ing over the flames of a bonfire. But about
of newspaper reporters. It all begins with a here our interest will begin to wane because
MOTION PICTURE REVIEWS Nin*
"Two Who Dared'" tells an obvious story in a entire regiment held in the hand of a
are
poky way. Anna
Sten as a beautiful peasant fearless child. one were not caught in the
If
girl meets and loves an arrogant young officer sway of the picture that ending would be in-
in the Tsar’s army. That she is doomed to credible. The most appealing episodes are
suffer is all too apparent, and as the story pro- those Shirley plays with Victor McLaglen, the
gresses the expected situations develop and are rough top-sergeant who is teaching her to be
resolved in the expected way. Perhaps the de- a soldier; each is an excellent foil for the
nouement would be a surprise were it not other, McLaglen adding a fine characterization
for the title which tactlessly gives away the to his list. As for the adaptation, it is better
whole story. not to look up the story of "We Willie Win-
Adolescents, 12 to 16 Children, 8 to 12 kie.”
Too sophisticated No Adolescents, 12 to 16 Children, 8 to 12
Very good Excellent
• • •
WEE WILLIE WINKIE

Shirley Temple, Victor McLaglen,C. Aubrey
YOU CAN'T BEAT LOVE
Smith, June Lang, Michael Whalen, Cesar Preston Foster, Joan Fontaine, Herbert Mun-
Romero, Douglas Scott. Based on the story din, Paul Hurst, Barbara Pepper. Direction
by Rudyard Kipling. Screen play by Ernest by Christy Cabanne. R.K.O.
Pascal and Julien Josephson. Direction by When a young, masculine socialite reports
John Ford. 20th Century-Fox.
for work ditch-digger in top-hat and
as a
There no doubt that Shirley Temple is the
is
tails, one is into a profound interest
startled
idol of a large percentage of the American in his subsequent behavior. One is soon dis-
public, and thousands will be delighted to find illusioned when, like the hero of many another
her in a film as well photographed and di- tale, he lands in politics and spends the re-
rected and produced on as grand a scale as mainder of the film ousting disreputable in-
any allotted to the starriest of adult actresses. cumbents from their swivel chairs. The play
The scenes of a British army camp on the is composed of about equal parts of melodrama
frontier of India, where Priscilla has been and comedy and offers fair entertainment value.
brought to live with her crusty old grand- Preston Foster is good but limited by his role;
father, Colonel Williams, offer a romantic
Joan Fontaine is a charming blonde heroine;
background, and the marauding tribesmen Herbert Mundin contributes several humorous
under Khoda Khan give a sense of impending scenes.
danger and excitement which rises to a breath- Adolescents, 12 to 16 Children, 8 to 12
taking climax at the end when the lives of an Yes Little interest
N
.....
MOTION PICTURE
REVIEWS Trim ie

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MOTION PICTURE
REVIEWS
Back in Circulation Love in a Bungalow
Between Two Women New Faces of 1 937
Born Reckless Rustler’s Valley
Dead End Saratoga

The Emperor’s Candlesticks Stella Dallas
Easy Living Super-Sleuth

Exclusive Toast of New York
Forlorn River Topper
Heroes of the Alamo Under the Red Robe
High, Wide and Handsome You Can’t Have Everything
Hoosier Schooboy War Lord
I Cover the War Wild and Woolly
It's Love I’m After Wild Money
Knight Without Armor Wine, Women and Horses
AUGUST, 1937

LOS ANGELES BRANCH
EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis
Mrs. George Ryall
Vol. XI AUGUST, 1937 No. 8

• •
FEATURE FILMS
BACK IN CIRCULATION BETWEEN TWO WOMEN
Pat O'Brien, Joan Blondell, Margaret Lindsay, Franchot Tone, Maureen O'Sullivan, Virginia
John Litel. Based on a story by Adela Rogers Bruce, Leonard Penn, Cliff Edwards. Orig-
St. John. Screen play by Warren Duff. Di- inal story by Erich von Stroheim. Screen play
rection by Ray Enright. Warner Bros. by Frederick Stephani and Marion Parsonnet.
Direction by George B. Seitz. M.-G.-M.
It is a feat for Joan Blondell to keep one
iota of audience sympathy in the trashy part Franchot Tone is a successful young surgeon,
Meighan. whose life is influenced by his friv-
assigned to her in this picture, but somehow olous wife and by a sympathetic and efficient
she does succeed in retaining a little, while, nurse who aids him in bis services to humanity.
as Timmy, an obnoxious newspaper reporter, The life in a great general hospital is realistic-
she smashes innumerable glass doors and drives ally pictured. Franchot Tone
very good as is
are the women in their contrasting roles, but
a perfectly innocent woman to the verge of
one hackneyed situation follows another until
death. Pat O'Brien's role of editor is even the plot becomes almost absurd.
more reprehensible. While the rotten tactics
of tabloid papers are exposed, there is no sug- Sophisticated. NO.
gestion that those responsible for the dirty
smearing of helpless characters ever should be

BORN RECKLESS
punished. The film moves at the swift, em-
Rochelle Hudson, Brian Donlevy, Bartob Mac-
phatic tempo established for newspaper stories Lane, Robert Kent, Harry Carey. Based on a
by ''Front Page” and has a number of amusing story by Jack Andrews. Screen play by John
Patrick, Robert Ellis and Helen Logan. Di-
incidents, but the final impression is one of
rection by Samuel Kaylin. 20th Century-Fox.
injustice and futility.
A situation of the "man bite dog” category
Too sordid. No, indeed. arises when an honest, if somewhat irrespon-
sible,automobile racing driver smashes up the son of the Czar, is kidnaped and held as
taxis of gangsters faster than they candemolish hostage for the life of a rebel leader, he is
the legitimate cars-for-hire. Right triumphs of forced to write a letter to his father requesting
course but the implication that all is fair in that the prisoner be freed. To deliver the let-
war is not a constructive idea to foster. Ro- ter to the Imperial Russian court, the services
chelle Hudson plays the part of a gangster's of William Powell, as a spy in the rebel party,
moll who is striving to find evidence to free are enlisted. Powell hears that his friend.
her brother. It is a stirring melodrama which Prince Johann, is sending a pair of historic
some people will find too violent for their taste. candlesticks to St. Petersburg, offers to deliver
Adolescents, 12 to 16 Children, 8 to 12 them and conceals the letter in a secret com-

No. Impossible. partment in one of the candlesticks. Before
he can start, Luise Rainer as a spy in the Im-
perial government service, obtains the candle-
sticks and hides her own secret papers in the
DEAD END other compartment. While on the train they
Sylvia Sidney, Joel McCrea, Humphrey Bo- are stolen and the two spies join forces in the
gart, Claire Trevor, Allen Jenkins, Wendy Bar- attempt to recover them. After mutual misun-
rie, Margaret Main. Direction by William
derstandings and suspicions the pair fall in
Wyler. From the plav bv Sidnev Kingsley.
—
Samuel Goldwyn Production United Artists. love, and problems are solved by the kindly
intervention of the Czar. The film is beauti-
"Dead Fnd” is not for aud'ences who want
fully acted and staged but suffers from lack
to be amused, for it presents a tragic theme so
of mater!;'. The direction is fluent and makes
1
explicitly that even the most inveterate optim-

the most of a somewhat threadbare plot.
ist could not ignore it. It shows the extreme
of social injustice without attempting to pro- Adolescents, 12 to 16 Children, 8 to 12

Harmless but of
vide a solution or offering a suggestion that Yes. little interest.
any of its characters will escape from their
sordid environment. In the shadow of a fash-
ionable waterfront apartment house a gang of
boys play in the dark street of a New York
slum, learning by example and necessity how
EASY LIVING
to be the public enemies of tomorrow. Though Jean Arthur, Edward Arnold, Ray Milland,
Luis Alberni. Mary Nash. Directed bv Mit-
adult roles are more prominent in the develop- chell Leisen. Screen Dlav by Preston Sturges.
ment of the plot, the boys are the important Based on a story by Vera Caspary. Paramount.
factor in establishing the mood of the picture.
It no small achievement to produce a
is
They are shown as they were on the stage,
farce running the gamut of hilarity from so-
crafty, cynical but not bitter, getting their fun
phisticated comedy to slapstick and never for
from outwitting the cop or fighting with a
an instant allow the pace to flag. The action
rival gang, and wholly without reverence for
and the innumerable gags are so deftly handled
people or things. In the screen adaption slight
that there is no let-down in humor and interest.
changes have been made in some of the char-
Jean Arthur deserves credit as one of the
acters but the total effect remains the same.
screen’s leading comediennes. As Mary Smith,
The production is technically a work of art.
a poor working girl, she is plunged quite ac-
Settings, photography and musical background
cidently into a life of sable coats and jewelry
are notably fine. The large cast is uniformly
at the whim of Edward Arnold, "the Bull of
good and no one member overshadows the
Broad Street,” Wall Street tycoon.
others.
Mr. Arnold quarrels with his wife and son
Depressing and mature. Entirely unsuitable.
and faces ruin on the stock exchange through
the innocent instrumentality of the girl. At
the same time the interest of the banker in
Mary is publicized in a gossip column, and the
girl is offered a suite at a luxury hotel and is
THE EMPEROR'S CANDLESTICKS besieged by people trying to present her with
William Powell, Luise Rainer, Robert Young,
clothes, jewelsand other trappings of wealth,
Maureen O’Sullivan, Henry SteDhenson. Di- in the belief that she has influence with
rected by George Fitzmaurice. Screen play by the great financier. The entire cast enters into
Monckton Hoffe and Harold Goldman. Based
the spirit of the proceedings with the greatest
on the book by Baroness Orczy. M.-G.-M.
gusto, and with the able direction of Mitchell
A story of intrigue seldom
international Leisen, the result is an exceptionally amusing
fails to interest, even though the plot may comedy.
belong to the red plush and gilt era of
romantic adventure. When Grand Duke Peter, Excellent. No.
s
EXCLUSIVE in armed resistance w'hen new detachments of

Fred MacMurray, Frances Farmer, Charlie Mexican troops arrive. The highlight of the
Rugbies, Llovd Nolan, Fay Holden. Based picture is the massacre of the 153 defenders of
on a play by John C. Moffitt. Screen play by the Alamo, an old fortified mision in which the
John C. Motfitt, Sidney Salkow and Rian Texans finally elect to fight it out. In spite
James. Direction b;' A1 Hall. Paramount. of the fact that the production is rather ama-
teurish in many respects, it manages to hold in-
Among the many newspaper pictures Exclu-
terest and is quite exciting in the battle scenes.
sive one w'ell worth seeing because of good
is
acting and direction and the fact that it shows Adolescents, 12 to 16 Children, 8 to 12
Yes. Exciting.
reporters who are honorably working to build
up a clean paper and community. Ralph and
Tod have worked together for years, but Tod'
daughter with a thorough misunderstanding of
their aims gains employment on a rival paper
HIGH, WIDE AND HANDSOME
of unsavory reputation until she learns her mis- Irene Randolph Scott, Dorothy La-
Dunne,
take through hard experience. While the plot mour, Elizabeth Patterson, Raymond Walburn,
sounds serious, there are many lighter se- Charles Bickford, Akim Tamiroff, Ben Blue,
quences and humorous passages by Charlie William Frawlev, Alan Hale. Directed by
Ruggles and Fred MacMurray. Ruggles seldom Rouben Mamoulian. Original story and screen
has the opportunity for such a strong character- play by Oscar Hammerstein, II. Music by
Jerome Kern. Producer, Arthur Hornblow, Jr.
ization and he acquits himself with merit,
Paramount.
while both Fred MacMurray and Frances
Farmer are capable in their parts. When one of the big studios makes an his-
Rather mature. NO. torical epicon the grand scale the research de-
Adolescents, 12 to 16 Children, 8 to 12 partment girds up its loins and rests not day
or night until everything from a frying pan to
a synthetic mountain is an exact replica of the
original and movie goers may rest secure in
the knowledge that every item is authentic.
FORLORN RIVER
But the storv is a different matter, and appar-
Larry Crabbe, June John Patterson,
Martel, ently unlimited scope is allotted to the story
Harvey Stephens. story by Zane
Original writer’s imagination. This happy combination
Grey. Screen play by Anthony and Robert
of fact and fancy is what makes a picture like
Yost. Direction by Charles Barton. Paramount.
"High, Wide and Handsome” such a lot of
This is the best of the recent Westerns, fun. It has everything that a rousing melo-
worth seeing for the beautiful views of moun- drama should have besides a delightful mu-
tain country if for nothing else. It has a regu- sical score and an imposing amount of factual
lar "Western" plot about a cattle-rustler w'ho information about the beginnings of the oil
poses as a government agent, w’orms himself industry in western Pennsylvania in the year
into the confidence of the ranchers, tries to buy 1859. Its real triumph is the climax, a ter-
up their horses, and wreaks havoc until his rific free-for-all fight that will make you want
perfidy is discovered. has beenSome care to climb on your seat and cheer.
taken with the direction there is no creaking,
; Adolescents, 12 to 16 Children, 8 to 12
old-fashioned technique; details of the story Tiring and over
are quite credible, and while the humor is
Very entertaining. exciting.
obvious it does not occur with unwanted fre-

quency. Riding and herding of horses in large
numbers is fascinating to w'atch.
HOOSIER SCHOOLBOY
Good. Exciting.
Mickey Rooney, Anne Nagel, Frank Shields,
Edward Pawley. From the novel by William
Eggleston. Screen play by Robert Lee. Direc-
tion bv William Nigh. Monogram.
HEROES OF THE ALAMO Although it is rather dated in the method of

approach, the old story of the Hoosier school-
Sunset Production, Inc.
boy has been filmed in a satisfactory manner.
This picture deals with pioneer life in Texas It is the simple, affecting story of a boy mis-
while that territory was still a Mexican colony. understood in school, won over and restored to
It shows the growing discontent of the settlers the respect of his companions by a kind-hearted
with the increasing taxes and domination of teacher. The intense loyalty of the boy to his
the Mexican Governor which finally culminates shell-shocked father, a forgotten hero of the
s : —
World War, is well expressed by Mickey KNIGHT WITHOUT ARMOR

Rooney, and the climax, when Edward Pawley Marlene Dietrich, Robert Donat, Austine Tre-
as the Captain drives towards the dangerous vor, Basil Gill. From the novel by James
Huntley. Screen plav by Frances Marion. Di-
barricade under the illusion that he is again
rection bv Jacques Feyder. London Films
on the battlefield, is an efficient piece of act- United Artists.
ing. It is a good picture for boys.
A young Englishman of the British secret
service loses his nationality so completely that
Possible, except for
Good. the sensitive. he is banished to Siberia and later becomes a
commissar of the Soviets. From that juncture
revolution packs the screen with a welter of
humanity, ransacking palaces, swarming over
I COVER THE WAR trains, jolting the elbows of firing squads.
John Wa; ne, Don Barclay, Gwen Gaze,
Through it all the gallant Fothergill shields
Charles Brokaw, James Bush. Original story
by Bernard McCormick. Direction by Arthur and succors the Countess Alexandra, to whom
Lubin. Universal. he loses his heart, on a perilous journey of
The dangers encountered by newsreel camera- escape to the south of Russia. Robert Donat
men are described in an interesting manner in fits into his part with ease, but Marlene’s beau-
this picture of an uprising in a far corner of tiful countenance remains unperturbed by the
Arabia. Bob and Elmer are assigned to take
discomforts and horrors which surround her.
pictures of a desert shiek who is plotting an
uprising against the British, and due to the The lighter moments seem ill-chosen: the
efforts of Bob’s younger brother the source of Countess floating across a lawn in diaphanous
the smuggled arms is discovered. The mate- garments, the Countess frisking in a sudsy bath.
rial is well handled and desert scenes are well
But on the whole there are few light moments.
filmed.
It is a grim, absorbing spectacle of a people
Yes. Exciting.
in revolution, probably the most realistic film-
ing of Russians en masse which has been made

outside the territory of the U. S. S. R.
IT'S LOVE I'M AFTER Too Brutal. Terrifying.
Leslie Howard, Bette Davis, Olivia de Havi-

land, Patric Knowles, Eric Blore, George
Barbier, Bonita Granville, Spring Bv'ngton.
Directed by Archie L. Mavo. Original story
by Maurice Hanline. Screen play by Casey
Robinson. Warner Brothers.
LOVE IN A BUNGALOW
Nan Gre Kent Taylor, Jack Smart, Hobart
This is a delicious comedy with a cast that Cavanaugh, Richard Carle, Louise Beavc-rs,
Florence Original story bv Eleanore
Lake.
guarantees entertainment. Leslie Howard and
Griffin and William Rankin. Screen plav by
Bette Davis are cast together as Basil and Austin Parker, Karen DeWolf and James Mitl-
hauser. Direction by Raymond B. McCarey.
Joyce, matinee idol and his leading lady; Universal.
Olivia de Haviland plays Marcia, a love sick
Really the nicest part of this light and rather
debutante infatuated with Basil and Eric Blore inconsequential picture is the model home in
outdoes himself as Digger ,
an absurd valet. which a pretty young hostess spends her days
Patric Knowles as Marcia’ fiance, devises an and wonders about the young man who is sure
ingenious plan to cure Marcia of her infatua- When he comes ,she does not rec-
to appear.
tion, but it takes heroic action on the part of ognize him and in fact considers him a par-
Digger and Joyce to keep the scheme from be- ticular nuisance until they decide to collabor-
coming a boomerang. Expensive settings and ate on a letter for a contest. It is a fast-moving
fine photography add greatly to the tone of
littlecomedy with fun supplied by Hobart
the production. The dialogue and situations Cavanaugh, Richard Carle, Florence Lake and
are often uproariously funny.
others.
Sophisticated. No. Amusing. Not much interest.
NEW FACES OF 1937 his company. The story is about a young girl
Joe Penner, Milton Berle, Parkyakarkus, Har-
who tries redeem the fortunes of a racing
to
riet Hilliard, William Brady, Tommy Mack.

