Motion Picture Reviews (1939)

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Vo l. XIII 1939

MOTION PICTURE REVIEWS JANUARY 19 3 9

CONTENTS

A Christmas Carol The Dawn Patrol Exposed The Girl Downstairs Going Places Heart of the North His Exciting Night Kentucky Little Orphan Annie Little Tough Guys in Society Pacific Liner Paris Honeymoon Pygmalion Ride a Crooked Mile Secrets of a Nurse Sweethearts Swing That Cheer Thanks for Everything Tom Sawyer, Detective Trade Winds Zaza

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MOTION * PICTURE * REVIEWS Published, monthly by THE WOMEN'S UNIVERSITY CLUB 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. Francis Poyas, Subscription Chairman Cooperating Branches Long Beach Glendale Santa Monica Whittier EDITORS

Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall Mrs. John Vruwink

Address all communications to The Women’s University Club, 943 South Hoover Street, Los Angeles, California

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Vol. XIII JANUARY, 1939 No. 1

A CHRISTMAS CAROL O O THE DAWN PATROL O O Reginald Owen, Gene Lockhart, Kathleen Errol Flynn, David Niven, Basil Rathbone, Lockhart, Terry Kilburn, Barry Mackay, Donald Crisp, Melville Cooper, Barry Fitz- Lynne Carver, Leo G. Carroll, Lionel Bra- gerald, Carl Esmond. Original story by John ham, Ann Rutherford, D'Arcy Corrigan, Monk Saunders. Screen play by Seton R. Ronald Sinclair. Direction by Edwin L. Marin. Miller and Don Totheroh. Direction by From the story by Charles Dickens. Screen Edmund Goulding. Warner Brothers. play by Hugo Butler. M.-G.-M. Filmed for the second time, “The Dawn

In a preface to an early edition of “A Patrol” justifies the contention that a good Christmas Carol,” Dickens said: “I have story can be successfully retold. It brings endeavored, in this Ghostly little book, to back a phase of airplane warfare in the days raise the Ghost of an Idea, which shall not of 1916 when a handful of veteran flyers of put my readers out of humor with them- the Fifty-ninth Squadron of the Royal Flying selves, with each other, with the season, or Corps, with replacements of pitiably young with me. May it haunt their houses pleas- and inexperienced aviators, were sent out antly and no one wish to lay it." To trans- against the coldly cruel Von Richter (pre- late this “Ghostly little book” to the screen sumably Von Richtofen) and his efficient and have this foreword none the less ap- patrol. It is tense drama of brilliant, high- plicable to the picture was no mean task for strung men, whose exploits in the sky hold M.G.M., but they have succeeded admirably. one spellbound by their skill and daring and The picture is just as unpretentious as the flair for perilous adventure. But there is book and equally charming. It is delight- also the somber side which comes very near to fully acted by a very able cast, and its en- us now that thunderheads of war again dearing qualities easily overshadow its few threaten the world, the appalling tragedy flaws. and futile waste, the heart-rending sacrifice of Adolescents, 12 to 16 Children, 8 to 12 youth because it is ordained by “criminal Excellent Excellent idiots who sit around a table” and plan to Four MOTION PICTURE REVIEWS remake the map. Errol Flvnn takes the part sporting-goods house masquerades as a fa- of Courtney with keen understanding and mous Australian steeplechase rider to adver- judgment; David Niven, Basil Rathbone and tise his firm, you will recall that the gentle- Donald Crisp are almost equally convincing; man’s riding experience had been confined in fact, every actor in the film seems to live to mechanical horses, and that when circum- his part. Edmund Goulding’s direction is stances forced him to mount Jeepcrs Creep- powerful. It is a picture which will be re- ers, a man-killing horse, the results were membered not for a day but for a long time. hilarious and thrilling. The story has been Adolescents, 12 to 16 Children, 8 to 12 modernized with highly effective musical in- Strong fare Too tense terludes, notably the swing number, “Mutiny in the Nursery,” in which Louis Armstrong, his colored band and chorus, and Maxine EXPOSED O O Sullivan are starred. “Jeepers Creepers,” Glenda Farrell, Otto Kruger, Herbert Mun- the theme song, is a high light. Armstrong din, Chas. D. Brown, Richard Lane, Lorraine as Gabe, the groom and trainer, has found Krueger. Based on an idea by George R. that the vicious horse has one vulnerable Bilson. Original screen play by Chas Kauf- point, a weakness for a song composed for man and Franklin Coon. Direction by Har- him. The scenes in which Gabe, then Peter old Schuster. Universal. Mason (Dick Powell), and then the band Click, the girl photographer of a modern use this song to soothe the animal are ex- pictorial magazine, is sued for taking views tremely funny. Dick Powell, Walter Catlett, of a once-famous prosecutor who has fallen Alan Jenkins and Harold Huber are very upon days of poverty and wretchedness. In entertaining when they compose “Oh, What trying to extricate herself from a bad situa- a Horse Was Charlie.” The comedy is good, tion—she gets into more trouble and eventu- the music catchy, and the steeplechase effect- ally lands in the toils of gangsters. In the ively thrilling. end the same prosecuting attorney comes to Adolescents, 12 to 16 Children, 8 to 12 Excellent Good her rescue. While somewhat complicated in © construction, it is a fast-moving film with some good acting. Otto Kruger is excellent HEART OF THE NORTH O O in his portrayal of the various stages of his Dick Foran, Gloria Dickson, Gale Page, Allen regeneration. Jenkins, Patrick Knowles, Janet Chapman, Adolescents, 12 to 16 Children, 8 to 12 James Stephenson, Anthony Averill, Joe Too mature No Sawyer, Joseph King, Russell Simpson, Ar- thur Gardner, Garry Owen. Screen play by THE GIRL DOWNSTAIRS O O Lee Katz and Vincent Sherman. Direction by Lewis Seiler. Warner Brothers Franciska Gaal, Franchot Tone, Walter Con- Stirring melodrama with the Royal Mounted nolly, Rita Johnson. Direction by Norman Police of Canada tracking their man through Taurog. M.-G.-M. terrific physical difficulties. It is a lusty tale Comedy at its best is presented in “The of adventure set in magnificent country and Girl Downstairs.” Franchot Tone is cast photographed in technicolor. If some of the as a gentleman in disguise, and Franciska action is faked it is so cleverly done that no Gaal, piquant Hungarian actress, plays a hint is given the audience who sit breathless Cinderella role as a scullery maid whose through scenes of violent action and cheer charms are more availing than those of her when the “mounties” get their men. Very mistress. The cast is excellent and the pic- entertaining of its type. ture is beautifully directed. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Entertaining Depends on taste Entertaining Mature © © HIS EXCITING NIGHT O O GOING PLACES O O Charlie Ruggles, Ona Munson, Maxie Rosen- Dick Powell, Anita Louise, Allen Jenkins, bloom, Marion Martin, Stepin Fetchit, Ray- Ronald Reagan, Walter Catlett, Harold Hu- mond Parker. Direction by Gus Meins. Based ber, Thurston Hall, Minna Gombell, Louis on a play by Katherine Kavanaugh. Uni- Armstrong Maxine Sullivan. Screen play versal. by Sig Herzig, Jerry Wald and Maurice Leo. Charlie Ruggles is amusing in the role of Based on the play "The Hottentot" by a timid bridegroom who is kidnapped on his Victor Mapes and William Collier, Sr. Di- wedding day, and Stepin Fetchit contributes rection by Ray Enright. Musical direction some laughable scenes. Otherwise this is a by Leo Forbstein. Warner Brothers. below-average, slapstick farce. If you remember “The Hottentot,” that Adolescents, 12 to 16 Children, 8 to 12 breezy farce in which a salesman from a Poor No MOTION PICTURE REVIEWS Five O KENTUCKY O O LITTLE TOUGH GUYS IN SOCIETY O Mischa Auer, Mary Boland, Edw. Everett Loretta Young, Richard Greene, Walter Horton, Helen Parrish, Jack Searl, Frankie Brennan, Douglas Dumbrille, Karen Morley, Thomas. Original screen play by Edward Moroni Olsen, Russell Hicks, Willard Rob- Eliscu Mortimer Offner. Direction by Reed, Bobs and ertson, Charles Waldron, George Erie C. Kenton. Universal. Watson, Delmar Watson, Leona Roberts. Tain- Screen play by Lamar Trotti and )ohn It is to be hoped that the New Year will Twen- tor Foote. Direction by David Butler. draw the curtain on the cycle of boy gang Century-Fox. tieth films, for anyone who has seen one knows of Kentucky. Close your eyes and think them all, and they are getting no better very Civil War and Start with the period of the fast. This one differs from its nredecessors to the present. hurry your imagination along in its would-be comical approach to the your mind, you All the scenes that come to problem of youth delinquency, but it features “Kentucky.” will find in the picture called the same rowdy types of hoodlums with their with the breed- You will see plantation days, same crudeness and bravado. The story tells Kentucky s ing of thoroughbred horses in how six boys from the East side of New Derby bluegrass. You will see the Kentucky York, escaping from the police, find refuge win. \ ou won by the horse you want to have in a country estate, and upon advice of a dies will see the remnants of a feud which psychiatrist, cure a problem child of an ad- witnessed with the passing of the man who vanced case of sulks. While the picture is will realize the reason for its being, and you very nearly a slapstick comedy, one cannot very colorful phase that with him passed a be sure that some of it is not meant to be a play “Kentucky of American life. As taken seriously, and it leaves a most un- enjoyable, an creaks, but it is nevertheless pleasant impression of false values. experience similar to rereading a familiar Adolescents, 12 to 16 Children, 8 to 12 No Very misleading and well-liked book. Technicolor photogra- whose phy is in the hands of Ray Rennahan, © fine sense of color values and color harmony PACIFIC LINER O O will delight the aesthete. Victor McLaglen, Chester Morris, Adolescents, 12 to 16 Children, 8 to 12 Wendy Interesting Yes Barrie, Alan Hale, Barry Fitzgerald, Allan © Lane, Halliwell Hobbes, Cyrus W. Kendall, Paul Guilfoyle, John Wray, Emory Parnell, LITTLE ORPHAN ANNIE O O Adia Kutnetzoff. Direction by Lew Land- ers. R.-K.-O. Anne Gillis, Robert Kent, June Travis, J. Farrell MacDonald, Ian MacLaren. Based on So depressingly realistic is this picture that strip by Harold Gray Direction by the comic seeing it is like living through the horrible Ben Holmes. Paramount-Colonial. experience it portrays. Crusher McKay, film should succeed, no better proof If this played by Victor McLaglen, is the leading audience has a is needed that the average character. Brutal, overbearing Chief Engi- twelve-year-old mind. Nor is it particularly neer of a crew of stokers on an ocean liner, entertainment for the actual adapted as he drives his men like slaves. When cholera kindness, affability and twelve-year-old. The breaks out in the engine room, the occupants social consciousness of Annie are probably are quarantined and the room is turned into developed in the news- true to the character a temporary hospital where men die and are paper cartoon, but a better background could cremated by their comrades. Crusher is her have been chosen for good deeds than stricken, but when mutiny threatens he leaves the prize-ring. Several scenes are beyond his bed to resume command until the ship is the bounds of good taste, and one, which features a fight between housewives and loan brought to dock. As a realistic study of a sharks, is definitely offensive. It is unfortu- certain type of man and of the hardships nate that a picture so poorly conceived suffered by stokers, the film may be interest- should, by its title, attract children. ing to a limited audience. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 No—Lowers standard No Depressing and Horrible of appreciation brutal Six MOTION PICTURE REVIEWS