family by marrying a sober millionaire but is
irresistibly drawn to the track and a slangy,
Based on the story "Shoestring” by George
Bradshaw. Screen play by Nat Perrin, Philip scapegrace bookie. Although it seems as if all
. G. Epstein, Irv. S. Brecher. Direction by the surprises have been used in racing films,
Leigh Jason. R.K.O. there is a novel and very exciting finish of
the handicap. The ethical tone is that of the
"Don’t Sell Musical Comedy Short" might
gambling fraternity which follows the sport,
be the name of this film, as here is related the
not very high, and one scene has been included
tale of a man who offers an 85% interest in
as a sop to those who expect every Jean Har-
a show to several individuals when he has
low picture to be off-color, although it is un-
made sure it will be a failure. On this occa-
necessary and adds nothing to plot or enter-
sion, however, it is not a "flop” and thereby
tainment value.
hangs the tale. Plot, however, is not a very
essential part of this collection of skits, jokes Adolescents, 12 to 16 Children, 8 to 12
Low standard of honesty. No.
and song and dance numbers, chief comedians
being Joe Penner, Milton Berle, Parkyakarkus
and Tommy Mack. The settings and costumes
are beautiful, but most of the performers prove STELLA DALLAS
far less entertaining on the screen than over
Barbara Stanwyck, John Boles, Ann Shirley,
the radio.
Allan Hale. Direction by King Vidor. Sam-
Waste of time. Little interest. uel Goldwyn-United Artists.
In spite of its melodramatic plot built upon
the old mother love-sacrifice situation, "Stella
Dallas” is a strong, honest picture. After see-
ing Barbara Stanwyck's beautifully shaded in-
RUSTLER'S VALLEY terpretation of the title role, audiences will
William Boyd, George Hayes, RussellHay- leave the theater feeling that they have been
den, Oscar Apfel. Directed by Nate Watt. given an intimate insight into the life of a real
Paramount. woman. The role is not the sort that flatters
an actress. Stella enters the picture as a vul-
Running true to form, Hopalong Cassidy and
gar, ignorant young woman determined to get
his pals continue on the side of chivalry,
ahead. She manages to marry a man whose
law and order. They uncover evidence to save
background is Harvard College and New York
a cattle ranch from a gang of rustlers and an
society. Unable to tone down her flamboyant
arch villain. As usual, the scenery is lovely.
taste, she loses her husband’s affection and
The plot and acting are adequate and film will
alienates her young daughter’s friends. In the
please the audiences for whom it is intended.
end she solves her problem dramatically, per-
Adolescents, 12 to 16 Children, 8 to 12 haps over heroically, but Miss Stanwyck makes
Enjoyable. Perhaps.
Stella’s behavior seem phychologically true and
what is equally rare, she makes no conces-
sions to personal vanity either in make-up or
in dress. Ann Shirley gives a charming per-
SARATOGA formance and is a perfect complement to Miss
Clark Gable, Jean Harlow, Lionel Barrymore, Stanwyck in their mother and daughter roles.
Frank Morgan, Walter Pidgeon, Una Merkel, Adolescents, 12 to 16 Children, 8 to 12
Cliff Edwards. Original story .and screen play Good values but suit-
by Anita Loos and Robert Hopkins. Direc- ability depends on ma- Emotional and too
turity of the individual. mature.
tion by Jack Conway. M.-G.-M.
Jean Harlow takes her final curtain call as

the least boisterous and most attractive heroine
SUPER-SLEUTH
of her career in a comedy of the race track
which is well staged and directed and has an Jack Oakie, Ann Sothern, Eduardo Ciannelli,
excellent cast. There is a good deal of spon- Alan Bruce, Edgar Kennedy. From the play
by Harry Segall. Screen play by Gertrude Pur-
taneous fun on the part of Clark Gable, Una
cell and Ernest Pagano. R.K.O.
Merkel and Frank Morgan; Lionel Barrymore
presents a fine characterization of the horse- Bill Martin, otherwise Jack Oakie, a con-
loving old grandfather, and Walter Pidgeon ceited movie detective, ridicules the police for
deserves praise in his thankless part of the their outmoded schemes of detecting criminals
fiance whose cheques are more in demand than and incurs their enmity and at the same time
finds himself the object of a murder plot with When the spirits of a wild young couple,
no alternative but to solve it himself. Ann killed in an automobile accident, are set free
Sothern is the fair publicity agent who lends
on earth appear or disappear
to at will, they
a hand. There are so many amusing incidents
linked with the mystery killer that comedy
believe that their only hope of entering
is dominant with melodrama as an undertone. Heaven is to do a good deed. They undertake
It is a ridiculous sort of farce at the expense to rescue their banker friend, Topper, from the
of Hollywood life and characters, sometimes dull routine of business and from the strict
verging on slap-stick, not an unpleasant pic-
rule of a domineering wife, and by the free
ture and all in good fun.
use of their powers of invisibility, they in-
Yes. Too exciting. volve him in innumerable absurd predicaments.
The trick photography is most amusing and
lends itself admirably to the clever lines and
TOAST OF NEW YORK situations. Roland Young takes the honors for
acting by his deft handling of the part of the
Edward Arnold, Carv Grant, Frances Farmer,
Jack Oakie, Donald Meek, Clarence Kolb, unsophisticated banker. The scene after the
Thelma Leeds. From the "Book of Daniel drunken party when he staggers down the
Drew," bv Bouck White, and "Robber Bar-
hotel stairs, supported by unseen hands, is up-
ons,” by Matthew Josephson. Direction by
Rowland V. Lee. R.K.O. roarious. All the other members of the cast
are splendid, and the direction is flawless.
Jim Fisk was one of the financial buccaneers
of the sixties, in comparison with whom the While much of the humor is of the slapstick
stock manipulators of the recent depression variety the film is so skillfully done that it
were singularly bloodless and lacking in imag- never gives offense.
ination. Unmoral, frankly a robber with an
exuberant joy in swindling and an equal joy
in lavish spending: such was Jim Fisk, and
Sophisticated. No.
Edward Arnold recreates the character in a
forceful way. The outrageous battle over con-
trol of the Erie Railroad and the attempt to
corner the market on gold which terminated UNDER THE RED ROBE
in Black Friday present a true, if shameful,
history of Wall Street of an earlier time.
Conrad Veidt, Annabella, Raymond Massey,
Commodore Vanderbilt and Uncle Daniel Drew Romney Brent, Sophie Stewart, F. Wyndham
Goldie. From the novel by Stanley Wey-
are important in the clash of interests. The J.
men and the play by Edward Rose. Screen
backgrounds reflect the luxury of the period
play by Lajos Biro, Philip Lindsay and J. L.
in marble, polished walnut and glittering
Hudson. Direction by Victor Seastrom. 20th
chandeliers; the humor is robust and spon-
Century-Fox.
taneous. The romantic element belongs more
to the realms of imagination There was a When Cardinal Richelieu held the reins of
Josie Mansfield to be sure, but she was not power in France he learned that the Duke de
as she appears. Nevertheless, the parts played Foix, leader of the Hugenots had gone to Spain
by Frances Farmer, Jack Oakie and particu-
for financial aid, whereupon he dispatched his
larly by Cary Grant, are colorful and add a
great deal to the story if not to historical trusted friend, Gil de Berault. to effect his cap-
knowledge of the era. ture. The course of events became compli-
Adolescents, 12 to 16 Children, 8 to 12 cated when Gil met and loved the beautiful
Requires adult
evaluation. No. sister of the Duke. Somehow the picture lacks
the dash and fire one anticipates ;
it is interest-
ing to be sure, the women’s costumes are rich

and beautiful, and it is well-staged, but Conrad
TOPPER
Veidt, fine actor as he is, seems a little too
Roland Young, Constance Bennett, Cary
Grant, Billie Burke, Eugene Pallette. Direct-
old for heroic parts and the charming Anna-
ed by Norman Z. McLeod. From the book by bella is hampered by her lack of fluency in
Thorne Smith. Hal Roach-M.-G.-M. the English tongue.
Of all Thorne Smith fantasies, "Topper" Adolescents, 12 to 16 Children, 8 to 12
is most ideally suited to screen technique. Yes. Too mature.
YOU CANT HAVE EVERYTHING WILD MONEY

Alice Faye, Don Ameche, Charles Winninger, Edward Everett Horton, Louise Camnbell,
Louise Hovick. Directed by Norman Taurog. Lynne Overman, Porter Hall. Directed by
Louis King. Paramount.
From an story by Gregory Ratoff.
original
Screen plav Harry Tugend, Jack Yellen
bv Here an exciting newspaper and gangster
is
and Karl Tunberg. 20th Century-Fox. story with Mr. Horton in his usual role of be-
The fact that the Ritz brothers practically

wilderment. As Dodd, penurious financial
manager of a newspaper, Mr. Horton is the
monopolize the stage in this musical comedy
terror of reporters. While Dodd is on his va-
will be good news to some people and keep cation a kidnaping occurs in the neighborhood
others away. Those who go will undoubtedly and he is placed in charge of covering the
like it. It is well staged, has the expected va-
story. With a sudden about-face he spends
money lavishly in the hunt for gangsters and
riety of elaborate chorus and dance acts and a
succeeds in trapping the criminals and getting
great deal of broad comedy. The plot concerns the story for bis paper. The picture is well
a country girl who considers herself a classical cast and fairly amusing in spite of a slight
story.
playwright, comes to New York, attracts the
attention of the author of a current stage suc- Adolescents, 12 to 16 Children, 8 to 12
Yes. Little interest.
cess, becomes a torch singer and still clings to
the illusion that she can write plays.
•Adolescents, 12 to 16 Children, 8 to 12
Too many vulgarities. No.
WILD AND WOOLLY
lane Withers, Walter Brennan, Pauline
Moore, Carl Switzer, ack Searl, Berton Chur-
chill. Direction by Alfred Werker. 20th Cen-
tury-Fox.
WAR LORD
In a combination of melodrama comedy and
Boris Karloff, Richard Loo, Beverly Roberts,
western, Jane Withers again acts the part of
Willard Parker, Ricardo Cortez, Douglas
a child sleuth. She foils bank robbers and
Wood, Marcia Ralston. Directed by John
takes a hand in town politics. Emphasis is on
Based on "The Bad Man,” by Por-
Farrow.
comedy but it is too bad that
situations,
ter Emerson Browne. Screen play by Crane
children's antics have to be so closely asso-
Wilbur. Warner Brothers.
ciated with the activities of criminals. The
Some years ago Porter Emerson Browne picture is trash but may amuse Jane Withers’
wrote "The Bad Man,” that delightful satire fans.
about a wily Mexican bandit with a childlike Adolescents, 12 to 16 Children, 8 to 12

nature, a character who might have been a Poor. No.
humorous portrait of the leader in one of
Mexico's current revolutions. The vogue for
Mexican bandits has gone out, but The Bad WINE, WOMEN AND HORSES
Man has been transplanted to China and as Barton MacLane, Ann Sheridan, Dick Purcell,
played by Boris Karloff, General Wu Yen Peggy Bates. From a novel by W. R. Bur-
nett. Screen play by Roy Chanslor. Direc-
Fang, is essentially the same character. The tion by Louis King. Warner Bros.
new setting and the facilities of the screen Except for exciting scenes of the race track,
broaden the scope of action, and the picture this is scarcely worth seeing it. The film pre-
sents a thin story of domestic strife caused by
while retaining the satirical humor inherent in
the persistent gambling of //’/« Turner whose
the original, is also a realistic and exciting wife has no patience with his pursuits and
story of warring factions in China and a group tries desperately to reform him. It shows the
of American travellers seeking to outwit one stranglehold gained by bad habits but presents
another in a business deal. no solution.
Questionable. No. Misleading. Unsuitable.
:
'
. .
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MOTION PICTURE
REVIEWS
Amphitryon 37 London by Night
Artists and Models Love Under Fire
Blonde T rouble Make a Wish
Broadway Melody of 1 938 Mr. Dodd Takes the Air
Charlie Chan on Broadway One Hundred Men and a Girl
Confession The Prisoner of Zenda

Double or Nothing She Asked for It
The Firefly She’s No Lady

First Lady Something to Sing About
Flight from Glory Souls at Sea
The Footloose Heiress Stage Door
Hideaway That Certain Woman
Hopalong Rides Again Thin Ice
The Jones Family in Hot Water Varsity Show

The Life of the Party Vogues of 1 938
SEPTEMBER, 1937

Published, monthly by

LOS ANGELES BRANCH
EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryai.l
The Women's University Club, 943 So. Hoover St., Los Angeles. Calif.
Vcl. XI SEPTEMBER. 1937 No. 9

• 4
Copyright 1937 by Women's University Club of Los Angeles
FEATURE FILMS
AMPHITRYON 37 opera songs are interpolated by the Grecian
Henri Garat, Jeanne Beitel, Armand Bernard, women. Direction is fluent, and the possi-
Odette Florelle. Screen play and direction bilitiesof amusement are never neglected.
by Reinhold Schunzel and Albert Valentin. While Gallic enough, this production is some-
Universum Films. what less outspoken than the stage version.
The film is a worthy successor of recent
The lapse of two thousand years does not French pictures which have received such well-
detract from the freshness and vigor of Aristo- deserved praise. Dialogue is in French with
phanes’ classic. The thirty-seventh version is English sub-titles.
here offered almost simultaneously with the
thirty-eighth, currently played by Alfred Lunt Too sophicticated. No.
and Lynn Fontanne on the legitimate stage.
Sleeping on Olympus while thunderbolts play
about his head, Jupiter hears the prayers of
the beautiful Alcmene for the safe return ARTISTS AND MODELS
from the wars of her husband Amphitryon.
Jack Benny, Gail Patrick, Richard Arlen, Ida
Charmed by her beauty the god resolves to Lupino, Martha Raye, Connie Boswell, Yacht
visit the earth and lay siege to her virtue
Club Boys. Andre Kostelanetz and his Or-
during her husband’s absence. Accompanied chestra, Armstrong and his Orchestra.
Louis
byI a somewhat supercilious Mercury, Jupiter
Direction by Raoul Walsh. Paramount.
descends by the means of a gigantic umbrella
to the Earth. Failing to make an impression To list the names of all the talented peo-
on the virtuous Alcmene, at length the gods ple who have collaborated in the making
disguise themselves as Amphitryon and his of this lavish musical comedy would take
servant Soias. The dual roles of the two more space than is usually allotted to several
characters are skilfully handled, and Odette reviews. The title itself connotes gaiety, color,
Florella is noteworthy as the maid. The exotic costumes, beautiful women. All of these
dialogue is spoken to the rhythm of a musi- things are extravagantly abundant in two
cal accompaniment, and some pleasant light hours of entertainment that is strongly remi-
niscen: of
the pre-war Hippodrome shows Lee, a country girl come to the city to dance
in New York. Even the underwater ballet her way to fame. Sally is interested in a race
has not been omitted. The plot is flimsy but horse and Steve is interested in Sally. Since
serves well enough to give continuity to the the horse proves a winner on the track and
professional model are rivals for the title of Sally becomes the hit of the show, a happy
various specialty acts. A
society girl and a ending is assured. Costumes, dances, and
"Queen of the Artists' and Models’ Ball”. songs are first class, and the numerous favor-
Jack Benny as the chairman of the ball is ites in the production insure its entertainmeiu
an advertising man who is on the lookout value.
for a girl to put over some publicity for Adolescents, 12 to 16 Children, 8 to 12
one of his million dollar clients. Since he Good. Mature.
is a young man he has a lot of
susceptible
trouble deciding which of the girls to choose.
Among so many
headliners it is difficult to
single out any
honors. With the ex-
for
ception of a horrid dance by Martha Raye
CHARL1F CHAN ON BROADWAY
all the acts are pleasing and the picture is Warner Oland, J. Edward Bromberg, Joan
unusually good. Marsh, Louise Henry, Joan Woodbury, Don-
ald Woods. Based on Earl Der Biggers’
Too long and character, Charlie Chan. Screen play by
Entertaining. tiring. Chrales Belden and Jerry Cady. Direction by
Eugene Forde. 20th Century-Fox.
A diary incriminating of New York's

many
socially elect is back from Europe
brought
BLONDE TROUBLE by the discarded lady of a night club pro-
Eleanore Whitney, Downs, Lynne
Johnny prietor, and shortly afterward she is mur-
Overman. From "June Moon" by
the play dered. Charlie Chan enters the scene and un-
Ring Lardner and George S. Kaufman. Di- ravels the mystery with his customary neat-
rection by George Archainbaud. Paramount. ness anddispatch and words of wisdom.
Anamateur song writer on his way to New The talewell told, photography is excellent,
is
York to make his fortune meets a pretty girl suspense is well-sustained and evil-doers reap
on the train. Their youthful romance is their just reward.
nearly wrecked by the intrigues of a blonde Adolescents, 12 to 16 Children, 8 to 12
gold-digger. At last the blonde disappears, Interesting. Too mature.
and the writer is given a fabulous contract
and carries off his girl in triumph to Holly-
wood. It is hard to believe that a major
studio can offer such vapid nonsense as amuse- CONFESSION
ment. The characters are a crude and noisy
Kay Francis, Ian Hunter, Basil Rathbone,
lot and the humor, consisting chiefly of the
Jane Bryan, Donald Crisp. Original screen
antics of a window-cleaner and the perform-
play by Hans Rameau. Adaptation by Julius
ance of a troupe of trained dogs, affords no
J. Epstein and Margaret LeVine. Direction
excuse for the existence of the picture.
by Joe May. Warner Bros.
No. No. Heavy, sentimental melodrama usually re-
sults when mother-love is used as
sacrificial
the theme of a motion picture. "Confession”
is no exception, but it is persuasively told and
BROADWAY MELODY OF 1938 sympathetically acted. Kay Francis is cast as

a forlorn mother who through tragic cir-
Robert Taylor, Eleanor Powell, George Mur-
cumstances has been separated for years from
phy, Buddy Ebsen, Judy Garland, Sophie
Original by Jack McGowan
her daughter. A coincidence enables her to
Tucker. story
rescue the now seventeen-year-old daughter
and Sid Silvers. Screen play by Jack Mc-
from a would-be seducer. She shoots the
Gowan. Directed by Roy Del Ruth. M.G.M.
man and is tried for murder. series of A
Patrons will find the 1938 edition of "Broad- flash-backs reveal to the audience the story
way Melody” not so spectacular as its fore- of her life and the peculiar circumstances
runners but none the less delightful. It has which make the murder seem justifiable. The
a little more plot than most musical shows plot is both cumbersome and shopworn but
and the interest is divided between back-stage the good cast puts over an interesting per-
problems and horse racing. Robert Taylor is formance.
Steve, a producer in need of backing for a Adolescents, 12 to 16 Children, 8 to 12
musical production. Eleanor Powell is Stilly No. No.
MOTION PICTURE REVIEWS Fir#
DOUBLE OR NOTHING FIRST LADY