PARIS HONEYMOON O O dell, Marie Lohr, and David Tree are all Bing Crosby, Franciska Gaal, Tamiroff, Akim exceedingly good. This is rare entertain- Ben Blue, Edward Everett Horton, Shirley ment not to be missed by those desiring the Ross. Based on a story by Angeia Sherwood. Direction by Frank Tuttle. Paramount. unusual. Adolescents, 12 to 16 Children, 8 to 12 Perhaps the most difficult picture to com- Mature but good Interest depends ment on is one which is neither good enough on maturity for praise nor poor enough for censure. © “Paris Honeymoon” is standard of this type. RIDE A CROOKED MILE O O It includes such variations as Shirley Ross Akim Tamiroff, Frances singing in a bath tub and Bing Crosby sing- Farmer, Leif Erik- son, Lynne Overman. Original ing in a tea wagon, and other less novel back- story and screen play by Ferdinand Reyher and grounds for songs. Add a setting in the Bal- John C. Moffitt. Direction by Alfred E. kans, colorful peasantry, a native festival, a Green. Paramount. pretty little minx (Franciska Gaal) for love interest, a harried butler (Edward Everett If you intend to see “Ride a Crooked Mile” Horton) for humor, a diligent scoundrel and prepare to wade through a long stretch of (Akim Tamiroff) for menace. The plot is slime and mire in order to reach the lotus tucked away between rose petals and you bud. It is a can easily supply it without straining the melodramatic story of a Pcs imagination. sian Cossack who has turned cattle rustler Adolescents, 12 to 16 Children, 8 to 12 and of his son for whose sake he attempts Mature No to reform. Motivated by a theme which eventually & points in the right direction, it is distasteful in general effect, and no amount O PYGMALION O of fine horsemanship, Russian songs, and sin- Leslie Howard, Wendy Hiller, Wilfrid Law- cere acting can make it otherwise. It is son, Marie Lohr, Scott Sunderland, Jean rather obviously Cadell, David Tree. Screen play and dia- constructed as a vehicle for logue by Bernard Shaw. Adaptation by Akim Tamiroff and on that account seems W. P. Lipscomb, Cecil Lewis and Iran Dal- somewhat artificial. rymple. Music by Arthur Honnegger. Di- Adolescents, 12 te 16 Children, 8 to 12 rection by Anthony Asquith and Leslie How- Unsuited No ard. Produced by Gabriel Pascal. © George Bernard Shaw’s well-known comedy modernizes the Greek myth of the artist SECRETS OF A NURSE O O who prayed that his lovely statue might be Edmund Lowe, Helen Mack, Dick Foran, with a soul. Pygmalion of the endowed The Samuel S. Hinds, Paul Hurst, Leon Ames. play is Higgins, a professor of phonetics. Screen play by Tom Lennon and Lester Cole. During moments of casual research he comes Direction by Arthur Lubin. Universal. across a drab, unkempt cockney flower-girl, The title is a very definite lure for a film and to win a bet he undertakes to transform her into a lady of fashion, to remove all trace which will disappoint those whose curiosity

of her dialect and to teach her grammar and is aroused by it. The nurse may know but behavior. The results of the experiment, on she certainly doesn’t tell any secrets. She is the screen as in the play, are highly enter- principally concerned with a battered pugilist taining. The ending of the picture version hints at the possibility of romance between who arrives at the hospital more dead than Higgins and Eliza, a solution which Shaw alive. His subsequent attempt at another rejected in the of his completely analysis type of life involves him in a murder of characters in the “sequel" to his play. which he is innocent. He is sent to the The change, however, does not detract from the extremely clever satire, and the death-house, and reprieved at the last min- movie does preserve to a remarkable de- ute when a gangster confesses the name of gree Shaw’s sly, pungent humor. Mr. How- the killer. Most movie-goers would probably ard seems perfectly suited to the role. Wendy prefer to have mental anguish served in Hiller, an English actress of unusual charm, smaller doses. If the movies are a form of is delightful as Eliza. Her performance is superbly shaded from broad humor to dra- escape, the average “Babbitt” would rather matic poignancy. Wilfrid Lawson as the escape to something less dour. girl’s father deserves credit in his amusing Adolescents, 12 to 16 Children, 8 to 12 character role. Scott Sunderland, Jean Ca- No Unsuited MOTION PICTURE REVIEWS Seven

SWEETHEARTS O O ing of fair play, and while football is the Jeanette MacDonald, Nelson Eddy, Frank keynote of the story, professors are permitted Morgan, Ray Bolger, Florence Rice, Mischa to flunk athletes for inferior work, which Auer, Herman Bing, Gene Lockhart, Lucile after all is as it should be. Watson, Kathleen Lockhart, Reginald Gar- Adolescents, 12 to 16 Children, 8 to 12 If they like the Operetta "Sweet- Very good diner. Based on football hearts." Music by Victor Herbert. Screen © Alan Camp- play by Dorothy Parker and O O bell. Musical adaption by Herbert Stot- THANKS FOR EVERYTHING Haley, hart. Direction by W. S. Van Dyke, II. Adolph Menjou, Jack Oakie, Jack Photographed in technicolor. M.-G.-M. Arleen Whelan, Tony Martin, Binnie Barnes. Based on story by Gilbert Wright. Direction Stothart has woven the lovely Herbert by William Seiter. 20th Century-Fox. melodies of another era of musical operetta This farce pokes lively fun at polls of into a modern pattern. “Sweethearts,” as taste, at high pressure advertising, and at the older generation knew it, is the back- those behind the scenes who foment war ground for a story of today where two glam- hysteria. When Henry Smith wins a $25,000 orous stars find their private lives entirely prize for having average taste, the slick moulded to the demands of publicity and the advertising firm, by dishonest trickery, refuse traditions of the stage. These stars, who are to give him the money but keep him on their genuinely charming people, are tired of the pay-roll to use him as a human guinea pig, routine of six years of the same production, thus profiting by his daily reactions. The the same songs, the kindly advice of their underlying idea is clever, and many audi- “royal families” whose own long experience ences will not object to the fact that its before the public makes them overcritical. presentation is pure slapstick because the When Hollywood lures, with glowing prom- theme is so thoroughly American. Under ises of more leisure variety and freedom, more subtle direction, it might have been complications develop which threaten their keen satire with real significance, but author marriage. The picture may be called radiant. and director have tossed overboard logic, Jeanette MacDonald and Nelson Eddy are clarity, and coherence in a riot of antics. admirably cast, seeming to play together Jack Haley takes the acting honors. He has with greater zest than ever. The costumes ability for more sympathetic humor. are exquisite, the color is glitteringlv beau- Adolescents, 12 to 16 Children, 8 to 12 tiful, and, for the ladies, there is a fashion Within their interest Passable show which will long be remembered for its © glamor. Adolescents, 12 to 16 Children, 8 to 12 TOM SAWYER, DETECTIVE O O Good, girls par- A lovely pageant ticularly but unusually Porter Hall, Billy Cook, Donald O'Connor, long Philip Warren, Janet Waldo, Clara Blandick, Elisabeth Risdon, Ed Pawley, Hattie Mc- SWING THAT CHEER O O Daniels, Oscar Smith, William Haade, Harry Worth, Si Jenks. Direction by Lewis King. Tom Brown, Robert Wilcox, Andy Devine, From the book by Mark Twain. Paramount. Constance Moore, Samuel S. Hinds. From a story by Thomas Ahearn and F. Maury Quoted in the January, 1939, Readers’ Grossman. Screen play by Charles Grayson Digest, is the following letter from Mark and Lee Loob. Direction by Harold Schus- Twain to a Mr. Kester who had asked per- ter. Universal. mission to make a play of “Tom Sawyer”: "1 “Swing That Cheer” is far better than should like to see ‘Tom Sawyer’ staged. most college pictures, not for the reason that You need not submit the play to my approval. in- it is livelier or more spectacular by football Turn the book upside down and side to. standards, but because it makes a successful out if you want If you wish to add effort to show college people as they really people, incidents, morals, immorals, or any- are. The coach, the two main football play- thing else, do so with a free hand. My liter- ers, and the girls are individuals whose like ary vanities are dead and nothing l have can be found on many a campus, as are the written is sacred to me. group in the fraternity house and the local "Sincerely yours, night spot. The question of retaining a fine “S’l Clemens,” coach who has had several losing seasons, It is well that Mark Twain was so leni- and the rivalry between the spoiled youth ent, for this film merely uses the familiar who carries the ball and the one whose characters and locale in a new adventure in skilled interference has built up the glory of the spirit of the more melodramatic chapters his team mates are vital issues in many an of “Tom Sawyer” and “Huckleberry Finn.” academic center. There is an excellent feel- In the picture two boys are acting as de- Eight MOTION PICTURE REVIEWS tectives in order to clear Uncle Silas of a ZAZA O O murder charge. The story is no more plausi- Claudette Colbert, Herbert Marshall, Bert ble than a child’s day-dream in which he Lahr, Helen Westley, Constance Collier, sees himself the hero of a blood-curdling Genevieve Tobin, Walter Catlett, Ann Todd, tale. There is nothing objectionable in the Rex O'Malley, Ernest Cossart, Janet Waldo, picture and the setting and characters are Dorothy Tree, Monty Wooley, Maurice Mur- interesting, but on the whole it is only pass- phy, Frank Puglia. Direction by George ably entertaining. Cukor. Screen play by Zoe Akins, from the Adolescents, 12 to 16 Children, 8 to 12 play by Pierre Berton and Charles Simon. Yes Emotional Paramount.