Martha Raye, Andy Devine, Kay Francis, Preston Foster, Anita Louise,
Bing Crosby,
Based on a story by M. Walter Connolly, Verree Teasdale, Victor
Mary Carlisle.
Coates. Direction by Theodore Reed. Para- Jory, Marjorie Rambeau, Marjorie Gateson,
mount. Louise Fazenda. Screen play by Rowland
Leigh. From the play by George S. Kauf-
Thestipulations in the will of an eccentric Warner
man. Directed by Stanley Loban.
millionaire form the basis for an involved
Bros.
story in which honesty is spectacularly re-
warded. While the tenent which suggested What happens in Washington when wives
the theme commendable, unnecessary crudi-
is meddle in politics is the subject of this satire.
ties creep into the development of the plot. Kay Francis plays the role of Lucy Chase
The presnce of Bing Crosby and Martha Raye Wayne, granddaughter of a former President
indicates songs and music. Their fans will and wife of the Secretary of State. She has
find both stars true to character. a for capturing political social lions and
flair
writing their speeches for them. She also is
adept at tossing not too veiled insults at the
No interest. No.
upstart wife of a Supreme Court judge. When
Mrs. Secretary of State Wayne attempts to
lure the current lion from the clutches of
the Judge's wife, she upsets a political hor-
net's nest. All of this might have been more
THE FIREFLY amusing if it had been handled with a lighter
touch and if the characters had not been al-
Jeanette MacDonald, Allan Jones, Warren most burlesqued. The lines are more wise-
William. Based on the book and lyrics by cracking than witty, and rarely do the players
Otto A. Harbach. Screen play by Frances give the impression of belonging to Wash-
Goodrich and Albert Hackett. Music by ington officialdom.
Rudolph Friml. Direction by Robert Z.
Children, 8 to 12
Leonard. M.G.M.
Harmless but not par- No interest,
ticularly interesting.
"The should receive the four stars,
Firefly"'
three bells and any of the other numerous
plaudits that are currently used to designate
superior quality in motion pictures. From
the time King Ferdinand of Spain receives
an ovation from his people, to the rout of FLIGHT FROM GLORY
the French soldiers at Salamanca, the picture
Chester Morris, Whitney Bourne, Onslow
grips the imagination. Against this impressive
Stephens, Van Heflin, Richard Lane, Solly
and highly colorful background, a story has Ward, Paul Guilfoyle, Pasha Kahn. Direc-
been developed that possesses naturalness and
tion by Lew Landers. R.K.O.
plausibility. This gives depth and richness
to what might easily have been merely a When an aviator is "grounded "
in the
frothy musical. In it a beautiful Spanish dan- United States he must go to foreign frontiers
cer helps free Spain from Napoleonic tyranny if he wants to earn a living by piloting planes.
by outwitting one of France's secret agents. This situation is used as the basis for "Flight
A romance which develops between the two from Glory" which is a bitterly tragic film
during the progress of the plot enhances dra- depicting the plight of derelict airmen who
matic interest. While little of Otto Har- have gone to South America to fly provisions
bach's original script remains, most of Ru- over dangerous mountain passes from a God-
dolph Friml’s songs have been retained. To forsaken airport to a mine high in the Andes.
these has been added a particularly charming They are hired by an inhuman boss who con-
and unique number called the) "Donkey Sere- siders it more economical to kill hapless flyers
nade" in which young Robert Spindola is con- than to pay for safe planes. In their squalid
spicuously appealing. The play is expertly quarters tbe men drink themselves into for-
produced, including among its newest fea- getfulness and await the news of the next
tures a film print in sepia-platinum tone which victim. The arrival at the port of a new
is as pleasant to the eye as the voices of aviator and his wife foments discords and
Miss MacDonald and Mr. Jones are to the leads to a dramatic climax. The film is well
ear. acted in parts but does not achieve distinction
in any way. It is depressing in the extreme.
Interesting. Exciting. Adolescents, 12 to 16 Children, 8 to 12
Not advised. No.
THE FOOTLOOSE HEIRESS Thisis one of the best of the Jones pic-
Craig Reynolds, Ann Sheridan, Anne Nagel. tures, and the situations involved are true to
William Clemens. Warner political life in a small town. Father becomes
Direction by
Bros.
a candidate for mayor on a reform ticket and
is almost defeated because of an automobile
When a picture is obviously of the class D accident in which his oldest son is implicated.
type and falls short of that, little more can It is the fact that all members of the family
be said. Subduing a self-willed, modern girl seem actual people which gives such a wide
may have its amusing interludes but to present appeal to these films; they are simple, un-
the situations in a meritless, second rate fash- ambitious chronicles of everyday life, and yet
ion is blundering showmanship. there is enough variety in character and pur-
Adolescents, 12 to 16 Children, 8 to 12 suits to hold the interest and sympathy or
Unsuited. Unsuited. the audience.
'
Yes. Yes.
HIDEAWAY
Fred Stone, Emma Dunn, Marjorie Lord, J.
Carrol William Corson, Ray Mayer.
Naish, THE LIFE OF THE PARTY
From the play by Melvin Levy. Screen play
Joe Penner, Gene Raymond, Parkyakarkus,
by J. Robert Bren and Edmund L. Hartmann.
Harriet Hilliard, Victor Moore, Helen Broder-
Direction by Richard Rosson. R.K.O.
ick. play by Bert Kalmar, Harry
Screen
Fred Stone takes the part of a shiftless Ruby,and Viola Brothers Shore. Direction
squatter living in a farmhouse owned by gang- by William A. Seiter. R.K.O.
sters who plan to use it as a refuge. When A very slight plot holds together the ele-
the gangsters finally arrive they pose as deer
hunters boarding at the farm and cause all
ments which make up this musical farce. Joe
sorts of complications. poorly It is a halting, Penner and Parkyakarkus follow their usual
developed story, harmless enough because the pattern while Gene Raymond and Harriet Hil-
law-breakers get their due, but a shabby ve-
liard are pleasant bits of sanity in a story that
hicle for so well-seasoned and capable „
comedian as Fred Stone. was never meant to be reasonable. The songs
Adolescents, 12 to 16 Children, 8 to 12 are good but not destined to be hits, and their
Only fair. No.
rendering reminds one that the photographer
who discovers some method of keeping a star
HOPALONG RIDES AGAIN beautiful during the process of vocalizing will
William Boyd, Hay-

George Hrpes, Russell have something.
den. From a story by Clarence E. Mulford. Adolescents, 12 to 16 Children, 8 to 12
Screen play by Norman Houston. Direction Probably not. No.
of Leo Selander. B. P. Sculberg-Paramount.
This story is similar to the of the

rest
Hopalong Cassidy series. The only difference LONDON BY NIGHT
this time is that a young boy saves the day
George Murphy, Rita Johnson, Virginia Field,
by riding for help even though badly he is
Leo G. Carroll, George Zucco, Montagu
hurt. The usual amount of fast riding, gun- Love, Eddie Quillan. From a play by Will
play, and traps to catch the villain are here. Scott. Screen play by George Oppenheimer.
Windy has his humorously entertaining mo- Direction by William Thiele. M.G.M.
ments and Bill Boyd is again the cool re-
sourceful foreman of a ranch and risks his A rather macabre mystery tale is shrouded
life to catch the bold cattle rustlers. in London fog through which a dark figure
Possible.
with an umbrella moves stealthily on its way
Yes.
to devious crimes. The plot is no more
ingenious than that of the average thriller,
THE JONES FAMILY IN HOT WATER but the backgrounds are full of telling de-
Jed Prouty, Deane, Spring Byington,
Shirley tails; some of the characterizations are very
Russell Gleason, Kenneth Howell, George Er-
good, and all who like dogs will be pleased
nest, June Carlson, Florence Roberts, Billy
Based on the stories of Katharine
with the activities of the reporter's faithful
Mahan.
Kavanaugh. Screen play by Robert Chapin canine, Jones.
and Karen De Wolf. Direction by Frank Adolescents, 12 to 16 Children, 8 to 12
R. Strayer. 20th Century-Fox. Rather mature. No.
MOTION PICTURE REVIEWS Sma
LOVE UNDER FIRE the Strawberry Festival at Pewawa, a small
Loretta Young, Don Ameche, Frances Drake, town in Illinois, with Kenny Baker as Dodd,
Walter Catlett, John Carradine. Based on a the local songster, as the center of attention.
play by Walter Hackett. Screen play by The intervening scenes take place in New
Gene Fowler, Allan Rivkin, and Ernest Pas- York, where his voice shifts from baritone
cal. Direction by George Marshall. 20th to tenor and demands ever-increasing rates
Century-Fox. over the radio, while women battle for his
War-torn Spain was bound to find its way favors. The songs are really fine, some pass-
into the movies and here it is. The objective, ages of the film are very amusing, and al-
in this yarn, is a diamond necklace a neck- — though it is not an outstanding production,
it ranks better than the average of its type.
lace that is needed to finance the rebel cause.
Turning into a grimly serious game of "but- Adolescents, 12 to 16 Children, 8 to 12
ton, who the button", the girl and her
has Yes. Little interest.
necklace evade liquidation. Somewhere mean-

dering through the plot are another girl who
is suspected of being a jewel thief, and a ONE HUNDRED MEN AND A GIRL
vacationing Scotland Yard detective. If the
Deanna Adolpe
Durbin, Menjou, Alice
audience is bewildered by the vagaries of the
Brady, Eugene Mischa Auer.
Pallette, Leo-
plot, the actors are skillful enough to re-
pold Stokowski and the Philadelphia Sym-
main undaunted.
phony Orchestra. Based on an idea by Hans
Adolescents, 12 to 16 Children, 8 to 12 Kraly. Original screen play by Bruco Man-
Story too involved. No.
ning, Charles Kenyon, and James Mulhauser.
Directed by Henry Koster. Universal.
Here is a most amazing picture. The very

MAKE A WISH thought of making a movie using Leopold
Bobby Breen, Basil Rathbone, Marion Claire, Stokowski and his Philadelphia Symphony Or-
Henry Armetta, Leon Errol. From a story chestra in conjunction with Deanna Durbin
by Gertrude Berg. Screen play by
Gertrude and a heart-throb plot is enough to make
Berg, Bernard Shubert, and Earle Snell. Di- the public gasp, but the picture itself does
rection by Kurt Numan. R.K.O. more than that; it commands attention through
Pictures made to order for a child star sel- its human appeal, its fine music, and the
dom have much to recommend them unless acting of its excellent cast. The story is
one is by the personality of the
attracted concerned with a group of unemployed musi-
child. However, with original music by Oscar cians who are given a chance to play again
Straus, the charming setting of a boys' camp through the efforts of a little girl with a
in Maine, and a troop of wholesome youngsters beautiful singing voice. The story has strong
participating in work and play, "Make a emotional appeal, and Deanna Durbin has a
Wish” has numerous elements of pleasant en- charming personality as well as a lovely voice.
tertainment. Bobby Breen as Chip is a little Very good. Yes.
boy whose mother, an opera singer, is about
to make the mistake of giving up her career
to marry an obnoxious prig. Chip makes
friends with a Mr. Selden who writes operas THE PRISONER OF ZENDA
and is thus the means of furthering an Ronald Colman, Madeleine Carrol, Douglas
idyllic romance and providing a leading lady Fairbanks, Mary Astor, C. Aubrey Smith,
Jr.,
for Mr. Selden’s opera. The picture is un- David Niven. From the novel by Anthony
important dramatically but will furnish a Hope. Screen play by John L. Balderston.
pleasant hour of relaxation for those who Direction by John Cromwell. David O. Selz-
enjoy Bobby Breen's voice. nick Production. United Artists.
Adolescents, 12 to 16 Children, 8 to 12 How Rudolf Rassendyl (Ronald Colman) is

Yes. Yes.
projected into the intimate affairs of the ruling
family of Zenda is familiar to readers of the
famous novel. Rudolf, touring one of the
MR. DODD TAKES THE AIR mythical principalities of Central Europe, falls
Kenny Baker, Frank McHugh, Alice Brady, in love with Princess Flavia, and due to his
Gertrude Michael, Jane Wyman. From a resmblance to King Rudolf V of Zenda, be-
story by Clarence Budington Kelland. Screen comes involved in the intrigues of the un-
play by William Wister Haines and Elaine scrupulous Rupert of Hentzan. The story is
Ryan. Direction by Alfred E. Green. War- highly dramatic and emotionally moving, with
ner Bros. a beautiful and fitting finale. As so often
This light musical begins and ends with happens when a familiar and beloved story is
picture, the film version lacks the magic which whether they are crooks or not until the
carries one away into an enchanted land of final scene. melodramatic and at the
It is
romance. Yet the production is above criti- same time unimportant, one of those things
cism in all departments. Madeleine Carrol with seeds of cleverness which produces only
is lovely and appealing as Flavia and rises to a stunted growth.
her best scene in the final parting with Rudolf. Adolescents, 12 to 16 Children, 8 to 12
Ronald Colman is attractive and ideally cast No. No.
as Rudolf. Douglas Fairbanks, Jr., acts the
dashing Rupert with such grace and abandon
as fairly to steal the show at times, and the
perform-
SOMETHING TO SING ABOUT
others of the cast give convincing
ances. Photography and direction are excel- James Cagney, Evelyn Daw, William Fraw-
lent, and settings and costumes leave nothing ley, Mona Barrie, Gene Lockhart. Story by
to be desired. Whether the story is out- Victor Schertzinger. Screen play by Austin
moded for the present generation, only time Parker. Direction by Victor Schertzinger.
can tell, but it remains a charming romance

Grand National.
and delightful entertainment. James Cagney's first appearance in a musical
Adolescents, 12 to 16 Children, 8 to 12 type of picture does not justify great en-

Yes. Mature. thusiasm, although his fans may applaud his
versatility. His singing is not bad and his
dancing is really good, but is difficult to ac-
cept him as a fascinating male star who takes
SHE ASKED FOR IT moviedom by storm and is so devastating that
William Gargan, Orein Heymard, Vivienne the producers refuse to have it known that
Osborne, Richard Carle. Screen play by he is a married man. Much of the film is
Frederick Jackson, Theodore Reeves, and a burlesque on Hollywood directors and dic-
Howard Irving Young. Direction by Erie C. tion and make-up specialists who strive to
Kenton. mould the rough human material into suc-
cessful figures of the screen. The songs which
When a writer of mystery stories lives the occur at frequent intervals are tuneful and
part of one of his characters he proves him- will probably be popular albeit the heroine's
self no mean detective. William Gargan as (Evelyn Daw's) high soprano does not always
Dwight Stanford, finding himself obliged to record to advantage.
earn a living when his rich uncle dies with-
out leaving him any money, turns to writing. Fair. Too mature.
His wife, Penny, quarrels with him and goes
to Reno for a divorce, while Duigbt mas-
querades as his fictional detective and inves-
tigates the death of his uncle. The plot is SOULS AT SEA
flimsy enough but is assisted by an occasional Gary George Raft, Frances Dee,
Cooper,
good gag. William Gargan suffers from lack Olympe Henry Wilcoxen, Harry
Bradna,
of material and poor direction. The new- Carey. Screen play by Grover Jones and
comer Orien Heyward shows little promise. Dale Van Every., Based on a story by Ted
After a somewhat far-fetched solution to the Lesser. Direction by Henry Hathaway. Para-
mystery, the conventional happy ending fol- mount.
lows. Almost a hundred years ago, a seaman,
Adolescents, 12 to 16 Children, 8 to 12 Alexander William Holmes, was tried in
Poor. No. Philadelphia manslaughter.
for The trial
brought to light such a dramatic and unusual
story that both in England in America, the
SHE'S NO LADY case became a cause celebre and people dis-

cussed for months the ethics involved in
Ann Dvorak, John Trent, Guinn Williams,
the conduct of the accused man who admittedly
Harry Beresford, Aileen Pringle, Arthur Hoyt.
had ordered seven human beings thrown into
Story by James Edward Grant. Screen play
the sea to lighten an overcrowded life boat.
by George Bruce and Frank Partos. Direction
"Souls at Sea” is inspired by the accounts
by Charles Vidor. Paramount.
which were published in the Philadelphia
We meet the two leads, Ann Dvorak
first Public Ledger and is elaborated into a thrill-
and Trent, who seem to be of the
John ing chapter in the annals of American slave
adventure-loving type, at the glittering bar of trading. The picture begins with the trial
a swank club, and we follow them through of Nuggin Taylor (Gary Cooper). It then
various complications connected with the theft cuts back to a scene on board the slaver
of a diamond necklace, never quite sure Blackbird, sailing off the coast of Africa.
There follows an of the

exciting account is annulled by the influence of an overbear-
efforts of Nuggin and friend
his faithful ing father-in-law. When the husband marries
Powdah to lure slave traders into the clutches again the picture becomes a series of sacri-
of Government patrol ships. Fire at sea, ro- fices due to fortuitous circumstances con-
mance, shipwreck and the incident of the life nected with the heroine's young son and the
boat complete the story. The film has much husband's second wife. These melodramatic
tragedy and brutality but it is relieved by acts of heroism become unconvincing and anti-
the skilful handling of humorous scenes and climatic when the characters vie with each
by the beauty of the photography. Views of other in their unselfishness. Bette Davis and
the great full-rigged ship are fascinating. the fine supporting cast give an excellent por-
Adolescents, 12 Children, 8 to 12 trayal under the sympathetic direction of Mr.
to 16
Very tragic. No. Goulding, but it is unfortunate that the efforts
of such a cast should be wasted upon a
typical tear-jerker.
STAGE DOOR Adolescents, 12 to 16 Children, 8 to 12