Frederic March, Joan Bennett, Ralph Bell- for the success of the original. The story is amy, Ann Sothem, Sidney Blackmer, Thomas an emotional one of love and sacrifice. Zaza Mitchell, Robert Elliot, Joyce Compton, loves a man who is deeply infatuated with Richard Tucker. From the original story by Tay Garnett. Direction by Tay Garnett and her, but she breaks off the affair when she Walter Wanger. United Artists. discovers that he is married and is the

Among its several good points this murder father of a little girl. Settings and period mystery has a fine cast, beautiful sets, dia- costumes add a piquant touch to the film, but logue by Dorothy Parker, and distinguished technically it is disappointing, and though photography. Its plot has to do with a M iss Colbert is charming, her interpretation pretty girl (Joan Bennett), who is suspected of having shot a man, and a philandering of the title role is not sufficiently inspired to detective (Frederic March), who trails her redeem an undistinguished production. Bert round the world to collect a reward and Lahr as Cascart, Zaza’s vaudeville partner finally proves her innocent instead. The pic- and manager, is exceptional. ture is an entertaining but unimportant ad- Adolescents, 12 to 16 Children, 8 to 12 dition to the stars’ repertoire. Unsuitable No Adolescents, 12 to 16 Children, 8 to 12 Sophisticated and No ethically confusing SUBSCRIPTION ORDER BLANK Please Detach and Mail in with Your Subscription

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FEATURE FILMS

Boy Slaves Burn 'Em Up O'Conner Disbarred Edge of the World Four Girls in White The Great Man Votes Gunga Din Idiot's Delight Jesse James Nancy Drew, Reporter Song of the Buckaroo Son of Frankenstein South Riding Stand Up and Fight The Story of a Cheat They Made Me a Criminal Topper Takes a Trip Wings of the Navy Youth Marches On SHORT SUBJECT Power

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MOTION PICTURE REVIEWS Three

MOTION * PICTURE * REVIEWS Published monthly by THE WOMEN’S UNIVERSITY CLUB 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. Francis Poyas, Subscription Chairman Cooperating Branches Long Beach Glendale Santa Monica Whittier EDITORS

Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall Mrs. John Vruwink

Address all communications to The Women's University Club, 943 South Hoover Street, Los Angeles, California

10c Per Copy - - $1.00 Per Year

Vol. XIII FEBRUARY, 1939 No. 2

FEATURE FILMS

BOY SLAVES O O ciently entertaining without the addition of Anne Shirley, Roger Daniel, James McCal- the who-caused-the-accident mystery about lion, Alan Baxter, Johnny Fitzgerald. Based which the story revolves. Though thrilling, on a novel by Albert Bein. Direction by P. the accidents are not gruesomely pictured. J. Wolfson. RKO. However the idea that a murderous villain This is a nauseating picture of young boys is responsible for the death of one driver and a girl working in a turpentine camp un- after another is rather a horrid and sinister der shocking conditions of brutality and op- thought if the plot is to be considered at all pression. Imprisoned by barbed wire fences, plausible. Dennis O'Keefe is pleasing in the fed on “slop” and driven like galley slaves, part of the young daredevil driver. they finally make a break for freedom. A Adolescents, 12 to 16 Children, 8 to 12 foreword to the picture warns mothers of the Passable No country that these conditions actually exist, but even if this is so, such an orgy of brutality has no place among so-called entertain- DISBARRED O O ment films and should not be released for Gail Patrick, Otto Kruger, Robert Preston, general audiences. Sidney Toler. Based on a story by Harry Sauber. Direction by Robert Florey. Para- Adolescents, 12 to 16 Children, 8 to 12 Impossible Impossible mount. This picture exposes the unethical practices of a disbarred attorney and shows the social BURN 'EM UP O'CONNER O O consequences. A woman lawyer is innocently Dennis O'Keefe, Cecilia Parker, Nat Pen- his tool until her suspicions are aroused. The dleton, Harry Carey, Addison Richards, entertainment values are a matter of tasje, Charley Grapewin, Alan Curtis. Screen play depending upon whether one is interested in by Milton Merlin and Byron Morgan. Di- rection by Edward Sedgwick. M.-G.-M. seeing the way the law may be (and frequently is) circumvented, but the unpleasant This exciting narrative of automobile rac- story is handled in an able fashion by a ing is based on a book by Sir Malcolm competent cast and director. Campbell and shows innumerable authentic Adolescents, 12 to 16 Children, 8 to 12 scenes of race tracks and crashes, which, for Doubtful value Unsuitable and devotees of the sport, will make the film suffi- uninteresting 2

Four MOTION PICTURE REVIEWS

EDGE OF THE WORLD O O THE GREAT MAN VOTES O O John Laurie, Bell Chrystall, Nial MacGinnis, John Barrymore, Peter Holden, Virginia Eric Berry, Kitty Kerwin, Finlay Currie. Weidler, Katharine Alexander, Donald Mac- Story and Direction by Michael Powell. Jo Bride, Bennie Bartlett, J. M. Kerrigan, Rock Production. Granville Bates. Story by Gordon Malherbe This a gripping story of life on the rock- Hillman. Screen play by John Twist. Di- rected by Garson Kanin. RKO. bound, forbidding island of Foula off the coast of Scotland, when diminishing popula- Garson Kanin, director of this film, also tion, exhausted peat fields and barren lands directed “A Man To Remember,” an un- make life an unendurable hardship for the heralded picture that proved to be excellent entertainment. few who are left. The story is a tragic epic “The Great Man Votes” is also of stern reality. It is comparable in many an unpretentious film and again it turns ways with “Grass” and “White Gold.” In out to be unexpectedly good entertainment. this story the forces of nature have to be It gives wide latitude to John Barrymore’s reckoned with and overcome, necessitating gift for broad humor as well as to his ability a mass movement into more fertile lands. to portray sincere emotion. He plays the role of an affectionate ne’er-do-well The scene depicting the exodus is the finish- parent ing touch to this stirring drama. The older of two delightful children (played by Peter generation in combat with the younger is a Holden and Virginia Weidler). Though a theme which runs through the play and is former professor at Harvard and a respected responsible for much of the tragedy that be- writer, he has lost all incentive and ambition falls the sons and daughters around whom because of his wife’s death and has become the romance centers. Strong and stubborn a night-watchman with his daily quart of personalities and deeds of daring adventure bootleg liquor. His children’s belief in him are depicted with much artistry and great and an opportune chance to be an important ability. The cast throughout is exceptional, cog in the wheel of a political election, bring and several players are outstanding. Notably things to an hilarious climax. The emotional so are Peter (John Laurie), James (Finley scenes are not overdone, and the lines and Currie), and Andrew (Nial MacGinnis). situations are absurdly funny. Mr. Barry- more alone could have put the verbose On the whole it is an unusually fine picture, over very much out of the ordinary and done with witticisms, but Peter Holden and Virginia discriminating judgment. Weidler are close seconds for acting honors. Adolescents, 12 to Children, 8 to Adolescents, 12 to 16 Children, 8 to 1 16 12 Very drab and heavy No Amusing Mature but better than most FOUR GIRLS IN WHITE O O Florence Rice, Una Merkle, Ann Ruther- ford, Mary Howard, Alan Marshall, Kent GUNGA DIN O O Taylor, Buddy Ebsen, Jessie Ralph, Sara Cary Grant, Victor McLaglen, Douglas Fair- Haden. Original story by Nathalie Buck- banks, Jr., Sam Jaffe, Eduardo Ciannelli, nail and Endre Bohem. Screen play by Joan Fontain, Montaqu Love. Screen play Dorothy Yost. Direction by S. Sylvan Si- by Joel Sayre and Fred Guiol. Story by Ben mon. M.-G.-M. Hecht and Charles MacArthur. Based on the poem by Rudyard Kipling. Produced Here is a light, superficial melodrama and directed by George Stevens. R. K. O. which points no moral and settles no prob- adventure related by Private Mulvaney lems. While set in a hospital environment, No in Kipling’s most extravagant prose could it gives a somewhat burlesqued idea of hos- rival the exploits of Cutter, MacChesney, and pital procedure and the training of nurses. Ballantine in R. K. O.’s “Gunga Din.” This Four girls enter training; one to fit herself is film which, for battle smoke, knife to support her child; one apparently to get a charging cavalry, and magnificence food; another to be with her older sister; wounds, of scenery, has never been surpassed. and the latter to get a rich husband. Flor- outdoor the tradition of Great Britain’s ence Rice plays the role of the predatory It carries on supremacy in India, and the British soldier’s woman, and she handles it very well. Ann delight in hazardous adventure. Cutter, Rutherford is charming as the little sister MacChesney and Ballantine are a combina- who wins the doubtful honor of marrying a , tion of Kipling’s “Soldiers Three” and Du- rich play boy. Mary Howard is sacrificed Musketeers.” Sergeants attached in an unnecessary and tragic death, and Una mas’ “Three are Merkle gives the comedy touch with her usual to a British outpost in India, they happy baiting each other and happiest when skill. Norma Page (Florence Rice) is con- when possibility of assassination by sistently ruthless. Though her heroism in facing the of the the melodramatic climax suggests a change of marauding natives. An uprising (worshippers of the goddess, Kali) heart, the audience is left questioning whether Thugs, strangle and knife their victims, is the it is a lasting reformation. It is mildly en- who tertaining but will soon be forgotten. occasion for the terrific battle which is the climax the film, but throughout the pre- Adolescents, 12 to 16 Children, 8 to 12 of No No ceding reels, there have been enough bloody ,