No. No.
Katherine Hepburn, Ginger Rogers, Adolphe
Menjou, Gail Patrick, Constance Collier, An-
drea Leeds, Lucille Ball, Franklin Pangborn,
Phyllis Kennedy, Samuel S. Hinds. From the
THIN ICE
stage play by Edna Ferber
George S. and Sonja Henie, Tyrone Power, Arthur Treacher,
Kaufman. Adapted for the screen by Mor- Raymond Walburn, Joan Davis, Sig Rumann,
ris Ryskind and Anthony Veiller. Directed Alan Hale. From the story by Attila Orbok.
by Gregory La Cava. R.K.O. Screen play by Boris Ingster and Milton Sper-
ling. Direction by Sidney Lanfield. 20th
"Stage Door" is a human and interesting
Century-Fox.
story presented by an exceptionally strong
cast. One does not often find so many roles This a perfectly delightful film done in
is
played in as competent a way, even small parts the manner ofa fairy tale with a prince in-
standing out in startling silhouette. A theatri- cognito who falls in love with the little Swiss
cal boarding house is its locale; the plot con- skating instructress at one of the famous re-
cerns the comedy, the tragedies,; and the suc- sorts in the Alps. The whole atmosphere of
cesses of the girls who live there. With its the piece is light, charming, full of snap
witty, amusing repartee and swift action, there and sparkle. It is an ideal medium for dis-
is never a let down in interest. Miss Hep- playing the prowess of Sonja Henie, the great-
burn is the debutante daughter of a millionaire est skater of the day, who is as lovely as
who aspires to make her. way on the stage she is talented. Tyrone Power plays the
through her own efforts, and she rises to real Prince to everyone's satisfaction and the ro-
dramatic heights in her interpretation. Ginger mance flourishes amid elaborate skating bal-
Rogers is surprisingly effective. Her role de- lets, flowers and beautiful costumes till it
mands more flippant, smart characterization
a reaches the traditional happy ending, and they
and she is most successful. A highlight of "live happily ever after".
the film is done by Andrea Ieeds whose act- Adolescents, 12 to 16 Children, 8 to 12
ing is sincerely moving. But it would be Excellent. Yes.
necessary to mention all the cast to give entire
Gregory
credit for the success of the picture.
La Cava has again demonstrated his ability in VARSITY SHOW
handling comedy although "Stage Door" has
Fred Waring, Ted Healy, Rosemary Lane,
more than comedy. It is a cross section of
—
one phase of society dramatic, sincere and
Priscilla
Warren Duff and
Lane. From an
Sig
original
Herzig.
story
Direction by
by
enthralling.
William Keighley. Warner Bros.
Mature but well done. Too mature. While the musical comedy is
plot of a
usually of secondary importance, nevertheless
a poor story can and does place the entire
cast at a disadvantage. In this case the fault
THAT CERTAIN WOMAN could have been partially corrected by more
Bette Davis, Henry Fonda, Ian Hunter, Anita and
deft direction judicious cutting. The
Louise, Donald Crisp. Screen play and direc- story concerns a Broadway producer, an alum-
tion by Edmund Goulding. Warner Bros. nus of a small college, who regains his hold
This emotional story tells of the struggles in the theatrical world through the coopera-
of the widow of a notorious gangster to avoid tion of the college students. It follows a
publicity and win happiness in married life. truly farcical trend in belittling the academic
After a brief honeymoon her second marriage side of college life and emphasizing only the
gaiety. For those to whom a college musical

appeals there is enough music in the way
of catchy songs and Fred Waring's orchestra
to entertain, while a rousing finale should
compensate for a dragging start.
Passable. Too long.
VOGUES OF 1937
Joan Bennett, Helen Vinson, Mischa Auer,
Alan Mowbray. Original screen play by
Bella and Samuel Spewack. Direction by
Irving Cummings. Walter Wanger-United
Artists.
A gown shop is the locale for much of

the action of this musical extravaganza and,
as one would expect, a glittering array of
beautiful clothes and the models who wear
them become an important part of the story.
Miss Bennett as Wendy refuses to marry the
man her mother has chosen for her and
through a series of fortunate circumstances be-
comes a model. The shop owner’s wife is
career-conscious and her selfishness and lack
of perception finally send her to Reno, thus
opening the path of romance to Wendy and
her employer. While the story is somewhat
trite, the acting is quite good and technicolor
enhances the beauty of settings, clothes and
people.
Unsuited. Unsuitd.

943 So. Hoover St., Los Angeles, Calil.
1936

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MOTION
PICTURE
REVIEWS
OCTOBER
19 3 7
CONTENTS
Adventurous Blonde
Angel
Annapolis Salute
Bad Guy
The Big City
Breakfast for Two
Bulldog Drummond Comes Back
Danger —Love at Work
Dangerously Yours
The Devil's Saddle Legion
Double Wedding
Ebb Tide
Lady
Fight for Your
a King
Fit for
Forty Naughty Girls
The Great Garrick
King Solomon's Mines
Lancer Spy
Life Begins at College
Love Is on the Air
Madame X
Music for Madame
My Dear Miss Aldrich
Over the Goal
Partners in Crime
The Perfect Specimen
Saturday's Heroes
There Goes the Groom
This Way Please
West of Shanghai
The Women Men Marry

LOS ANGELES CALIFORNIA
s
MOTION * PICTURE * REVIEWS

LOS ANGELES BRANCH
Cooperating Branch Chairmen
EDITORS
The Women’s University Club, 943 South Hoover Street, Los Angeles, California
Vol. XI OCTOBER, 1937 No. 10
FEATURE FILMS
ADVENTUROUS BLONDE » » diplomat. When she secretly visits an expen-
sive rendezvous politely called a “salon,” she
Glenda Farrell, Barton MacLane, Anne
Nagel, Tom Kennedy. Direction by Frank meets a playboy who seems to be the answer
McDonald. Warner Brothers. to her longing for new thrills. However the
sanctity of her home is merely threatened
Torchy Blane, the woman newspaper re- because, in the nick of time, her husband, at
porter, again the central character in an
is the possible sacrifice of his career, cancels a
entertaining comedy. Reporters from a rival diplomatic mission in order to become a
paper stage a fake murder by which they more attentive husband. Inadequately dis-
hope to interrupt Torchy’ wedding plans. guised by its gorgeous trimmings and lux-
However the joke is not so funny when the urious appeal to the eye, the film is specious
murder turns out tobe real and Torchy is and trashy.
the one who succeeds in catching the mur- Adolescents, 12 to 16 Children, 8 to 12
derer. Extremely bad No
Adolescents, 12 to 16 Children. 8 to 12
Passable No ©
© ANNAPOLIS SALUTE » »
ANGEL » » James Ellison, Marsha Hunt, Harry Carey,

Van Heflin, Ann Hovey. Story by Christy
Marlene Dietrich, Herbert Marshall, Mel- Cabanne. Screen play by John Twist.
vyn Douglas, Edward Everett Horton, Her- Direction by Christy Cabanne. R.K.O.
bert Mundin, Ernest Cossart, Laura Hope
Crews. Based on a play by Melchior Leng- Another story of romance at the Naval
yel. Screen play by Samson Raphaelson.
Direction by Ernst Lubitch. Paramount. Academy is rather light but undoubtedly en-
tertaining. Drilling on the parade grounds,
Glamourously set in an atmosphere of the bands, the uniforms, life in the halls, and
worldly sophistication, “Angel” is dedicated the Navy ball during the festive days of
to the proposition that every wife is entitled June Week, all give glamor to the simple
to a life of perpetual romance. Miss Dietrich, plot concerning the love of two students for
looking more like a wax doll than a human one girl. From the outset there is intense
being, is cast as the wife of a famous English rivalry between Bill Martin, whose father is
an enlisted Navy man with high ambitions BREAKFAST FOR TWO » »
for his boy, and Clarke Parker, a rich man’s
Barbara Stanwyck, Herbert Marshall,
son, for whom life has always been easy. The Glenda Farrell, Eric Blore, Etienne Girar-
film has good social values: the high stand- dot. Story by David Garth. Screen play
ards of the Navy are upheld; friendship and by Paul Yawitz, Charles Kaufman and
Viola Brothers Shore. Direction by Alfred
devotion to duty are emphasized; and there Santell. R.K.O.
is a relationship between Bill and his
fine
father whois able to sympathize and guide If this storyhad followed its initial idea,
because he understands the problems of the rehabilitation of an aimless millionaire
youth. James Ellison and Van Heflin, as the by a strong-minded millionairess, it might
two boys, play their parts well. have been both interesting and amusing, but
Adolescents. 12 to 16 Children. 8 to 12 the story runs amuck halfway through and
Very good Yes slapstick is introduced in progressively larger
© doses until the final scenes are riotous and
BAD GUY » »
decidedly distasteful. Valentine Ransome
meets Jonathan Blair in a night club and
Bruce Cabot, Virginia Grey, Edward Nor- kind-heartedly helps him home when he be-
ris, Jean Chatburn, Cliff Edwards. From comes intoxicated. Once in his house she is
a story by J. Robert Bren, Kathleen Shep-
ard and Hal Long. Screen play by Earl unable to leave because of Pee Wee, an
Felton and Harry Ruskin. Direction by immense Great Dane who will not let her
Edward Cahn. M-G-M. out. From this situation, many amusing com-
plications evolved, but when hero and
are
In a picture, as in a novel, one likes to feel
heroine sprawl over a layer cake on the
a keen sympathy with the main character.
floor, the last flicker of interest is snuffed
This is difficult in the case of “Lucky”
out. Costumes are engaging, sets lavish, and
IV aldert who has no good quality except out-
photographic effects excellent.
standing courage in his work of “trouble
shooter” for a large power company. He Too unconventional No
shamelessly betrays his best friend in love
and is willing to involve the loyal Steve in ©
a jail break to save himself from the con-
sequences of his numerous misdeeds. The BULLDOG DRUMMOND COMES BACK »
picture is full of action and has some inter- John Barrymore, Campbell, John
Louise
esting demonstrations of laboratory electri- Howard, E. E. Clive, Reginald Denny.
city as well as the everyday application of Based on "The Female of the Species" by
H. C. McNeill. Screen play by Edward T.
technical knowledge in the work of a Lowe. Direction by Louis King. Paramount.
linesman. There are gruesome scenes when
the current gets out of control and inflicts When one recalls the Drummond pictures
sudden death. in which Ronald Colman played, this is a
Adolescents. 12 to 16 Children, 8 to 12 distinct disappointment. The actors can not
No Decidedly not be blamed, for all of them are capable, and
© John Barrymore gives some exceedingly
clever impersonations. In fact the cast is far
THE BIG CITY » »
too good for a film which begins like an
Luise Rainer, Spencer Tracy, Charley ingenious treasure hunt but is built up to
Grapewin, Janet Beecher, Eddie Quillan. such a frenzy of excitement that it oversteps
Story by Norman Krasna. Screen play by the mark and becomes an absurdity like some
Dore Schary and Hugo Butler. Direction
by Frank Borzage. M-G-M. of the serial thrillers of yesterday.
Thestruggle between a big taxi corpora- No, poor No
tion and the independent drivers is brought ©
into clear focus by the fortunes of Joe Benton
of the independents and his alien wife who DANGER—LOVE AT WORK » »
is threatened with deportation because some-

Ann Sothern, Jack Haley, Mary Boland,
one, unidentified, has thrown a bomb. Luise Edward Everett Horton, Bennie Bartlett,
Rainer and Spencer Tracy are poignantly Etienne Girardot. Based on a story by
human, yet both have played far better roles. James Edward Grant. Screen play by
James Edward Grant and Ben Markson.
The ending, which offers the most unusual Direction by Otto L. Preminger. 20th Cen-
phase of the story, is effected through the en- tury-Fox.
deavors of various pugilistic headliners who
appear in the production under their own Apparently the vogue for “pixilated” plots
names as guests at a sportsmen’s banquet. for screen and stage is still on, but the
standard set by “Mr. Deeds” and “You Can’t
Mature No Take It With You” is high and hard to
match. “Danger —Love at Work” is quite slinging days is played by some of Holly-
inconsequential with its slightly mad and wood’s most sophisticated stars. Myrna Loy is
temperamental family, feather-weight mother, cast as Mar git Agnew, a managing young wo-
spoiled child prodigy, and pretty daughter man who attempts to engineer the plans for
who knows what she wants and goes after her sister’s wedding. William Powell is a
it. It amuses because it is perfectly absurd, would-be playwright who lives in a trailer
but it will be forgotten at once because there and interferes with Margins schemes. The
is so little plot and no philosophy behind its story begins promisingly with smart modern
banter. dialogue and amusing situations. It soon de-
Adolescents, 12 to 16 Children, 8 to 12 teoriates to pointless buffoonery. Since Mr.
Too much Powell and Miss Loy have already demon-
Slight but amusing dialogue
strated in several that they
other pictures
© know how to whack one another on
the head,
their latest rough-house seems superfluous.
DANGEROUSLY YOURS » »
Even if Molnar did write the original play,
Cesar Romero, Phyllis Brooks, Jane Dar- we can’t enthuse.
well, Alan Dinehart, Douglas Wood. Di- Adolescents, 12 to 16 Children, 8 to 12
rection by Mai St. Clair. 20th Century-Fox. Passable No
The outstanding remembrance of this pic-
tureis its photography although there are
©
no unusual settings and no noticeably odd
EBB TIDE » »
angles or trick effects. The pictures flow
beautifully before one and transcend the Oscar Homolka, Barry Fitzgerald, Lloyd
hackneyed story which deals with smuggled Nolan, Ray Milland, Frances Farmer.
Based on a story by Robert Louis Steven-
diamonds on shipboard, unsuspected criminals, son and Lloyd Osbourne. Screen play by
and a successful sleuth who marries the Bertram Millhauser. Direction by James
beautiful reformed girl crook. It is the usual Hogan. Paramount.
class B picture to fill a double bill, well
enough acted and smartly dressed.
“The Ebb Tide,” one of Robert Louis
Stevenson's last short stories, offers admirable
No value No material for a stirring tale of adventure. Add
to the exciting plot a background of treach-
© erous sea and tropical South Sea islands re-
produced in Technicolor, also three excep-
THE DEVIL'S SADDLE LEGION » »
tional characterizations, and the result is en-
Dick Foran, Anne Nagel, Willard Parker. tertainment well above the average. It is a
Story and screen play by Ed. Earl Ropp. yarn of beach combers, men of varying back-
Direction by Bobby Connolly. Warner grounds, sunk to this lowest stratum of society
Bros.
through circumstance and character defects.
The action of this western takes place on Two of the men deserve a measure of sym-
the border line of Texas and Arkansas. Tal pathy. A third is the blackest blackguard
Holladay returns to his native plains to find ever pictured, and this character, played to
his father dead and his property stolen. the hilt by Barry Fitzgerald, is a classic, well
Shortly thereafter he is thrown into a terri- worth seeing for its perfection. The role of
torial prison camp on an unjust accusation. Captain Thorbecke is possibly more diffi-
There is no alternative but vengeance as in cult because more complex, but it, too, is
all true westerns, and this is attained with exceptionally well done by Oscar Homolka
gun play and exciting horsemanship. It is a whom it is gratifying to see again in so
fair enough picture of its type. Dick Foran’s strong a part. Lloyd Nolan as the deranged
voice and personality make him a good hero religious fanatic, illegally collecting pearls
for tales of the wide open spaces. on his island kingdom, is sinister and com-
Adolescents. 12 to 16 Children, 8 to 12 pelling. It is not a happy
story, dealing as it
Fair Too violent does with courage, greed and des-
reckless
peration, but the unusual and splendid por-
© trayals by the men in the cast make it in-
DOUBLE WEDDING » » tensely interesting. The sea catastrophes are
William Powell, Myrna Loy, Florence Rice,

as thrilling as possible
to — —
perhaps too thrilling
seem real but this small defect will be
John Beal, Jessie Ralph. From a play by
Ferenc Molnar. Screen play by Jo Swerl-
overlooked by those who like strong drama
ing. Directed by Richard Thorpe. M-G-M. well done.
Here is one of the new style movie comedies Adolescents, 12 to 16 Children, 8 to 12

Very exciting and Impossible
in which slapstick reminiscent of the old pie- mature
FIGHT FOR YOUR LADY » » garde, a murder is discovered back-stage. To
Piper’sannoyance his companion decides to
John Boles, Jack Oakie, Ida Lupino, Mar-
got Grahame, Erik Rhodes, Story by Jean do some snooping of her own, and in her in-
Negulesco and Isabel Leighton, Screen imitable way is effective in solving the case.
play by Ernest Pagano, Harry Segall and While many amusing moments are afforded
Harold Kusell. Directed by Ben Stoloff.
R.K.O.
by the team of James Gleason and Zasu
Pitts, much of the dialogue is dull and often
It is seldom that slapstick comedy attains the actors are making such an obvious effort
real distinction, but in this hilarious play, to be funny that they fail to hit the mark.
John Boles and Jack Oakie succeed in rais.ing Adolescents, 12 to 16 Children, 8 to 12
it to this level. The story is too slight for co- Mildly entertaining No
herent synopsis. It concerns the amorous ad-
ventures of a young opera tenor who goes to ©
Hungary to forget an unhappy love affair and,
on the advice of his physical trainer, makes
love to a beautiful night club entertainer with THE GREAT GARRICK » »
the avowed intent of being challenged to a Brian Aherne, Olivia de Haviland, Edward
duel by her lover and so “put out of his Everett Horton, Melville Cooper, Lionel
Atwill, Luis Alberni, Fritz Leiber, Etienne
misery.” The jealous lover, “most distin-
Giradot, Dorothy Tree. Original screen
guished swordsman in Hungary,” accommo- play by Ernst Vajda. A James Whale
dates him, and the trainer’s efforts to prevent Production directed by James Whale and
the duel furnish ridiculous complications. Ad- personally supervised by Mervyn Le Roy.
Warner Bros.
mirers of John Boles will find him in an
unfamiliar role here, but the touch of dignity Whether or not the character of David
with which he invests his absurd characteri- Garrick as here presented is true to life, it
zation gives individuality to the role and makes rare entertainment and leaves a vivid
provides a delightful foil for Oakie’s inspired impression of a temperamental but very
antics. The play is good entertainment for likable individual, keenly intelligent, with
the family’s evening at the movies and should tolerance, a sense of humor and great his-
appeal alike to young and old. trionic ability. The story is about actors.
Adolescents. 12 to 16 Children, 8 to 12 Garrick has been invited as guest artist to
Good Mature
the Comedie Francaise. A
rumor credits him
with having stated that his purpose in ac-
© cepting was to teach the company how to
FIT FOR A KING » » act. In retaliation, the enraged French
artists plan a hoax to make Garrick appear
Joe E. Brown, Helen Mack, Paul Kelly. ridiculous and so humiliate him that he will
Screen play by Richard Flournoy. An
Edward Sedgwick production. R.K.O. return to London. The satirical humor of the
action is delicious. The cast plays with zest
Hereis an hilarious mixture of royal in- and fine ability. Luis Alberni, Melville
trigue, romantic love, and slap-stick comedy. Cooper, Etienne Giradot and Edward Everett
Even the exciting chase at the end is not Horton, not to mention several minor players,
omitted and it is all grand fun. Joe E. Brown are particularly clever in their character
trying to eat dinner on shipboard with a roles. Olivia de Haviland is lovely and con-
rough sea pounding, or perched high in the vincing as the one non-professional, and Brian
air endeavoring to drive a team of horses Aherne does a magnificent job in a role which,
after the wagon and its front wheels have in less capable hands, might have been a
parted company will give any audience a little silly or at least unsympathetic.
laugh. Although the story is pure fiction the
Adolescents, 12 to 16 Children, 8 to 12 settings and costumes give an authenticity
Very amusing Very funny which adds great interest. Drury Lane Theater
in London and the Comedie Francaise in Paris
© are faithfully reproduced. Quaint inns of
the middle eighteenth century with the cus-
FORTY NAUGHTY GIRLS » »
toms and incidental accessories are interest-
James Gleason, Zasu Pitts, Marjorie Lord, ingly pictured, and the delicate, lovely gowns
George Shelley, Joan Woodbury, Alan of the ladies, the handsome suits of the men,
Edwards. Story by Stuart Palmer. Screen
play by John Grey. Direction by Edward wigs, laces, etc., are charming. Ernst Vadja
Cline. R.K.O. has invented an unique plot. The director and
cast have given the comedy a splendid presen-
During performance of a current mu-
a tation.
sical Forty Naughty Girls, attended by
hit, Adolescents. 12 to 16 Children, 8 to 12
Inspector Piper and his girl friend Hilde- Excellent Yes
KING SOLOMON'S MINES » » LIFE BEGINS IN COLLEGE » »
Roland Young, Paul Robeson, Anna Lee, The Ritz Brothers, Fred Stone, Joan Davis,
John Loder, Cedric Hardwick. Story by Tony Martin, Gloria Stuart, Nat Pendleton,
H. Rider Haggard. Direction by Robert Dick Baldwin. Based on a short story by
Stevenson. Gaumont-British. Darrell Ware. Screen play by Karl Tun-
berg and Don Ettlinger. Direction by Wil-
Melodramatic and fantastic, after the liam A. Seiter. 20th Century-Fox.
manner of H. Rider Haggard’s tales, this is This belongs fall crop of campus
to the
not the sort of picture which commends itself musical comedies. The plot has the usual
every audience. It concerns exciting ad- complications; the hero barred from play in
to
the big game, the college in financial straits,
venture, an expedition into darkest Africa in
a smirking purchasable dean, a double-cross-
search of diamond mines where black, savage ing alumni manager, the game saved at the
adversaries must be terrorized by “magic” last moment by an absurd play, and of course
a romance. The only new angles are that one
and overpowered by force. It is exciting, and
of the team happens to be a rich Oklahoma
the golden voice of Paul Robeson will attract
Indian whose money is coveted by the college
music lovers. The cast is good and photog- and that the Ritz Brothers appear on the
raphy at times exceptionally beautiful. football field in a surprise maneuver. Any-
one who enjoys their clowning will probably
Strenuous No enjoy the picture. Others will be bored.
Matter of taste Passable
©
©
LANCER SPY » »
Dolores Del Rio, George Sanders, Peter

Lorre, Virginia Field, Sig Rumann, Jos.
LOVE IS ON THE AIR » »
Schildkraut. From a novel by Marthe Mc-

Kenna. Screen play by Philip Dunne. Ronald Reagan, June Travis, Eddie Acuff,
Directed by Gregory Ratoff. 20th Century-
Ben Welden, Raymond Hatton, Dickie
Fox.
Jones. From a story by Roy Chanslor.
Direction by Nick Grinde. Warner Bros.
In this World War, spy melodrama, a
A light-opera title cloaks a shoddy, un-
British soldier happens to be the double of
pleasant, gangster melodrama in which the
a certain German prisoner of war. Assuming usual scenes of violence and conspiracy are
the identity of the German, he becomes a followed by the overthrow of the vice lords.
able to learn important military It all begins in a fairly entertaining man-
spy and is
ner w hen a young radio news commentator
r
secrets of the enemy. While in Germany, he

is demoted to the “kiddies hour,” his en-
falls in love with a beautiful woman who, deavors in this field furnishing the only
of course, is employ of the German
in the comedy element in a grim series of events.
secret service and who sacrifices herself to As frequently happens in pictures of this
sort, the sensationalism of gun-play blots out
save him. As is the case in recent war pic-
any constructive lesson which may be in-
tures, all the characters are made to see
tended.
more clearly than was common few years a
ago how futile is the machinery of war. No No
Even a German general voices pacifistic
platitudes. Nevertheless the idea is developed ©

that a man will kill, steal, or die in the
service of his country. Little actual violence is

MADAM X » »
and excitement depend on
pictured. Interest
Gladys George, John Beal, Warren Wil-
the dangers encountered by a spy in enemy liam, Reginald Owen, William Henry,
country, while uniforms and heel-clickings Emma Dunn, Luis Alberni, Cora Wither-
spoon. Based on the play by Alexandre
are used as atmospheric background. The Bisson. Screen play by John Meehan.
acting and scenic effects are excellent and Directed by Sam Wood. M-G-M.
Dolores Del Rio is very lovely. Ever since Alexandre Bisson’s play was
Adolescents, 12 to 16 Children, 8 to 12 adapted for the American stage in 1919,
Questionable No Madame X has been almost constantly be-
fore the not always under her own
public, adventures of Martha as a reporter covering
name, but more or less the same,
always an important labor situation. The dialogue
a pitiful, tragic figure, suffering through the is forced, as are some of the situations, and
years for an early mis-step, yearning for in spite of a good cast, there is nothing out-
the child torn from her arms in infancy, standing about the production which is
making at last the supreme sacrifice that lightly amusing but nothing more.
blots out all the sordidness of her miserable Adolescents. 12 to 16 Children, 8 to 12
life. The Madam X
type of plot seems to be Passable Little interest
forever acceptable to lovers of tearful, emo-
tional melodrama, and, when expertly and
©
sincerely acted as in this latest revival, it
OVER THE GOAL » »
is sure to be a winner at the box office. The
notable cast headed by Gladys George gives June Travis, William Hopper, Johnnie
a superb account of itself and makes the Davis, Mabel Todd, Gordon Oliver, Mem-
bers of the U.S.C. football squad. Direc-
story seem real and very touching. The tion by Noel Smith. First National.
photography, settings, and dialogue are all
exceptionally good. With the exception of the sinister doings
Adolescents. 12 to 16 Children. 8 to 12 of unscrupulous lawyers whose clients’ in-
Too sordid and No terests demand that a certain college lose its
emotional big game, “Over the Goal” is a naive college
story and quite pleasant. It shows the U.S.C.
© football squad in action and has some amus-
ing scenes apropos of student pranks. The plot
MUSIC FOR MADAME » »
is the stock one about the boy who enters the
Nino Martini, Alan Mowbray, Joan Fon- game in the last quarter and scores fourteen
taine, Alan Hale, Grant Mitchell. Original points practically unaided and in spite of his
story by Robert Harari. Screen play by
Gertrude Purcell and Robert Harari. Di- injured knee. The acting is rather stilted but
rection by John Blystone. Jesse Lasky the hero is a likable young man.
production. R.K.O.
Entertaining Passable
Nino Martini’s fine voice and pleasing
personality bring distinction to this musical ©
production. The story is slight, improbable,
and involved, a mixture of romance and PARTNERS IN CRIME » »
comedy, in which an ingenuous immigrant
Lynne Overman, Roscoe Karns, Muriel
mixes with Hollywood “high-life” and be- Hutchinson, Porter Hall. Based on a novel
comes a suspect when a valuable necklace by Kurt Steele. Direction by Ralph Mur-
disappears. It is simple, good fun which, in phy. Paramount.
addition to its musical selections operatic — Definitely a Class B picture, “Partners in
arias, Italian folk songs, and modern melo-
Crime” concerns itself with blackmailers,
dies— will no doubt have real appeal to
shady politicians, and other undesirable peo-
youthful audiences. The scenes of the Holly-
ple who participate in a coup to place an
wood Bowl at night add to the enjoyment of
alien in the office of mayor of the town.
the production, and Alan Mowbray is highly
Treated in a comic vein which improves the
amusing as Rodowsky, satirizing famous and
value in no way, it is a cheap, rather stupid,
temperamental orchestra directors.
and quite distasteful affair.
Good Good Adolescents, 12 to 16 Children, 8 to 12
Poor No
© ©
MY DEAR MISS ALDRICH » » THE PERFECT SPECIMEN » »
Edna May Oliver, Maureen O'Sullivan, Errol Flynn, Joan Blondell, Hugh Herbert,
Walter Pidgeon. Story and screen play Edward Everett Horton, Beverly Roberts,
by Herman Mankiewicz. Direction by May Robson, Allen Jenkins. From a story
George B. Seitz. M-G-M. by Samuel Hopkins Adams. Screen play
by Norman Reilly Raine, Lawrence Riley,
Edna May Oliver plays Miss Aldrich
the Brewster Morse and Fritz Falkenstein. Di-
rection by Michael Curtiz. First National-
of the title, a gruff and outspoken maiden
Warner Bros.
lady who accompanies her niece Martha to
New York when the latter inherits a news- This is a thoroughly amusing farce at-
paper. The editor being a woman-hater and tempting in hilarious fashion to prove that
the niece an ardent feminist, the challenge is porridge tastes better when not eaten with
soon made, and the rest of the film relates the a golden spoon. A tyrannical old woman tries
to educate her grandson so that he will be The cast is made up of excellent players
the perfect specimen of manhood to head the but the story is extremely poor. Burgess
thirty-million-dollar estate he will one dgy Meredith as Dick Mathews is a young man
inherit. He is perfectly docile until he meets who returns from Alaska with a yacht and
a girl who convinces him that he should fol- a gold mine to present to his sweetheart.
low the example of Don Quixote and tilt a Upon finding her engaged to another man he
few windmills on his own. The players plans to go away but the girls’ family, with
scamper around from one place to another their eyes on his fortune, use every possible
with a speed which might suggest a break means to coerce him into marrying the other
in the continuity, but such is not the case. daughter. His efforts to escape and theirs to
Clever plotting keeps the story coherent from detain him are boring.
beginning to end, and an exceedingly apt cast Adolescents. 12 to 16 Children, 8 to 12
makes the most of witty, unexpected lines. Too sophisticated No
In their respective roles, Mr. Flynn is
thoroughly charming, Miss Blondell less
flamboyant than usual, Miss Robson a de-
©
lightfully contentious character, and Mr.
Horton, Hugh Herbert, and Allen Jenkins THIS WAY PLEASE » »
absurdly “balmy.”
Charles ‘‘Buddy” Rogers, Betty Grable,
Adolescents. 12 to 16 Children. 8 to 12 Ned Sparks, Jim and Marian Jordan, Lee
Sophisticated Too mature Bowman, Mary Livingstone. Direction by
Robert Florey. Paramount.
© Curiosity to see radio stars on the screen
may attract patrons to this production but
SATURDAY'S HEROES » » many will be disappointed. The story is set
in a motion picture theater where Brad
Van Marian Marsh, Richard Lane,
Heflin,
Alan Bruce, Minor Watson. Screen play Morgan (Buddy Rogers) is packing in femi-
by Paul Yawitz, Charles Kaufman, David nine audiences with an elaborate musical
Silverstein. Story by George Templeton. stage act. He falls in love with a new usher-
Direction by Edward Killy. R.K.O.
ette, they quarrel and are reconciled, while
Developing the thesis that professionalism slap-stick humor pads the action. Radio and
in collegefootball should be made legiti- screen may complement each other but in our
mate, this film presents the argument that as opinion radio stars as a rule had better keep
long as colleges make money on their foot- to their own metier.
ball teams, the players are justified in sharing Adolescents, 12 to 16 Children, 8 to 12
in the profits. V al, the hero, is caught ticket Harmless but no
scalping and expelled from his college. Hav-
value No value
ing convinced the president of a rival col-
lege that, under the existing system of “ath- ©
letic scholarships,” he should not be blamed
for ignoring the rule against selling tickets WEST OF SHANGHAI » »
at a profit, he agrees to develop a winning

Reviewed under title ‘‘War Lord” in
team with the understanding that the players August issue.
are to be paid for their efforts. When the
team wins by a fluke, V al is supposed to have ©
established himself as a crusader for clean
sports. The acting and direction are slightly
better than the story.
THE WOMEN MEN MARRY » »
Adolescents. 12 to 16 Children, 8 to 12 George Murphy, Josephine Hutchinson,

Unethical No Cliff Edwards, Claire Dodd, Sidney Black-
mer. Direction by Errol Taggart. M-G-M.
©
A newspaper reporter discovers that while
he has been absent investigating the cult of
THERE GOES THE GROOM » »
“Brother Nameless,” his wife has been too
Ann Sothern, Burgess Meredith, Mary Bo- well entertained by his boss. Thus the pic-
land, Onslow Stevens. Story by David ture combines a story of marital infidelity
Garth. Screen play by S. K. Lausen,
Dorothy Yost, Harold Kusel. Direction by with a melodramatic, newspaper detective
Joseph Santley. R.K.O. yarn. Heavy drinking, murder, hanging, and
divorce complete the distasteful atmosphere.
When a farce is not funny it is indeed a
sad affair. Such is “There Goes the Groom.” Impossible Impossible
— —
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BIVERIY MILLS
MOTION
PICTURE
REVIEWS
NOVEMBER
19 3 7
CONTENTS
Back-Stage
The Barrier
Behind the Mike
Borrowing Trouble
The Bride Wore Red
Bulldog Drummond's Revenge
Carnival Queen
Conquest
Dark Journey
Dreaming Lips
52nd Street
Forty-five Fathers
Heidi
High Flyers
Hold 'Em, Navy
The Hurricane
The Lady Fights Back
Live, Love and Learn
Living on Love
Look Out, Mr. Moto
Merry-Go-Round of 1938
Missing Witnesses
Night Club Scandal
She Loved a Fireman
Stand-In
Texas Trail
The Thirteen
Thunder Trail
The Westland Case
Without Warning

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MOTION » PICTURE • REVIEWS

LOS ANGELES BRANCH
Glendale: Mrs. R. T. Thayer Santa Monica: Mrs. Sheldon N. Hayden
EDITORS
Vol. XI NOVEMBER, 1937 No. 11
FEATURE FILMS
BACK-STAGE O O north, should be interesting, but some of the
Anna Neagle, Arthur Tracy, Tilly Losch. Di- vitality of the original story is lost in the
rection by Herbert Wilcox. Gaumont-British. screen interpretation. A “barrier’’ of blood,
This comedy of stage life tells of the ro- creed, and background is challenged by the
mance of a chorus girl in a London musical love of a young lieutenant for Necia, who is
show. She hears a man’s thrilling voice believed to be part Indian, and the problem is
singing in the street under her window and solved only when the girl’s inheritance is
gets him a part in her company. The street proved to be acceptable after all. The most
singer, Arthur Tracy, makes an immediate poignant character in the picture is Poleon
hit, but deserts both show and girl and leaves Doret, the trapper, who loves Necia but ef-
for a concert tour as soon as his reputation faces himself from her life in order that she
is made. Most of the musical comedy is may marry the young lieutenant. With the
screened, thus crowding out the flimsy plot. exception of Leo Carrillo, who plays this role
The two principals are not equal to making with great artistry, and Otto Kruger, who
a fine production from such material. The gives an excellent portrayal of a despicable
supporting cast is undistinguished, with the character, the actors are stilted and unreal.
exception of Tilly Losch, Viennese dancer, The film is pictorially beautiful but dramat-
and the direction lacks fluency and pace. ically inferior.
Some of the musical numbers and dances are Adolescents, 12 to 16 Children, 8 to 12
good but on the whole the production is Passable No
disappointing. ©
Adolescents, 12 to 16 Children, 8 to 12 BEHIND THE MIKE O O
Passable No interest William Gargan, Judith Barrett, Don Wilson,
© Sterling Holloway. Story by Thomas Ahearn
and Walton Butterfield. Screen play by
THE BARRIER O O Barry Trivers. Direction by Sidney Salkow.
Leo Jean Parker, Jimmy Ellison,
Carrillo, Universal.
Otto Kruger, Robert Barrat, Andy Clyde.
Original story by Rex Beach. Screen play Another tiresome radio picture is added to
by Barnard Schubert. Direction by Les the list in a noisy and trivial story of a young
Selander. Paramount. performer who is demoted because of a vio-
Romantic melodrama by Rex Beach, the lent temper. The story is barely coherent,
old theme of love
and revenge in the frozen consisting of a succession of fist fights and
raucous declamations before a microphone. mediate predecessor with the same cast. Some
Production values are generous, leaving a of the devices are time-honored, such as the
regret that they could not have been saved careless tossing about of a case of deadly
for a better yarn. explosive which is about
to detonate at any
Adolescents, 12 to 16 Children, 8 to 12 moment. However,good company with
a
Waste of time Poor a high degree of enthusiasm puts spontaneity
© into many situations. The plot concerns the
BORROWING TROUBLE O O activities of an international purveyor of
Jed Prouty, Shirley Deane, Spring Byington, explosives stolen from munitions chemists
Russell Gleason, Kenneth Howell, George and his ultimate detection by the trusty forces
Ernest. June Carlson, Florence Roberts, of Scotland Yard. Photography is good, and
Billy Mahan, Marvin Stephens. Play by
Robert Chapin and Karen DeWolf. Based a special interest is added by scenes aboard
on the characters created by Katharine the train ferry from Dover to Calais.
Kavanaugh. Direction by Frank R. Strayer. Adolescents, 12 to 16 Children, 8 to 12
20th Century-Fox. Depends on individual Too gruesome
Young Roger, who is one of the most at- ©
tractive members of the Jones family, has an
important hand in this episode, although the CARNIVAL QUEEN O O
moment of chief dramatic importance occurs Robert Wilcox, DorotheaKent, Hobart
Cavanaugh, G. Pat Collins, Ernest Cossart.
at the wedding of his sister Bonnie. Through Based on the novel "Love in the Mud" by
the Big Brother organization, Tommy Mc- Richard Wormser. Screen play by James
Guire, hitherto an incorrigible urchin, is Mulhauser and Harold Buckley. Direction
by Nate Watt. Universal.
brought into the home circle, and mainly
through Roger's influence becomes a decent, A plot which is original enough to warrant
dependable person. As in the other Jones an entertaining film rendered futile by
is
pictures, the characters talk and behave like second rate treatment. A
rattle-brained young
real people, interesting people we are glad
thing inherits a carnival, and is attracted to
to know. In this one a constructive attitude
one of the performers whom she raises to the
towards social problems is included with the status of manager. Then she joins the com-
entertainment of the hour. pany incognito and unearths information
leading to the arrest of a group of robbers
Children, 8 to 12
Good Yes traveling with the show as concession men.
© On the whole the acting is labored and the
direction feeble. There are some good bits
THE BRIDE WORE RED O O of comedy, but even these are few and far
Joan Crawford, Franchot Tone, Robert between.
Young, Billie Burke, Reginald Owen, Lynne
Carver. Original story by Ferenc Molnar. Adolescents, 12 to 16 Children, 8 to 12
Screen play by Tess Slesinger and Bradbury Passable Too many undesir-
Foote. Direction by Dorothy Arzner. M.G.M. able characters
An eccentric Italian nobleman, to test his ©