MOTION PICTURE REVIEWS Five

skirmishes to keep the audience on the edge magnificent snow-capped mountains. Below of their seats, and one scene, laid in an is a hidden air port; thundering planes give abandoned outpost, is so fraught with terror a sinister warning; soldiers on guard con- and suspense that the fighting comes as a tribute to the military atmosphere. All this relief. Besides furnishing the name of the is in stunning contrast to the original pur- production, Kipling’s poem provides an ap- pose of the inn (a place for sports enthu- pealing character who plays an important siasts), and to the personalities of the guests part in preventing the wholesale slaughter who are unwillingly interned there. Al- of the British troops. Cutter, MacChesney though the minor characters have been sub- and Ballantine perform amazingly reckless ordinated to the leads and therefore contrib- feats, and though they occasionally seem ute less to the poignancy of the satire, they more stupid than brave, they are a delight- are outstanding in their roles. Charles Co- ful trio whose humor is often unexpectedly burn, as Dr. Waldersee, the German scientist subtle. Cary Grant is remarkably clever in abandoning his research for a cancer cure his handling of the role of Cutter. The film because "men only desire to kill each other,” is a triumph of direction, especially in the gives a splendid characterization. William mass scenes. Though it makes no entirely new Edmunds is equally fine as Dumptsy, the contribution to screen stories of its type, it is kindly peasant. His comment on becoming different enough from its forerunners to stand an alien overnight through the Versailles on its own merits. Treaty is a touching incident which makes his Adolescents, 12 to 16 Children, 8 to 12 immediate response to the call to arms deeply Entertaining, though Too long and moving. Others in the cast also are excep- exciting long and violent tionally good: Peter Willis, Pat Patterson, Joseph Schildkraut, Burgess Meredith, and the girls of the troupe. Some of Miss Shear- IDIOT'S DELIGHT O O er’s costumes are ludicrously unbecoming but Norma Shearer, Clark Gable, Edward Arn- this is quite incidental in a production which old, Charles Coburn, Joseph Shildkraut, is interesting and entertaining a contrib- Burgess Meredith, Laura Hope Crews, so Skeets Gallagher, Peter Willes, Pat Pater- ution to modern American cinema. son, William Edmunds, Fritz Feld and the Adolescents, 12 to 16 Children, 8 to 12 "Les Blondes" Virginia Grey, Paula Stone, Very mature Too mature Joan Marsh, Virginia Dale, Bernadene Hayes, Lorraine Krueger. From the Pulitzer Prize play by Robert E. Sherwood. Adapted for the screen by Robert Sherwood. Direction JESSE JAMES O O by Clarence Brown. M. G. M. Tyrone Power, Henry Fonda, Nancy Kelly. Robert Sherwood adapted his Pulitzer Randolph Scott, Henry Hull, Slim Summer- prize play for its screen presentation and ville, J. Edward Bromberg, Brian Donlevy, therefore apparently approves the changes John Carradine, Donald Meek, Jane Dar- well, John Russell. Original screen play by made. The film is still a highly entertaining Nunnally Johnson. Photography by George satire on war, although those who enjoyed the Barnes. Direction by Henry King. 20th more sophisticated Theatre Guild production Century-Fox. will miss its smart subtlety and will object “James, Jesse W. (1847-82), American out- to the happy ending by which much of the law, born in Clay county Mo., the son of a irony of the original is lost. In the film we Baptist minister. The family were Southern are first introduced to Harry when, wounded, in their sympathies during the Civil IVar, he disembarks from a troop ship returning and as a consequence were persecuted by from France during the great parade when their Union neighbors. Jesse joined Quan- New York welcomed the victorious American trell’s guerrillas and soon earned a name for Legionnaires. The scene where an ambul- reckless daring. In 1866 he was outlawed ance is refused permission to cross through and from that time until his death was con- the column of marching soldiers establishes stantly pursued by officers of the law. Dur- the ironic mood. The following sequences ing these years he attained a world-wide show the meeting of Harry and Irene in notoriety by the crimes he committed, by his Omaha when Irene is introduced as a simple romantic adventures, and his almost invari- but human and imaginative trouper in a able success. These exploits were generally vaudeville acrobatic act. Miss Shearer’s act- bank or train robberies. Finally Governor ing is nicely shaded both in this characteri- Crittenden of Missouri offered a reward of zation and later as the pseudo Russian aristo- $10JJ00 for his capture, dead or alive, and, crat traveling through Europe in the com- tempted by this bribe, two members of his pany of a munitions magnate. Clark Gable own band, Robert and Charles Ford, killed is very amusing in the role of song-and-dance him in his home at St. Joseph, Mo., (April man, manager of a group of chorus girls tour- 3, 1882.) His brother Frank, a consumptive, ing Central Europe. The two meet again in received a government pardon.”—New Stand- a frontier town when war is declared. The ard Encyclopedia. setting is dramatic—an inn set high amid The film story avoids raising the ghosts of Six MOTION PICTURE REVIEWS