theory that all men are equal, gives a bar-
CONQUEST O O
maid in a cheap cabaret two weeks outing Greta Garbo, Charles Boyer, Reginald Owen,
at a luxurious hotel, with money for all the Alan Marshal, Henry Stephenson, Leif Erick-
accouterments of a lady. This provides light, son, Dame May Whitty. Based on a book
amusing entertainment, an escape from re- by Waclaw Gasiorowski. Screen play by
Samuel Hoffenstein, Salka Viertel and S.
ality, but it is insignificant because the de- W. Behrman. Direction by Clarence Brown.
nouement is accomplished by mere incident M.G.M.
rather than by character development. The In “Conquest,” movies have created
the
implications of the drama are not wholesome, the spirit of and given us, if not
history
but for the most part they will be overlooked literal facts, at least a memorable impression
since the story is light, the situations amus- of a melodramatic era and that melodramatic
ing, the backgrounds beautiful, and the acting hero, Napoleon. Charles Hover dominates
good. A “Cinderella” theme always has the picture in the leading role, while Miss
appeal. Mature audiences may find a Garbo of necessity has a subsidiary part.
thought-provoking idea under the comedy The plot concerns a love affair between Na-
and tinsel. poleon and Madame W
aleviska, a beautiful
Adolescents, 12 to 16 Children, 8 to 12 Polish Countess. He sees her when she goes
Not recommended No to pay homage to the man she believes the
© savior of her country. When the politicians
BULLDOG DRUMMOND'S REVENGE O realize that he is attracted to her, they urge
John Barrymore, Louise Campbell, John her to use this fact to help her country.
Howard, E. E. Clive, Reginald Denny. Against her husband’s wishes she continues
Based on "The Return of Bulldog Drum-
mond" by H. C. McNeile. Direction by the intimacy, and her marriage is dissolved.
Louis King. Paramount. Napoleon changes her worship of him as a
This is a much better picture than its im- hero to love for him as a lonely man, and an
affair develops which endures even though has its moments of drama. As the lover, Mr.
his overweaning ambition forces him to his Massey with his dark and brooding person-
downfall and shatters her ideals. Although ality is a good foil for the winsome Gaby.
slow moving at times, the production is dig- Settings and photography are unusually good
nified and beautiful. The introductory scenes and great credit is due Director Czinner for
are thrillingly dramatic when the Cossacks his subtle handling of a slight story. Miss
wreak vengeance the gorgeous home of
in Bergner is thrilling at times but does not suc-
Count It'ale'wska, and the magnificent set- ceed in lifting the play to greatness.
tings give a vivid picture of the luxury of Adolescents, 12 to 16 Children, 8 to 12
court life. Napoleon’s many victories and No No interest
defeats are spectacularly shown, the tragic ©

retreat from Moscow being especially im- 52nd STREET O O
pressive. Charles Boyer's Napoleon is very Ian Hunter, Kenny Baker, Leo Carrillo, Pat
fine, Greta Garbo gives a distinguished char- Paterson, Ella Logan, Zasu Pitts, Dorothy
Peterson, Sid Silvers. Screen play by Grover
acterization of the Countess, and Henry Jones. Direction by Harold Young. United
Stephenson and Reginald Owen are excep- Artists.
tionally good in their roles. Authentic atmosphere and good acting are
Adolescents, 12 to 16 Children, 8 to 12 wasted in an unconvincing story. The film
Mature Too mature
tells how a certain aristocratic New Yorker
© recoups a lost fortune by operating a speak-
DARK JOURNEY O O easy which becomes a fashionable night club,
Conrad Veidt, Vivien Leigh. Original story and how all his family are induced to lay
by Lajor Biro. Direction by Victor Saville. aside their prejudices against the encroach-
London Films. U.A.
ments of “night-life” in their conservative
This film tells a stereotyped story of a ro- residential district. The whole tone of the
mance between secret agents of Germany and picture is rather cheap.
France. The pair, torn between love and Adolescents, 12 to 16 Children, 8 to 12
duty, stage their activities in Stockholm. The Unsuitable No
plot is complicated by the efforts of the local
police to maintain their neutrality and by the
©
counter-espionage service of the English. FORTY-FIVE FATHERS O O
Miss Leigh has the role of a French spy who Jane Withers, Thomas Beck, Louise Henry,
becomes a part of the German organization The Hartmans, Richard Carle. Original story
by Mary Bickel. Screen play by Frances
and furnishes them with misleading informa- Hyland and Albert Ray. Direction by James
tion. The principals give good
portrayals, Tinling. 20th Century-Fox.
but the supporting cast is somewhat wooden, Undoubtedly the best of the Jane Withers
and the English actors have difficulty in imi- comedies to date, this is an absurdly funny
tating the traits of other nationalities. The story of an orphaned child who becomes the
intricate plot is choppy and makes the action ward forty-five elderly members of the
of
difficult to follow. Photography is excellent,
“Spear & Gun Club,’’ to which her father
particularly in the sequence showing the sink- had belonged. She is a precocious little girl
ing of an enemy submarine by a British who interferes in the affairs of grown-ups,
“mystery ship.’’ The picture is only mildly but her pranks may be excused because of the
interesting. well meaning spirit behind them. The scene
Adolescents, 12 to 16 Children, 8 to 12 where her ventriloquist friends use their
Passable No interest
© skill toconfuse the Court during a breach of
promise suit is hilarious and so well done
DREAMING LIPS O O that it seems really plausible. The cast is
Elizabeth Bergner, Raymond Massey, Rom- excellent, and “Gertrude,” the monkey, de-
ney Brent. From the play "Melo" by
Henri Bernstein. Direction by Paul Czin- serves special mention.
ner. Trafalgar Films production. U.A. Adolescents, 12 to 16 Children, 8 to 12
Good Good
It is hard to evaluate Elizabeth Bergner’s
artistic status from the films in which she ©
has been seen. Her parts seem to have been HEIDI O O
chosen to fit her child-like and immature per- Shirley Temple, Jean Hersholt, Arthur
sonality, and perhaps her tragic passages Treacher, Helen Westley, Mary Nash, Del-
stand out the more by contrast. The current mar Watson, Marcia Mae Original
Jones.
story by Johanna Spyri. Screen play by
offering is a version of the old familiar tri- Walter Ferris and Julien Josephson. Direc-
angle. Miss Bergner as Gaby, her husband's tion by Allan Dwan. 20th Century-Fox.
spoiled darling, falls in love at first sight “Heidi” is a classic among children’s books.
with his old friend Michael, a concert vio- It has been translated into many languages
linist. Gaby and Michael enter upon a reck- since it first printed in Germany in 1881,
was
less liason which soon ends in tragedy. The and is stilla best seller. It is the simple story
plot is unconvincing, at times mawkish, but of a little Swiss girl whose beautiful char-
acter and winning ways bring harmony to Mary Carlisle is something of a feather-
those around her. The role is ideally suited weight, she is a joyous object of affection in
to Shirley Temple, for her spontaneous gaiety, the boy-and-girl love affair.
her charm and ability make her a perfect Adolescents, 12 to 16 Children, 8 to 12
Heidi, and she is lovely indeed in the beauti- Good Fairly interesting
ful setting of the Swiss Alps and in the quaint ©

German town of old-time Franfort. It would THE HURRICANE O O
seem as though the plot of the book were Dorothy Lamour, Mary Astor, Thomas
sufficiently inspiring for any picture, for what Mitchell, John Carradine, Jon Hall, C.
could be more dramatic than the healing of Aubrey Smith, Raymond Massey, Jerome
Klara after the joy of living has been re- Cowan. Original story by Charles Nordhoff
and James Norman Hall. Screen play by
stored to her by Heidi? Unfortunately the Dudley Nichols. Direction by John Ford.
motion picture resorts to melodrama: a kid- Musical accompaniment by Alfred New-
napping, a jail experience for the grand- man. Samuel Goldwyn-United Artists.
father, a wild chase to rescue Heidi from Seldom has the shrieking violence of a
gypsies — all quite extraneous to the spirit of South Seas’ hurricane been so realistically
the original. These are jarring notes in a presented as in this tropical romance. On the
production which is otherwise lovely and to little island of Manukura, a colony of natives
which children will look forward with all the and a few whites undergo the fury of wind
enthusiasm the book inspired. It will be while the seas break over their poor posses-
difficult to explain to them why the changes sions. In the deafening howling of the gale,
were deemed necessary. Nevertheless, the trees and houses are swept away, and but a
picture is delightful and will place Shirley handful of survivors live to see the placid
Temple again in first place as the creator of dawn of another day. The story begins with
childhood heroines. the native wedding ceremonies of Terangi
Adolescents, 12 to 16 Children, 8 to 12 and Marama in an idyllic setting, but soon
Good Good unless too the groom is arrested and sent to prison at
exciting for some. Tahiti on a minor charge. In spite of the
© efforts of his white friends who know that
HIGH FLYERS O O the islanders cannot endure confinement, the
Bert Wheeler, Robert Woolsey, Lupe Velez, relentless law is enforced. Jon Hall as
Marjorie Lord, Margaret Demont, Jack Car- Terangi makes endless attempts to escape,
son, Paul Harvey. Original story by Victor only to add to the length of his sentence.
Maoes. Screen play by Benny Rubin, Bert
Granet, Byron Morgan. Direction by Edward His feats of swimming and diving are truly
Cline. R.K.O. remarkable, and his final escape in a small
The story is banal and unimportant, even boat through tropical seas is grippingly real-
for a farce, but the acting is adequate for istic. The others in the cast give excellent
the type of picture, and the impersonations performances, particularly Raymond Massey
by the principals are sufficiently amusing. as the Governor and Thomas Mitchell as the
The real star of the picture is the dog. The Doctor. The musical accompaniment by Al-
film is a typical Wheeler and Woolsey farce, fred Newman is perfect for the tropical set-
a hodgepodge of bathing beauties, careening ting. The events of the storm are wonder-
aeroplanes, jewel smugglers, and slapstick fully directed, even to the minor incidents of
comedians. slamming windows and rattling shutters
Adolescents, 12 to 16 Children, 8 to 12 when the wind begins; but the roaring din
Poor Worthless of the hurricane, however realistic, is too
© loud and long for sensitive ears. In the
peaceful moments, the island scenes are in-
HOLD 'EM NAVY O O describably lovely, and the clash between
Lew Ayres, Mary Carlisle, John Howard,
Benny Baker, Elizabeth Patterson. Story by tense melodrama and tender love and friend-
Erwin Gelsey and Lloyd Corrigan. Direction ship makes the film outstanding of its kind.
by Kurt Neumann. Paramount. Adolescents, 12 to 16 Children, 8 to 12
The height of the football season is the Yes No, too violent
proper time for pigskin encounters on the ©
screen, and where can one find a better set-
THE LADY FIGHTS BACK O O
ting than the U. S. Naval Academy with its
Kent Taylor, Irene Hervey, William Lundi-
wealth of tradition and good comradeship, gen, Willie Best. Original story by Arthur
its glamour of uniforms and parade grounds? Stringer. Direction by Milton Carruth. Uni-
This is lighter than some of the films of An- versal.
napolis, but it is fresh and attractive, with a A conflictof ideas between a handsome
good cast. Lew Ayres plays the spoiled strip- young engineer and the pretty hostess of a
ling who is developed and hardened into a salmon fishing club, furnishes the motif of
worth while character as the months go by. this film. Kent Taylor as the engineer is
John Howard is equally pleasing as his rival attempting to build a dam which would ruin
in love and on the football field, and although the fishing. The story tells how the young
man outwits the lady, although

she does porting cast is adequate for the needs of the
everything in her power
block his designs.
to story .The plot, though far-fetched, is suffi-
The interest of the picture focuses on the ciently amusing.
beautiful scenery rather than the characters, Adolescents, 12 to 16 Children, 8 to 12
who seem forced and unconvincing in their Questionable No
roles. The plot is light and the banter lacks ©
spontaneity, but when the camera shows
schools of salmon leaping in the stream, or MERRY-GO-ROUND OF 1938 O O
shots of construction work on the dam, inter- Jimmy Savo, Bert Lahr, Micha Auer, Billy
est is revived. House, Alice Brady, Marge Brullow. Direc-
Adolescents, 12 to 16 Children, 8 to 12 tion by Irving Cummings. Universal.
Yes Yes The cast director, flashed upon the
and the
© screen, arouse interest as an introduction for
Universal’s “Merry-Go-Round of 1938.” The
LIVE. LOVE AND LEARN
Robert Montgomery, Rosalind Russell, Rob-
O O —
stage is set let the play go on! But as it
unfolds utter confusion for the onlooker re-
ert Benchley, Helen Vinson, Monty Woolley,
E. E. Clive, Mickey Rooney, Charles Judels.
sults. What is its purpose? Why the effort
Original story by Helen Grace Carlisle. expended? If the plot can be untangled cor-
Screen play by Charles Brackett, Cyril Hume rectly, it the story of four vaudeville
is
and Richard Maibaum. Direction by George comics whoadopt a child whose mother is
Fitzmaurice. M.G.M.
killed in a hazardous act. Time passes, and
Clever acting, smart dialogue and a meas-
the child is seen as a pretty girl, apparently
ure of real significance underneath its farcical an actress, who is in love with a wealthy
front, make this picture highly entertaining.
youth, the son of a scatter-brained social snob
It is the story of a fine artist whose head is
played with her usual flair by Alice Brady.
turned he becomes the fashion among
when Discovering the girl’s profession, she reacts
the wealthy social set; and of his debutante
as is to be expected, and the play becomes a
wife who has given up luxury to live on love slapstick comedy as the four godfathers mas-
in a garret, and who realizes that her artist
querade in women’s clothes, as Swamis, and
husband has sold his birthright for a mess of in other guises to change her flighty mind.
pottage. It is an amusing tale to fill an idle
There are occasional bits of rare satire, but
hour.
on the whole the production must have greatly
Adolescents, 12 to 16 Children, 8 to 12 confused Mr. Cummings, whose former ef-
Mature, sophisticated Too mature
forts, as we recall them, never followed this
© curious route. It leaves the spectator as be-
fuddled as after a real merry-go-round ride,
LIVING ON LOVE C- O and thus perhaps it justifies the title.
James Dunn, Whitney Bourne, Joan Wood-
bury, Sally Ward, Tom Kennedy, Franklin
Pangborn. Based on a novel by John Wells. Nothing objectionable No value but type
Screen play by Franklin Coon. Direction by of humor will
Lew Landers. R.K.O. appeal
Impecunious Mary and Gary share a base- ©

ment room in an apartment house, and all is
proper as the Y. W. C. A. Explanation: the MISSING WITNESSES O O
girl works in the daytime and the man at John Dick Pursell, Jean Dale, Ray-
Litel,
night, and the hours of residence never over- mond Hatton, Harlan Tucker. Screen play
by Kenneth Garnet and Don Ryan. Direc-
lap. The stage is set for a clever play, but tion by William Clemens. Warner Bros.
situations are developed in a stereotyped
The splendid achievement of Special Prose-
manner, characters lack reality, and real
cutor Thomas E. Dewey in cleaning up the
comedy superceded by slapstick.
is It is only rackets in New York City is used as the basis
moderately entertaining at the best.
of this film which presents the very problems
Little value Unsuitable
he encountered when the victims of the un-
derworld refused to testify for fear of re-
© prisals. Baffled and hindered at every turn,
LOOK OUT, MR. MOTO O O the prosecutor, who for the sake of fiction is
Peter Lorre, Rochelle Hudson, Robert Kent, Inspector Lane of the picture, follows the
J. Edward Bromberg. Original stoiy by Willis dimmest trails of evidence until a stroke of
Cooper and Norman Foster. Direction by
Norman Foster. 20th Century-Fox. luck puts him in touch with the “Big Shots”
of industrialized crime. It is impossible to
This melodrama of the Siamese jungle is
make a gangster film without violence and
overcrowded with thrills. An American avi-
brutality, but here they are held to a mini-
atrix, a Japanese secret agent, a native Raj ah
mum. It is a well-acted, convincing account
and a high priest all become involved in a
of a phase of contemporary history.
gun-running plot in the jungle. Peter Lorre
as Mr. Moto is good as usual, and the sup- Mature No indeed
NIGHT CLUB SCANDAL O O TEXAS TRAIL O O
John Barrymore, Lynne Overman, Charles William Boyd, George Hayes, Russell Hay-
Bickford, Louise Campbell, Harvey Stephens. den, Judith Allen, Alexander Cross, Billy
King, Rafael Bennett. Original story by
Direction by Ralph Murphy. Paramount. Clarence E. Mulford. Screen play by Jack
The customary technique in producing a O'Donnell. Direction by Dave Sellman. Para-
mount.
murder story is reversed in this instance, as
the actual details of the crime are disclosed Commissioned by the army to bring in five
in the opening scene. The audience being hundred wild horses, Hopalong Cassidy suc-
on the “inside,” is interested mainly in the ceeds in spite of rustlers who try to spoil his
machinations of the criminal to fasten the plans. He teaches the Major’s son fair play
guilt upon his worst enemy. John Barrymore, and sportsmanship into the bargain. This is
in the unpleasant part of the doctor who has an unassuming program film which is never-
murdered his wife, gives such a good per- theless fast moving and convincing, with a
formance that he evokes a degree of sympa- likable hero, less romance than usual, gor-
thy. Police detectives, a gangster and his geous scenery, and fine riding.
wife, a typical hard-boiled reporter, and an Adolescents, 12 to 16 Children, 8 to 12
Entertaining Good if not too
innocent girl complete the cast. The plot is stimulating
plausible and well handled for the type of ©
film.
THE THIRTEEN O O
Ivan Novoselstev, Helen Kuzmina, Alexei
Too sordid and No Chistiakov, Arsen Fait, Olya Kuznetsov. An-
sophisticated drei Dolinin. Screen play by Ivan Prut.
Direction by Mikhail Romm.
Cl
A little soldiers of the Russian Red
band of
Army way home across the
are making their
SHE LOVED A FIREMAN O O desert after their term of service on the Af-
Dick Foran, Ann Sheridan, Robert Arm- ghan border. A
troop of raiders besiege them
strong. Play by Carlton Sand and Morton at an abandoned fort, and one by one they
Grant. Direction by John Farrow. First are shot down until rescue comes to the two
National. survivors. The story is a thrilling tale of
The story is one of the stock variety about privation and death amid the windswept
two men who fight for a girl, and is of sec- dunes of the desert. Direction and photog-
ondary importance. The main value of the raphy are outstanding among Russian pic-
film consists in the description of the life of a tures. Most striking of sequences is the scene
fireman, showing the responsibility, discipline when the two survivors fire bursts from their
and high courage required in such a calling. machine guns to break the monotony of wait-
Towards the end there is a very thrilling ing and to take the place of conversation
scene of a burning building, climaxed by the which their parched throats can no longer
heroic rescue of Smoky by his rival, Red. Of endure. The film shows an incident of border
course the best man wins the girl. warfare rather than a complete story, and is
Adolescents, 12 to 16 Children, 8 to 12 too long for the material. The usual Russian
Interesting Too exciting propaganda is conspicuously lacking. Dia-
logue is in Russian with English titles.
© Adolescents, 12 to 16 Children, 8 to 12
No, too much killing No
©
STAND-IN O <>
THUNDER TRAIL O O
LeslieHoward, Joan Blondell, Humphrey Gilbert Roland, Marsha Hunt, Charles Bick-
Bogart, Alan Mowbray, Marla Shelton, C. ford, Monte Blue, James Craig. Based on a
Henry Gordon. Original story by Clarence novel by Zane Grey. Screen play by Robert
Yost and Stuart Anthony. Paramount.
Buddington Kelland. Screen play by Gene
Towne and Graham Baker. Direction by The opening passage is superior to the
Tay Garnett. United Artists. main part of the film, picturing a raid on re-
turning forty-niners with the stark brutality
This is a pleasing comedy drama of a
of frontier days. There is the inception of
“genius” type of young man who is a financial
an interesting plot when two brothers are
expert and who is sent to straighten out the
separated to be raised by contrasting foster
affairs of a big studio. He is a sort of “babe-
fathers. Thereafter the picture deteriorates
in-the-woods,” but is befriended by Joan
into the usual wild melodrama with fighting
Blondell as the “stand-in” for the star at the
and plunder. comes to such an abrupt
It
studio. Interest in the picture is derived from
finish that the literal-minded “western” ad-
the actors rather than from the story. The
dicts will feel a sense of frustration. Photog-
film is, however, an extremely enjoyable
raphy of mountain scenes with exceptionally
comedy.
fine cloud effects deserves comment.
Good Mature Fair Too violent
THE WESTLAND CASE O O WITHOUT WARNING O O

Preston Foster, Frank Jenks, Carol Hughes, Boris Karloff, Marie Wilson, Eddie Craven,
Barbara Pepper, Astrid Allwyn, Clarence Eddie Acuff, Regis Toomey, Henry Kolker.
Original story by Ralph Spencer Zink.
Wilson. From the novel "Headed For a Screen play by Crane Wilbur. Direction by
Hearse" by Jonathan Latimer. Screen play John Farrow. Warner Brothers.
by Robertson White. Direction by Christy A dark and foggy night provides a mys-
Cabanne. Universal. teriousbackground for this murder mystery,
‘‘Be nonchalant” is carried to such an ex- and there is an obvious but unsuccessful at-
treme Crime Club story that even the
in this tempt to establish an atmosphere of dread.
prisoner, saved from execution at the last When a man is murdered at an army post on
second, trots off gayly with his stenographer an isolated island, Jewries (Boris Karloff),
without so much as a thank-you-sir to those because of his past record, comes under sus-
who have rescued him. The plot is so com- picion. The story describes the investigation
plicated that much of it remains a mystery of the murder by the officers at the post. A
after the final flicker. Although Preston Fos- comedy situation arises when one of the
ter’s personality is genial, his influence is bad, privates smuggles his bride of a few hours
for the reason that he manages to outsmart onto the forbidden island and the young
all his associates while they are cold sober couple become involved in the mystery. The
and he is deep in his cups. As for the flapper story is somewhat colorless, although sus-
edition of May West, she adds nothing to the pense is maintained and a logical ending is
morals or originality of the plot. achieved.
Poor Impossible Unsuitable No
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LOS ANGELES

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Vina Street near Hollywood Bird*
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943 Hoover Street
Los Angeles, California

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BEVERLY HILLS
MOTION
PICTURE
REVIEWS
DECEMBER
19 3 7
CONTENTS
Alcatraz Island
AliBaba Goes To Town
The Awful Truth
Big Town Girl
Blossoms on Broadway
Boy of the Streets
Charlie Chan at Monte Carlo
A Damsel in Distress
Danger Patrol
Expensive Husbands
The Last Gangster
Love on Toast
Navy Blue and Gold
Nothing Sacred
Portia on Trial
Second Honeymoon
The Shadow
Some Blondes Are Dangerous
Submarine D-l
Thank You, Mr. Moto
Thoroughbreds Don't Cry
Victoria the Great

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Glendale: Mrs. R. T. Thayer Santa Monica: Mrs. Sheldon N. Hayden
EDITORS
Vol. XI DECEMBER, 1937 No. 12
FEATURE FILMS
ALCATRAZ ISLAND O O ALI BABA GOES TO TOWN O O
Ann Sheridan, John Litel, Mary Maguire, Eddie Cantor, Tony Martin, Roland Young,
Gordon Oliver, Dick Purcell, Vladimir Soko- June Lang, Louise Hovick, John Carradine,
loff, Addison Richards, Ben Welden. Orig- Virginia Field, Alan Dinehart, Douglas Dum-
inal Screen play by Crane Wilbur. Direction bri lie, Raymond Scott Quintet, Peters Sis-
by William McGann. Warner Brothers. ters, Jeni Le Gon. Screen play by Harry
Tugend and Jack Yellen based on a story
When a gangster, Gat Brady, is told by the by Gene Towne, Graham Baker and Gene
head of a fashionable school that his daughter Fowler. Music and lyrics by Mack Gordon
is no longer acceptable among her carefully and Harry Revel. Direction by David
Butler. 20th Century-Fox.
selected charges, he is given food for thought,
Eddie Cantor’s new picture is nonsense of
and when Federal agents nab him and hustle
him into prison for evading the income tax,
the sort that will appeal to those who want
to forget reality and frolic in the world of
he begins to look upon his past with misgiv-
ings. Finally when, accused of a prison mur-
make-believe. To augment his collection of
famous autographs, he goes to Hollywood,
der he did not commit, he escapes the electric
and, as an unsophisticated rustic, is pitched
chair through the quick thinking of a D. A.
literally into the midst of a movie company
who providentially loves his daughter, he
on location, and finds himself signing a con-
reaches the conclusion that there are more
valuable assets in life than an ill-gotten bank
tract for a minor role. The company is pro-
ducing “The Forty Thieves,” and the atmos-
account. For those who are interested in life
phere of Bagdad entrances the young green-
at Alcatraz prisonand the emotional reactions
horn. Under the influence of a drug he falls
is good entertainment, well
of a racketeer, this
asleep and dreams he is prime minister to a
acted, suspenseful and realistic. John Litel
sultan. Anything can happen in a dream and
as Gat gives a commendable performance.
Adolescents, 12 to 16 Children, 8 to 12 the script-writers make the most of their li-
Unsuitable No cense to perform feats with a magic carpet,
introduce beautiful princesses of the harem, BLOSSOMS ON BROADWAY O O
and play modern American pranks in Oriental Edward Arnold, Shirley Ross, John Trent,
setting. There are some mild wisecracks at Joe Weber, Lew Fields, Rufe Davis. Screen
the expense of the present administration, play by Theodore Reeves. Direction by
some rollicking songs and gay costumes. The Richard Wallace. Paramount.
cast evidently enjoy their roles, and the A delirious farce in poor taste. Ira Collins,
exuberance of the acting tides the story over a promotor with doubtful ethics and watched
a few weaknesses of plot.
by the police, meets Sally Shea, also a shady
Entertaining Passable character, and decides to use her to fleece a
© Western girl who is owner of a gold mine.
THE AWFUL TRUTH O O The two meet a gas magnate who is hoarding
IreneDunne, Cary Grant, Ralph Bellamy, gold and willing to use his gold in the mine
Alexander D'Arcy, Joyce Compton, Esther
Dale, Cecil Cunningham. Screen play by
to have it remined on a commission basis.
Vina Delmar. Based on a play by Arthur They are allcaught by a G-man posing as
Richman. Direction by Leo McCarey. Co- Sally’s chauffeur, in love with her of course,
lumbia.
and after a farcical trial which attempts to
When a man comes home from a trip and
copy Gilbert and Sullivan humor, Sally is
finds wife away, divorce is not inevit-
his
able. But when he brings four friends with excused as “too pretty to be put in jail.”
him and they are all there to greet her when Edward Arnold wastes his ability in this
she finally appears with another man, what hodgepodge of farce and vaudeville. The
can they do but get a divorce, even though other roles are burlesqued to the point of
they happen still to be in love? How a gay
young couple deal with such a situation is absurdity. The production seems planned to
uproariously illustrated in this clever farce. show off the different tricks com-
of the
The are original, sophisticated and
lines edians, Joe Weber, Lew Fields and Rufe
witty, and fully complemented by the ab- Davis, but the tesult is unsuccessful as en-
surdly funny situations and the whirlwind
tertainment.
tempo. Irene Dunne is particularly charm-
ing, and Cary Grant and Ralph Bellamy
Waste of time No
are ideal as the other two members of a per-
fectly ridiculous triangle. The only draw- ©
back to this picture is that the laughter of the
audience drowns out some of the lines. BOY OF THE STREETS O O
Adolescents, 12 to 16 Children, 8 to 12 Jackie Cooper, Maurine O'Connor. Direc-
Sophisticated No tion by William Nigh. Monogram.
© While “Dead End” may have been the in-

spiration for this picture, “Boy of the Streets”
BIG TOWN GIRL O O is not a weak copy and will have greater
Claire Donald Woods, Alan Dine-
Trevor, public appeal perhaps because it is not so
hart, Alan Baxter. Screen play by Lou bitter norso hopelessly pessimistic in its
Breslow and John Patrick, Robert Ellis and finale. pictures a boy gang leader whose
It
Helen Logan. Based on original stories by philosophy of life has been formed by emu-
Darrell Ware and Frances Whiting Reid. lating his father, an optimistic “organizer”
Direction by Alfred Worker. 20th Century- who thinks that manual labor is beneath him
Fox. but that brains will bring him a living
The opening scene of this picture shows a “soon.” The boy is disillusioned about his
bank robber escaping from the train on which parent’s standing in the district, and in his
he is being taken to prison. Next we see his bitter state of mind he becomes an easy prey
wife who desires to be free to make an honest of a real gang of criminals. His first experi-
living. She finds employment as a singer in the ence with them results in tragedy, but due to
music department of a small town store, is the sympathetic understanding of the police,
discovered by a talent scout, and becomes the another chance is offered him. The plot
famous “masked countess” of the radio. The carries a definite social lesson and it is pre-
husband, of course, tries to find her. Various sented naturally and honestly. It is human
mix-ups and coincidences result while he robs and not sentimental and it is distinctly good
banks, flees from the police, and pursues the entertainment as well. No millennium is
mysterious countess who is by this time in love painted but a hope is suggested that a bright
with a reporter. It is all perfectly silly and underprivileged boy can reshape his life out-
a waste of time. side the slum environment.
No No Interesting No; too mature
CHARLIE CHAN AT MONTE CARLO O O risk and her unhappiness. It is well enough
Warner Oland, Keye Luke, Virginia Field, done technically although some of the se-
Sidney Blackmer. Original story by Robert quences are too gruesome. Enjoyment is a
Ellis and Helen Logan. Screen play by
Robert Ellis and Jerry Cady. Direction by matter of taste.
Eugene Forde. 20th Century-Fox. Adolescents, 12 to 16 Children, 8 to 12
The Chan mysteries place emphasis on solv- Not recommended Too emotional
ing the mystery rather than on the horror
angle. They are usually amusing in dialogue,
©
fast moving in action and full of suspense.
This is not one of the best. There is some EXPENSIVE HUSBANDS O O
confusion in the denouement and the plot is Patric Knowles, Beverly Roberts, Allyn Jos-
sordid in detail, although on the whole it is lyn, Gordon Oliver. Story by Kyrill de
good enough of its type. Walter Oland is Shishmareff. Screen play by Lillie Hay-
excellent as the Chinese philosopher-detec- ward, Jean Negulosco and Jay Brennan.
Direction by Bobby Connolly. Warner Bros.
tive, and Harold Huber especially good in
is
the role of Joubert, excitable Chief of Police. Endless are the schemes and devices of
publicity agents for their movie stars; the
Fair Too complex
© purchase of a foreign prince, title guaranteed,
is all in the day’s work. The intractability
A DAMSEL IN DISTRESS O O of the prince, who turns the situation to his
Fred George Burns, Cracie Allen,
Astaire, own account, plays a variation on the theme
Joan Fontaine, Reginald Gardiner, Ray No-
ble, Constance Collier, Montague Love, Jan
of self-centered actors, and a number of jibes
Duggen. From a story by P. G. Wodehouse. are made at the expense of Hollywood. The
Screen play by P. G. Wodehouse, Ernest cast is adequate for a play which is lightly
Pagano and S. K. Lauren. Directed by
George Stevens. Dance Director Hermes amusing, not to be taken seriously.
Pan. R. K. 0. Adolescents, 12 to 16 Children, 8 to 12
Gracie Allen and George Burns share the Waste of time Mature
spotlight with Fred Astaire in this latest
musical offering of the star. They are ex-
©
ceedingly clever dancers, and the sequence
where the three dance through the different
THE LAST GANGSTER O O
concessions at the fair is the high light of Edward G.Robinson, James Stewart, Rose
the film. The story is negligible and a little Strader, Lionel Stander, Douglas Scott, John
slow. Burns in the role of publicity man Carradine. Original story by William A.
for Jerry (Fred Astaire) has built him up Wellman and Robert Carson. Screen play by
as a great ladies’ man. To avoid being John Lee Mahin. Direction by Edward Lud-
mobbed, Jerry seeks seclusion and has a wig. Metro-Goldwyn-Mayer.
complicated affair with Lady Alyce (Joan This drab, sinister story has little excuse
Fontaine) who thinks she is in love with
for being. It is a theatrical and futile pic-
another American. The music by the late ture of life at its lowest ebb. A
gangster is
George Gershwin is tuneful, the sets ela- convicted of a tax evasion and sent to
borate, and the humor amusing, Gracie Alcatraz. His wife, hitherto ignorant of her
Allen having the best lines and deserving
husband’s crimes, divorces him, marries a
her popularity. Constance Collier and Mon-
decent man, and attempts to bring up the
tague Love are as usual outstanding, and gangster’s son away from the influences of
Joan Fontaine is a lovely vis-a-vis for Fred gangland. Ten years later the gangster,
Astaire. It is all gay and pleasantly enter-
vowing vengeance upon the mother who has
taining.
robbed him of his son, is released from
Adolescents, 12 to 16 Children, 8 to 12 prison. Miraculously the child softens his
Entertaining Yes
heart, and when he is finally shot by under-
© world enemies, he is clasping in his hand
DANGER PATROL O the boy’s medal for “notable achievement”
Sally Eilers, John Beal, Harry Carey. in school. Many sordid and brutal pictures
Screen
play by Bartlett. Direction by Lew Landers. are shown of life on the “Rock,” and the
R. K. O. whole film is a series of repulsive excerpts
This is a melodramatic, exciting com- from the life of an unbalanced, egotistical
mentary on the dangerous vocation chosen killer. Though emphasizing the dire conse-
by men who handle high explosives in the quences of crime, a picture such as this can-
oil fields. concerns the romance of a
It not fail to harden the sensibilities of any
girl with one of the workers, her insistence onlooker who has the fortitude to sit through
that he get into something safer, and the it.
final shocking accident which convinces him Adolescents, 12 to 16 Children, 8 to 12
that high wages do not compensate for the Impossible Impossible
LOVE ON TOAST O O a fiasco where a highly publicized personage
John Payne, Stella Ardler, Luis Alberni, has been proven a fake. He begs another
Catherine (Sugar) Kane, Grant Richards. chance, offering as a subject a girl who is
Screen play by Richard Connell, Jane Storm
and Doris Malloy. Direction by E. A. Du- dying of radium poison in a New England
pont. Paramount. village. The idea may possibly offend the
Luis Alberni is the one bright spot in this sensitive, but it is handled in a way which
boring picture which begins with cake throw- brings spontaneous laughter. The cast is ex-
ing and ends when everyone present is com- cellent, and the director uses film technique
pletely besmeared with marshmallow and so cleverly that the effect is hilariously funny.
custard. In between these sticky episodes It is not a long picture, but the ending is
runs a story about a girl press agent who somewhat of a letdown, for the pace is
undertakes to promote a publicity campaign to difficult to sustain at the high speed of the
increase soup sales. She falls in love with first reels. Technicolor is an advantage in
the soda fountain clerk whom she has se- adding the fantasy, and the shots of the
to
lected for the part of “Mr. Manhattan,” and New York skyline as seen from an airplane
the affair culminates in a happy romantic bit are strikingly beautiful. The picture is
as the two, crawling along the floor, bump sophisticated fare, clever in its burlesque,
into each other while pies whiz above their witty in its lines and challenging in its satire.
heads. Sophisticated No; quite beyond
Adolescents. 12 to 16 Children, 8 to 12 them
Passable Passable
©
© PORTIA ON TRIAL O O
NAVY BLUE AND GOLD O O Walter Abel, Frieda Inescort, Neil Hamil-
Robert Young, James Stewart, Florence ton, Heather Angel, Ruth Donnelly, Barbara
Rice, Billie Burke, Lionel Barrymore, Tom Pepper, Clarence Kolb. Screen play by Sam-
Brown, Barnett Parker. From the book by uel Ornitz, based on an original story by
Ceorge Bruce. Screen play by George Bruce. Faith Baldwin. Direction by George Nichols,
Direction by Sam Wood. M.-G.-M. Jr. Republic.
Here an inspiring, heartening picture
is Authoress Faith Baldwin, specialist in
of one branch of public service. It combines plumbing the depths of feminine emotions,
the best traditions of the navy with the seri- wrote the story from which this film play
ous and humorous sides of life at the Acad- was made. Her heroine, Portia Manners, is
emy, scenes of mild hazing, marching men a brilliant and tricky woman lawyer whose
and bands, exciting football games. While past wrongs prompt her to champion the
the story incidents are not unusual, the some- cause of women and girls who have stooped
what mechanical plotting is offset by a fine to folly. In her defense of a girl who is on
cast portraying interesting types with sin- trial formurdering an unfaithful lover,
cerity and conviction, and by good direction. Portia divulges her ovyn life story and wrings
The variety of interests in the picture should a sympathetic verdict from the jury. For
strike a responsive note in almost any the- audiences who like this sort of entertain-
atre goer. ment, the compelling personality of Miss
Adolescents, 12 to 16 Children, 8 to 12 Inescort makes the stock situations and melo-
Good Good dramatic story both touching and real. Even
© the ancient controversy over the double stand-
NOTHING SACRED O O ard seems almost new when the lovely Portia
Carole Lombard, Fredric March, Charles pleads her case.
Winninger, Walter Connolly. In technicolor. Adolescents, 12 to 16 Children, 8 to 12
From the story by James H. Street. Screen Ethically bad and too Certainly not
play by Ben Hecht. Direction by William sophisticated
A. Wellman. Selznick International.
The cycle of rough and tumble comedies
©
continues, and “Nothing Sacred” tops the SECOND HONEYMOON O O
list in a sequence where man and girl knock Tyrone Power, Loretta Young, Stuart Erwin,
each other out in a vigorous battle. However Claire Trevor, Marjorie Weaver, Lyle Tal-
bot. Based on the story by Philip Wylie in
the picture is exceedingly amusing. It is a the “Red Book." Screen play by Katherine
clever satire from the pen of Ben Hecht on Scola and Darrell Ware. Direction by Walter
newspaper writers and publicity hounds who Lang. 20th Century-Fox.
nose out pathetic characters and dramatize “Second Honeymoon” presents the roman-
their ailments before a gaping public. Ac- tic encounters of two young people, simply
cording to Mr. Hecht, the unfortunate vic- brimming over with personality and the joy
tims are often paraded before the multitudes of living, who have no more responsibility
at spectacular gatherings as theatrical and towards the tenets of church and state than
sometimes as macaber as the gladiatorial daisies nodding in the wind. They marry,
combats of old. In this story, a New York unmarry and meet again to the confusion of
reporter is out of favor with his boss after Vicky’s second husband. It is indubitably en-
Young and Tyrone Power