Civil War animosities but uses instead the ter and a pal. It is a prank which most equally doubtful expedient of picturing in- children will delight in, although the ma- credible and shocking brutality on the part jority are too socially minded to indulge of railroad representatives as the initial cause in it except vicariously. There is plenty of Jesse James’ career of banditry. Thus when of broad humor, and average youthful audi- his mother is killed by railroad agents at- ences will deem it “keen.” As a matter of tempting to confiscate the James homestead, fact it does hold interest, and the indulgent Jesse takes revenge by shooting the murderer, will chuckle over the absurdities of the situa- and embarks on a campaign of train rob- tions. Bonita Granville makes an attractive beries to even his score against the railroads. heroine and acts with enthusiasm and zest. Soon crime becomes an end in itself for him Adolescents, 12 to 16 Children, 8 to 12 and his brother Frank, and they continue to Matter of taste Exciting rob and kill for the love of adventure. The picture is a Western melodrama and thriller SONG OF THE BUCKAROO O O of magnificent proportions, superbly photo- Tex Ritter, Jinx Falkenberg, Tom London, graphed in Technicolor against the authentic Horace Murphy, Mary Ruth, George Chese- background of the Ozark Mountains. Un- bro, Snub Pollard Story and screen play deniably entertaining, it nevertheless ends on by John Rathmell. Direction by Al Her- man. Monogram Pictures. a discordant note in a eulogy of the notorious lawbreaker, calling him a man of whom Obviously designed for children’s mati- America is proud. These lines might better nees and unsophisticated audiences “Song of be omitted for the sake of American self the Buccaroo” presents a Western theme set respect. Although the cast is generally good, in the period of the nineties. Texas Dan is the picture would have been stronger and an outlaw protecting the poor but stealing more acceptable ethically had Tyrone Power from the rich to avenge an injustice to his been able to make a convincing change from mother. His gang resists his authority, first a likable boy to a ruthless desperado. It by holding up a bank and then by killing a takes a mature viewpoint and a cool head to man and a woman in the hold-up of a cov- discount the sympathetic aura thrown around ered wagon. Injured in the fighting and left the character by Tyrone Power’s winning for dead, he is rescued by the town authori- personality and a persuasive script. ties who mistake him for the murdered set- tler. Adopting the identity of the Adolescents, 12 to 16 Children, 8 to 1 2 name and Not recommended Too violent and dead man he begins life anew and accepts unethical the responsibility of a baby girl found in the wagon. When the gang discovers him a few years later, trouble begins and a grand fight NANCY DREW, REPORTER O O with fists and guns settles the problem for- Bonita Granville, John Litel, Frank Thomas, ever. It is a naive story adequately acted. Jr., Mar Lee, Sheila Bromley, Larry Wil- An election sequence humorously satirizes liams, Betty Amann, Dickie Jones, Jack New Deal promises. There are a number of Perry. Based on the Nancy Drew Stories pleasing musical interludes by Carolyn Keene. Screen play by Kenneth brought unaf- Garnet. Direction by William Clemens. War- fectedly into the story. Tex Ritter has a ner Bros. melodious voice and croons cowboy lyrics The “Nancy Drew” stories by Carolyn well. Mary Ruth is a child prodigy on the Keene have no great literary merit but they piano and performs beautifully Bach’s “Sol- have a wide following among adolescents, feggietto in C Minor” and Schumann’s “Tra- girls particularly, in a certain stage of their umerei.” reading development. They are thrilling ad- Adolescents, 12 to 16 Children, 8 to 12 Passable venture tales, not very subtle, but romantic- A matter of taste ally melodramatic, and in the same catagory as detective stories for adults. The films are FRANKENSTEIN O O fashioned in the same mold. They are packed SON OF with action and excitement, but even twelve- Basil Rathbone, Boris Karloff, Bela Lugosi, Lionel Atwill, Donnie Dunagan, Emma year-olds recognize their lack of realism and Dunn Suggested by the story written in the fantastic luck which the heroine enjoys in 1816 by Mary Woolstonecraft Shelley. Di- her impossible escapades. In this second pic- rection by Rowland V. Lee. Universal. ture in the series, Nancy wins a journalism It is hard for anyone who does not like contest and reports for a promised month’s horror pictures to understand why anybody trial on the reporter’s staff. She cheats a should want to see one. This production has little on an assignment and unearths a mur- a fine cast, is technically extremely good and der mystery. She and her friend (Ted Nick- perhaps fascinating to those who are not re- erson) taking wild risks, and showing super- pelled by its hideousness. The close-up de- human sagacity, succeed in solving the case tails of facial expressions of the monster and although the criminals are actually caught of those whom he terrifies make the picture through a prank played by Ted’s small sis- sickening to look at. The film is a sequel of MOTION PICTURE REVIEWS Seven

the last Frankenstein picture. The son of action illustrative of the incidents described. Frankenstein attempts to revive the monster The film is without frills and appeals mainly his father had created, and to carry on the through the cleverness of the script and M. experiment of trying to provide him with a Guitry’s surpassing ability as a raconteur. human brain. The monster breaks loose, ter- Adolescents, 12 to 16 Children, 8 to 12 Mature but interest rorizes the community, and is finally disposed No interesting of in a pit of boiling sulphur.

Adolescents, 12 to 16 Children, 8 to 1 2 Very bad Terrible THEY MADE ME A CRIMINAL John Garfield, Claude Rains, Ann Sheridan, May Robson, "The Dead End Kids," Gloria SOUTH RIDING O O Dickson. From the novel by Betram Mili- Edna Best, Ralph Richardson, Edmund hauser and Beulah Marie Dix. Screen play Gwenn, Ann Todd, Marie Lohr, Milton Ros- by Sig Herzig. Direction by Busby Berkeley. mer. Based on novel by Winifred Holtby. Warner Bros. Direction by Victor Saville. British-made. Those admired Garfield’s work United Artists. who John in “Four Daughters” are likely to be greatly This English film has with fine simplicity disappointed in the role assigned to him in pictured the contrasting characters who com- “They Made Me a Criminal,” a picture pose the Housing Committee of a Town which, contrary to the connotation of the title, Council. As the social problems are settled depends for its interest on action rather than the destinies of all concerned are affected. The on character development. Its story is about story is told so naturally that the people seem a tough prizefighter who escapes a murder to live. The direction is excellent. Careful charge by fleeing from New York to Grand- attention to details of lighting, seasonal ma’s date farm in Arizona. There he falls changes, and natural surroundings gives re- in love with his employer’s daughter, teaches ality to a subject which offers food for six incorrigible boys (The Dead End Kids) thought and which will appeal to audiences to box, and helps to refinance the date farm interested in more serious drama. by fighting a barn-storming heavyweight at Adolescents, 12 to 16 Children, 8 to 12 the risk of being recognized Rather too serious No interest and returned to New York. The plot leaves much to be de- sired both ethically and logically, but the STAND UP AND FIGHT O O action is well staged and the cast is good. Robert Taylor, Wallace Beery, Florence Adolescents, 12 to 16 Children, 8 to 12 Rice, Helen Broderick, Charles Bickford, Very sordid in parts Entirely unsuitable Charley Grapewin, Barton MacLane. Direc- and unethical tion by W. S. Van Dyke. M.-G.-M.

The South in pre-Civil-War days is the setting for this tale of gory clashes between TOPPER TAKES A TRIP O O railroad builders and the manager of a stage Constance Bennett, Roland Young, Billie Burke, Alan Mowbray, Veree Teasdale, coach line. Robert Taylor, as Blake Cantrell, Franklin Pangborn. Based on novel, "Top- is an improverished Southern gentleman who per Takes a Trip," by Thorne Smith. Di- gets into the thick of the fight on the side of rection by Norman Z. McLeod. Hal Roach Pictures. the Bullet Stage Company. The plot becomes As in the first Topper film, this picture de- rather involved and seems loosely put to- pends for its humor upon trick photography gether, but the picture is a good enough one and the pranks of playful ghosts. Marion of its kind, with its historical background, Kirby is still a ghost who is trying to do a beautiful outdoor scenery, and exciting action. good deed in order to gain permanent resi- Adolescents, 12 to 16 Children, 8 to 12 Yes Probably too violent dence in the next world, and the bewildered and confusing Topper and his silly wife are still the objects of her officious ministrations. This film, not so clever as its forerunner, naturally suffers THE STORY OF A CHEAT O O from repetition, but it is nevertheless an en- Sacha Guitry, Jacqueline Delubac, Serge gaging bit of frothy entertainment. Grave, Marguerite Moreno, Roger Michel, Adolescents, 12 to 16 Children, 8 to 12 Rosine Derean. Produced and directed by Good fun Probably not suffi- Sacha Guitry. English titles by John Erskine. ciently interesting Extremely interesting both in theme and method of presentation, this unique French WINGS OF THE NAVY O picture is an intellectual treat. It tells an George Brent, John Payne, Frank McHugh, ironical story of a waif who escapes death Olivia de Haviland. Original screen play by because he committed a theft and is thus led Michael Fessier. Direction by Lloyd Bacon. Technical Advisor, Lt. Commander Hugh S. to embrace a strange philosophy of right Sease, U.S.N. Photography by Arthur Ede- and wrong which influences his entire life. son, A.S.C. Warner Brothers. The narration is spoken by Sacha Guitry who “Wings of the Navy” will hold special plays the lead, and is accompanied by silent interest for boys who delight in aeroplanes ——

Eight MOTION PICTURE REVIEWS and flying. It has a colorful and authentic giving up their lives to maintain and im- background because much of it was photo- prove our greatest safeguard against war graphed at the U. S. Naval Air Station at a powerful Navy—a powerful fighting force Pensacola, Florida, and at the West Coast “The Wings of the Navy.”

Naval Air Base, North Island near San Adolescents, 12 to 16 Children, 8 to 1 2 Diego, California. Prospective pilots will be Excellent Depends on taste long and noisy thrilled by the actual inside shots of the new PBY-2 flying destroyers and by the spectacle of hundreds of patrol bombers, pursuit and YOUTH MARCHES ON O O training planes and many larger ships flying in formation. The scenes of students in ac- Two reels. tion give a taste of what navy training means, The breezy wholesomeness of this unpre- its routine, its thrills as well as its dangers. tentious film is most refreshing and hearten- It The story itself has been told before. ing. While it is recognizable as bearing the concerns the rivalry of two brothers in work stamp of the Oxford Group philosophy, par- and in love, but it is less important than the ticularly the thought that a better world romance of flying, the intensive training the would result if each individual would de- students undergo, and the hazardous tests liberately seek a better way of life, its Thesis pass in order to win their they must valued is universally appealing. The message is de- wings. It is stunningly photographed with livered pleasingly and is illustrated by the shots of formation flights, blind flying, and spiritual awakening that came to various test flights which are emotionally thrilling. youths when they spent some weeks together While it is a propaganda film in the sense at The New Empire Camp. The production of arousing enthusiasm for defense by air, is frankly amateurish but its sincerity is the it does not touch on the subject of actual or more apparent on that account. possible war, but as the dedication states, it Adolescents, 12 to 16 Children, 8 to 12 glorifies the men who “in peace time are Very good Good

SHORT SUBJECTS

POWER O O dam and the power plants, the picture follows the electric current into the hands of a Written and narrated by Frank Whitbeck. technical staff at Metro-Goldwyn-Mayer. M.-G.-M. Here electricity illuminates excerpts from that The Colorado River and a certain local studio’s about-to-be released pictures. As a project currently known as Boulder Dam are catalogue of future bookings, it may be in- used to prove that movies are your best en- formative but as a vehicle of instruction it is tertainment. Starting with a grateful ac- as disappointing as a side-show that doesn’t knowledgment to the Department of the In- live up to the eloquence of the barker. terior, some rather overpowering statistics, Adolescents, 12 to 16 Children, 8 to 12 and instructive photographs of the river, the Yes Yes SUBSCRIPTION ORDER BLANK Please Detach and Mail in with Your Subscription

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FEATURE FILMS The Adventures of Jane Arden Ambush The Arizona Wildcat Boy Trouble Cafe Society Charles Chan in Honolulu Fast and Loose Fisherman’s Wharf Honolulu Huckleberry Finn The Jones Family in Hollywood King of the Turf Let Freedom Ring Life Dances On (Un Carnet de Bal) The Little Princess Made for Each Other Mr. Moto in Danger Island Mr. Moto Takes a Vacation Persons in Hiding St. Louis Blues The Saint Strikes Back Silver On the Sage The Spirit of Culver Stage Coach Tailspin Three Musketeers Twelve Crowded Hours Yes, My Darling Daughter You Can't Get Away With Murder

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MOTION • PICTURE • REVIEWS Published monthly by THE WOMEN'S UNIVERSITY CLUB

I.OS 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. Francis Poyas, Subscription Chairman Cooperating Branches Long Beach Glendale Santa Monica Whittier EDITORS

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Vol. XHI MARCH, 1939 No. 3

An experiment in moving picture programs for children is now being conducted by the Extension Division of the University of California. At least one Saturday afternoon a month, and sometimes more often, programs are held in Royce Hall Auditorium on the Westwood campus. The project, approved by school principals, parent-teacher groups, librarians, and others, is meeting a real need for wholesome entertainment for the younger children. Both 35 and 16 millimeter films are shown. The programs have included “Wild Animals of The Rockies,” “The Adventures of Bunny Rabbit,” “Sawdust and Sidelights,” “Cat’s Canary,” “Walt Disney’s Academy Award Review,” “The Animal Parade,” “Navaho Children,” “Mexican Children,” “Gray Squirrel,” “Woods, Waters and Wild Life,” “Heroes of The Air,” “Snow Fun,” “Water Sports.”

The number of programs given is necessarily limited on account of the lack of suitable material. Preceding the picture, Mr. Harry Q. Mills, local organist, gives half an hour

of music especially for the children. Attendance at the musical program is optional,

but has steadily increased until now, the musical program is being featured. An international program with music from all nations proved to be very popular. Admission to the program, 15 cents, two for 25 cents, adults 25 cents. Persons who wish to receive notices of future programs may have their names placed on the mailing list by writing to 815 South Hill Street, or by calling VAndike 2401. Four MOTION PICTURE REVIEWS