tertaining. Loretta ful launching of the submarine fleet in the
have never been more attractive costumes ;
U. S. Navy. Theplot is inconsequential and
and settings are brushed with the gloss of rightly so. Interest centers in the construction
luxury; dialogue is unusually well written, of a submarine and the ingenious devices with
and the characterizations by Stuart Erwin which it is equipped to preserve the lives of
and Marjorie Weaver combine comedy with its crew. One has the feeling of listening to
a wistful sincerity. Miss Weaver shows real a fascinating lecture, illustrated with pic-
promise for the future in her part of Joy. tures, on recent developments in the Navy’s
Most of the play is in good taste with the craft. The romance is introduced so unob-
emphasis on enduring love, but the final scene, trusively that it does not interrupt. Ann
when hero and heroine fly off together with- Sawyer’s fiance, Tom Callam, dies in a sub-
out benefit of divorce, is an unnecessary fillip marine disaster three days before their wed-
at society. ding, and Butch Rogers and his friend Sock
Adolescents, 12 to 16 Children, 8 to 12 McGillis, who are both in love with her, try
Wrong attitude No interest to console her. They are on the crew of the
toward life
submarine D-l, which is making its maiden
© voyage from the Atlantic Coast through
THE SHADOW O O the Panama Canal to San Diego. On the
Charles Rita Hayworth, Donald
Quigley, West Coast, the submarine engages in war
Kirk, Dwight Frye, Marc Lawrence. Direc-
tion by C. C. Coleman, Jr. Columbia.
manoeuvres in collaboration with other sub-
marines and the fleet of battle ships, solves
No more utterly absurd melodrama could its war problem and comes through with
be imagined than this wild tale of murder
flying colors, only to be rammed by a de-
by poison darts. It is the story of a circus stroyer and sunk. All the scientific proced-
troop.The vile villain is a suave person ure of the crew coming to the surface by
who wears tights and does amazing stunts
means of artificial lungs and the use of a
on a horse. Various of his fellow perform- new device called the “rescue tank,” which
ers would like to see him break his neck,
brings up injured members of the crew to
but when he falls dead from the back of his
safety, are shown in intricate detail. Settings
horse, the local sheriff has to find out why.
of course are confined almost solely to the
While a hooded figure sneaks among the cir- ship. Closely knit, suitably dramatic, and
cus wagons throwing knives and venomous
highly educational, this picture is absorbing
darts, the audience hisses, but when the real
entertainment.
murderer discovered
is it is a matter of no
importance to anyone. Good Too tense
No Impossible ©
© THANK YOU, MR. MOTO O O
SOME BLONDES ARE DANGEROUS O O Peter Lorre, Thomas Beck, Pauline Fred-
Noah Berry, Jr., William Gargan, Doro- erick,Jayne Regan, Sidney Blackmer, Sig
thea Kent, Nan Grey. Based on a story by Rumann, John Carradine. Screen play by
William R. Burnett. Screen play by Lester WillisCooper and Norman Foster. Based
Cole. Direction by Milton Carruth. Uni- on a story by J. P. Marquand. Direction
versal. by Norman Foster. 20th Century-Fox.
This film a trite story of the prize ring,
is
Mr. Moto’s flair for detective work in-
and tells ofa fighter who resists the tempta-
volves him in a perilous adventure pertain-
tion to take “dirty” money for losing a fight.
ing to a series of scroll paintings of the days
The incredibly stupid young man falls into of Genghis Kahn. He tries to protect the
the clutches of a designing actress, and the
owners, two high born Chinese, and failing
tale goes on to an obvious ending when the
in this, becomes a powerful instrument of
other girl wins the hero. There are many
vengeance. The scenes have a strong flavor
scenes of action in the ring, which may ap-
of the Orient, particularly those of street
peal to some. The best efforts of the cast
life in Peiping. Characterizations by Peter
fail to produce anything better than harmless
Lorre and Pauline Frederick are interesting,
trash.
and the direction is excellent for a mystery
No film. The chief fault of the picture lies in a
No
© surfeit of murders, several of which are
committed with relish and dispatch by Mr.
SUBMARINE D-l O O Moto himself. Not only is it against the
Pat O'Brien, George Brent, Wayne Morris,
Frank McHugh, Doris Weston. Screen play best usage for the hero to engage in homi-
by Frank Wead, Warren Duff and Lawrence cide, but when there is so much violence it
Kimbal. Original story by Frank Wead. Di- loses all significance, and one sets aside the
rection by Lloyd Bacon. Warner Brothers.
whole affair as an impossible yarn.
Here is a dramatic story of the pride and Adolescents, 12 to 16 Children, 8 to 12
heartbreak which go to make up the success- No No
THOROUGHBREDS DON'T CRY O O willed and stoops to pettiness in her relations
Judy Garland, Mickey Rooney, Sophie with those close to her, particularly her hus-
Tucker, C. Aubrey Smith, Ronald Sinclair, band, the young Prince Consort. It is in-
Forrester Harvey, Charles H. Brown, Frankie teresting to observe that in this drama, as in
Darro, Henry Kolker. Original story by the other, the German-born Albert, who for
Eleanore Griffin and J. Walter Ruben. many years was unpopular in England, is
Screen play by Lawrence Hazard. Direction given fulldue for his fine grasp of political
by Alfred E. Green. M.-G.-M. affairs and his unflagging efforts for the
Two boys are the central characters in good of the realm. Anton Walbrook is splen-
this race track melodrama, and it is through did in the part, and the love affair is done
their personalities that interest is built up and in a delicately prim manner, the epitome of
sustained. Mickey Rooney as Timmie Dono- what we call Victorian. His death is deeply
van and Roger Calverton as Ronald Sinclair touching. The queen changes from the beau-
are respectively a swaggering American tiful, fresh young girl to the energetic woman
jockey and a well bred young English boy, and at length to the calm, benign old woman,
grandson of Sir Peter Dalverton who owns mother of all her people, whose blessing on
the famous race horse which Timmie is her subjects will bring a catch in the throat of
scheduled to ride. The boys become great many a Briton. The last scenes of her Dia-
friends, and when Timmie is persuaded that mond Jubilee are resplendent in Technicolor.
the only way to provide a necessary iron Lesser personages of her reign, particularly
lung for his father is to throw the race, the long succession of prime ministers, are
he must make an almost impossible choice well cast. Musical accompaniments are by the
between two evils. The plot is melodrama- Royal Band and the London Symphony.
tic and rather far fetched, but the skillful Doubtless other historical films have con-
young actors more than make up for story tained greater conflict of purposes, higher
deficiencies. The picture is good though not dramatic values, but none other has been
exceptional. presented with the authenticity found here.
Adolescents, 12 to 16 Children, 8 to 12 It is based on the diary kept by Queen
Yes Passable if not too Victoria, often the same dialogue being used.
exciting
© The views of Buckingham Palace, Windsor,
Kensington are actual. Many costumes, of
VICTORIA THE GREAT O O which Anna Neagle wears some forty odd, are
Anna Neagle, Anton Walbrook, H. B. War- replicas of those preserved in the British Mu-
ner,Walter Rilla. Direction by Herbert Wil-
cox. London Films.
seum. The train which carries the royal pair
on their wedding journey is not a copy but the
Somewhat
as an answer to “Victoria Re-
very train they used; so too the coach is the
gina,”which indulged in no little scandal
one which bore Victoria through the streets of
mongering and unkind commentary, comes London at her Jubilee. It is a beautiful pic-
this production of London Films, recalling
ture, which should be seen by all who are
Victoria as the great and beloved queen of
interested in historical detail, and the page-
the British people. That is not to say that
antry of another day.
the Victoria of Anna Neagle is a bloodless
figure without human faults, for as a young Splendid Educational, but rather
woman soon after her accession, she is self- long and too little action
SHORT SUBJECTS
PLUTO'S QUINTUPLETS O O figures which strike the hour. It has great
Walt Disney-R. K. O. Radio. originality in theme and treatment.
Pluto has mis-adventures when he is left
to care for his five puppies, while Mother LONESOME GHOSTS O
follows the butcher boy. Wild confusion re- Walt Disney-R. K. O. Radio.
sults. Pluto unfortunately imbibes too freely, Mickey and his friends offer to clean the
although accidentally. It is amusing. ghosts out of a haunted house. They are
terrified, until quite accidentally they terrify
HAWAIIAN HOLIDAY O < the ghosts. Rather scary for tiny tots.
Walt Disney-R. K. 0. Radio.
Mickey, Minnie, and Donald Duck in Ha-

waiian skirts dancing the hula are a sight OLD MILL, THE O O
to see, but Goofy on a surf board is even Walt Disney-R. K. O. Radio.
more fun. Lovely color and rhythm. A beautiful pastoral —Evening comes with
sunset, and, as the sounds and activities of
DONALD'S OSTRICH O O day subside, the night birds, insects, and
Walt Disney-R. K. O. Radio. bats begin to wake. Then comes a storm of
Donald Duck as a station master gets into fierce intensity, which almost destroys the
difficulties when an
ostrich is left in his care. old mill. It finally wears out its fury, and
The bird eats everything in sight alarm — dawn comes peacefully again, the night crea-
clocks, balloons and all —
and wrecks the sta- tures return to rest, day begins. The musical
tion. Donald Duck is beligerent as usual. accompaniment is perfect and the color lovely.
Will appeal most to younger audiences. Photography has the new third dimension
effect, which enhances the beauty of the pic-
CLOCK CLEANERS. THE O O ture. There is but one defect —
a scene where
Walt Disney-R. K. O. Radio. the turning windmill threatens destruction
Mickey and his friends offer to clean the to a bird’s nest. It brings tense, jarring mo-
the town clock and get mixed up with the ments in an otherwise exquisite film.
INDEX ... JUNE through DECEMBER, 1937
A F
Adventurous Blonde October 52nd Street November
Alcatraz Island December Fight for Your Lady. . October
Ali Baba Goes to Town December Firefly, The . September
Amphitryon 37 September First Lady September
Angel October Fit for a King October
Annapolis Salute October Flight from Glory . September
Armored Car July Footloose Heiress, The September
Artists and Models September Forlorn River August
The Awlul Truth December Forty-five Fathers November
Forty Naughty Girls. October
B
Back
G
in Circulation August
Back-Stage November Great Garrick, The October
Bad Guy October Great Gambini, The July
Barrier. The November H
Behind the Mike November
Between Two Women August Heidi November
Big City, The October Heroes of the Alamo August
Big Town Girl. December Hideaway September
Blonde Trouble September High Flyers November
Blossoms on Broadway December High, Wide and Handsome August
Born Reckless August Hold 'Em, Navy November
Borrowing Trouble November Hoosier Schoolboy August
Boy of the Streets December Hopalong Rides Again September
Breakfast for Two October Hurricane. The November
Bride Wore Red, The November I
Broadway Melody of 1938 September
Bulldog Drummond Comes Back October .
I Cover the War August
Bulldog Drummond's Revenge November It's Love I'm After. August
J
C
Jones Family in Hot Water, The September
Californian, The July
Carnival Queen November K
Charlie Chan at Monte Carlo. . . December King Solomon's Mines October
Charlie Chan on Broadway September Knight Without Armor August
Confession September
Conquest November L
Lady Escapes. The July
D Lady Fights Back. The November
Damsel in Distress December Lancer Spy October
Dangerously Yours October Last Gangster, The December
—
Danger Love at Work October Last Train from Madrid, The July
Danger Patrol December Life Begins at College October
Dark Journey November Life of Emile Zola, The July
Day at the Races. A July Life of the Party, The September
Dead End August Live, Love and Learn November
Devil'sSaddle Legion, The October Living on Love November
Double or Nothing September London by Night September
Double Wedding October Look Out, Mr. Moto November
Dreaming Lips November Love in a Bungalow August
Love Is on the Air October
E Love on Toast December
Easy Living August Love Under Fire September
Ebb Tide October
Emperor's Candlesticks, The August M
Ever Since Eve July Madame X . . . October
Exclusive August Make a Wish September
Expensive Husbands December Married Before Breakfast July
MOTION PICTURE REVIEWS Eleven
Merry-Go-Round of 1938 November Souls at Sea September

Midnight Madonna July Stage Door September
Missing Witnesses November Stand-In November
Mountain Music July Stella Dallas August
Mr. Dodd Takes the Air September Submarine D-l December
Music for Madame October Super -Sleuth August
My Dear Miss Aldrich October
T
N Texas Trail November
Navy Blue and Gold. . . December Thank You, Mr. Moto December
New Faces of 1937 . . August That Certain Woman September
Night Club Scandal. . . . November There Goes My Girl July
North of the Rio Grande July There Goes the Groom October
Nothing Sacred December They Won't Forget July
Thin Ice September
O The Thirteen November
One Hundred Men and a Girl. . .September This Way, Please October
One Mile from Heaven July Thoroughbreds Don't Cry December
Over the Goal October Thunder Trail November
Toast of New York August
P Topper August
Partners in Crime October Two Who Dared July
Perfect Specimen, The October
Pick a Star July U
Portia on Trial December Under the Red Robe August
Prisoner of Zenda, The September
V
R Varsity Show September
Riding on Air July Victoria the Great December
Road Back, The July Vogues of 1938 September
Rustler's Valley August
W
S War Lord August
Saratoga August West of Shanghai October
Saturday's Heroes October Westland Case, The November
Second Honeymoon December Wee Willie Winkie July
Shadow, The December Wild and Woolly August
She Asked for It September Wild Money August
She Loved a Fireman November Wine, Women and Horses August
She's No Lady September Without Warning November
Sing and Be Happy July Women Men Marry, The October
Singing Marine, The July
Slave Ship July Y
Some Blondes Are Dangerous. . December You Can't Beat Love July
Something to Sing About September You Can't Have Everything August

LOS ANGELES, CALIF.
PAID
Los Angeles, Calif.
Permit No. 1850
I'rs. John V r u;v ink,

424 Shatô Pine®
Loo Angeles. Calif.


, 1937

Name
Address
Name
Address
,

LOS ANGELES, CALIF.
PAID
Los Angeles, Calif.
Permit No. 1850
I/ps John V r u wink

.
424 Shat to Place.

L03 Angeles. Calif.

MoHorCpTCTURi REVIEWS
1937

Name
Address
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
College of Arts and Sciences

Motion Picture Reviews (1937)

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MOTION PICTURC

WOMENS UNIVEKITV CLUB

LOS ANG CLES. CALIF

THE WOMEN’S UNIVERSITY CLUB

Feature Films Reviewed In This Issue

After the Thin Man Jungle Princess

John Mead's Woman White Hunter

THE WOMEN'S UNIVERSITY CLUB

Vol. XI JANUARY 1937 No. 1

his book, The

shows unexpected ability with strange musi- Adolescents, 12 to 16 Children, 8 to 12

tributes many humorous sequences. When the

picture carries a suggestion of abnormality "Gold Diggers," 1937 model, is as enliven-

be a happy one. farcical treatment of the theme that all's fair

production again a lumber king whose ruth-

NIGHT WAITRESS Pennies tossed from tenement windows into

Voca Poca Fa from the Barber of Seville, her WHITE HUNTER