FEATURE FILMS

THE ADVENTURES OF JANE ARDEN O O BOY TROUBLE O O Rosella Towne, Wm. Gargan, James Ste- Charles Ruggles, Mary Boland, Joyce Billy John phenson, Benny Rubin, Dennie Moore, Mathews, Donald O'Connor, Lee, Hartley, Andrew Tombes. Screen play by Peggy Shannon, Edgar Edwards, Hobart Laura and S. J. Perelman. Based on a story Cavanaugh. Direction by Terry Morse. War- by Lloyd Corrigan and Monte Brice. Direc- Paramount. ner Brothers. tion by George Archainbaud. boys into his Based on a newspaper comic strip, this Taking two unwanted home beneficial mystery thriller relates how a girl reporter brings about a change of character in middle-aged Full of situa- on the trail of another story happens upon a crabby man. evidence that exposes a ring of jewel smug- tions pointing to the softening of a heart by love and trust, this picture leans heavily on glers. It follows the familiar pattern of news- the sentimental side. The prospect of the paper-underworld stories and is passably en- motherless hitch-hiker is one to arouse a tertaining of its type. zeal for social work, and the therapeutic ef- Adolescents, 12 to 16 Children, 8 to 12 Not recommended be- No fect of mother-love is brought out. In addi- cause of element of tion, the cost of dishonesty is pictured and crime a timely penance extracted. All in all it is full of moral cliches, not too deeply buried AMBUSH O O within the text. It may please uncritical Gladys Swarthout, Lloyd Nolan, William audiences with its almost burlesque adult Henry, Ernest Truex, Brod Crawford. Based characterizations, and the genuine feeling on a story by Robert Ray. Direction by of Donald O’Connor and Billy Lee. Charles Kurt Neuman. Paramount. Ruggles and Mary Boland present their usual characterizations ably, and young John Hart- If repetition is a factor in learning, we ley shows himself a likely new-comer with should all have committed to memory the much personality and good looks. “crime-doesn’t pay” lesson by now. “Am- — Adolescents, 12 to 16 Children, 8 to 12 bush” chooses a bank robbery and an at- Passable, but over- Not recommended tempted escape to demonstrate this truism. sentimental Among other defects, the picture suffers from addled casting. Miss Swarthout does not SOCIETY O O sing; Mr. Nolan does not menace and Mr. CAFE Madeleine Carroll, Fred MacMurray, Shirley Truex is not a farceur. Of the three Mr. Ross, Claude Gillingwater, Jessie Ralph, Nolan proves most versatile in stepping out Allyn Joslyn. Original story and screen play of his niche. As for the plot, gangsters be- by Virginia Van Upp. Direction by Edward ing pursued by the police, that's nickelodeon H. Griffith. Paramount. stuff, cops and robbers brought up to date. Amusing dialogue, beautiful photography, Adolescents, 12 to 16 Children, 8 to 12 a very glamorous leading lady, a favorite Unsuited No leading man, and an atmosphere of glittering opulence make this a picture which is sure to THE ARIZONA WILCAT O O be popular. The theme is a hardy perennial; poor young man marries spoiled society girl Jane Withers, Leo Carrillo, Pauline Moore, and proceeds to improve her character by William Henry, Henry Wilcoxen. Direction administering the discipline she should by Herbert I. Leeds. Photography by Lu- have cien Andriot. 20th Century-Fox. had in her childhood. Novelty is introduced Jane Withers is cast as a hoyden with in the methods employed to tame this par- good intentions but lawless methods, and, as ticular shrew, and some of them are extremely often happens, her part is exaggerated. Leo funny. Carrillo, as El Gato, her foster parent and Adolescents, 12 to 16 Children, 8 to 12 Too sophisticated Unsuitable father of five adorable little Mexican boys, displays his usual irresistible charm. He is a reformed bandit, who is routed out by Jane CHARLIE CHAN IN HONOLULU O O to effect the release of a nice young man un- Sidney Toler, Phyllis Brooks, Sen Yung, Eddie justly incarcerated by a rascally sheriff. Collins, John King, Claire Dodd, George Zucco. Direction by H. Bruce Humber- Once again El Gato finds himself in diffi- stone. 20th Century-Fox. culties when he and his band are brought to Comedy, human interest, and suspense are trial. It is the Wild Western type of enter- well blended in this Charlie Chan picture tainment with fast riding, masked bandits, wherein Charlie not only solves a murder and an abundance of activity. mystery but becomes a grandfather as well. Adolescents, 12 to 16 Children, 8 to 12 Exciting Confusing ideas of When a man is found murdered aboard a right and wrong freighter, Charlie and two of his sons inves- MOTION PICTURE REVIEWS Five

seekers, and a planter from Honolulu tigate the crime. As usual, they succeed in graph is trying to ac- trapping the criminal but not before another who, to please his fiancee, quire more romantic personality. The two victim is shot and a large sum of money is n decide to change places. stolen. Despite the murders, the picture is meet by accident and enjoys a vacation not gruesome, for interest centers in the solu- Brooks Mason, the actor, while George Smith, the planter, tion of the crime and in Charlie’s family af- in Honolulu his in hospitals recover- fairs. Additional diversion is provided by a spends most of time menagerie on board the ship. Sidney Toler ing from over-enthusiastic greetings from fans. complications make amusing com- is an able successor to Warner Oland. The Brooks, having fallen in love with Adolescents, 12 to 16 Children, 8 to 12 edy when Entertaining Questionable, de- a dancer, must also be attentive to George’s on tempera- pends girl who now finds her supposed fiance subtly ment of child different and much more romantic. Eleanor Powell dances brilliantly on a luxurious liner FAST AND LOOSE O O and at a night club on the Island. Gracie Rosalind Russell, Regi- Robert Montgomery, Allen is as “goofy” as usual with some nald Owen, Ralph Morgan, Etienne Girae- hilarious lines. George Burns is not con- dot, Alan Dinehart, Joe Ann Sayers. Origi- nal screen play by Harry Kurnitz. Direction stantly his wife’s stooge and adequately plays by Edwin Marin. M.-G.-M. a role which gives him more character. The characters of Joel and Garda Sloane Settings are lavish, music is popular, and found in “Fast Company” appear again in the production entertaining. “Fast and Loose” although Robert Mont- Adolescents, 12 to 16 Children, 8 to 12 gomery and Rosalind Russell replace Melvyn Entertaining Not much interest Douglas and Florence Rice in the roles. Joel is a dealer in rare books. Garda, his wife, HUCKLEBEEY FINN O O acts as his clever but flippant secretary. Their Mickey Rooney, Walter Connolly, William lives seem always complicated by theft and Frawley, Lynne Carver, Rex Ingram, Jo murder, and they turn to sleuthing, but the Ann Sayers, Minor Watson, Elizabeth Ris- don. Adapted from novel by Mark Twain. suspense is overshadowed by comic situations Screen play by Hugo Butler. M.-G.-M. and the final impression is that of light comedy rather than melodrama. Most lovers of Mark Twain have mental images of Huckleberry Finn. Adolescents, 12 to 16 Children, 8 to 12 To many, Sophisticated comedy Unsuitable Mickey Rooney fits the part as ideally as anyone who might be chosen to enact the role. His FISHERMAN'S WHARF O O unconventional appearance, husky voice, and inherent charm fit as nearly as possible Bobby Breen, Leo Carrillo, Henry Armetta, the character of the inimitable scamp of Lee Patrick, Rosina Galli, Slicker. Direc- tion by Bernard Vorhaus. R.K.O. the story. The incidents chosen for the picture lack some of the boyish pranks found The story of “Fisherman’s Wharf” is in the film version of Sawyer, but the slight, telling of how the love and confidence Tom plot is equally melodramatic, and the dialogue of a little orphaned boy for his foster-father has the real flavor of Mark Twain’s humor. are almost disrupted by the self-interest of a Huck, running away to save his benefactress calculating woman. But the charm of the from paying blackmail money to his father, picture lies in the colorful life of the Italian meets the slave, Jim, escaping to avoid be- colony on San Francisco Bay, in the rela- ing sold down the river, and although at tionship of simple kindly people who love heart bitterly opposed to Abolition, he gives each other, and in the emphasis on spiritual Jim his help. Huck and Jim run into the two and moral integrity. Bobby Breen’s voice miscreants "The King” and "The Duke” and and the musical score are delightful. It is a thereby find themselves mixed up in adven- charming film for family audiences. ture of the wildest sort. Exceptional toler- Adolescents, 12 to 16 Children, 8 to 12 Yes Yes ance, loyalty and kindness are expressed by the characters of Huck and Jim, and there is HONOLULU O O an intriguing interest in the settings of a bygone period. Much of the dialogue has Eleanor Powell, Robert Young, Grade Al- heart-warming sincerity and humor. The len, George Burns, Rita Johnson, Clarence Kolb, Willie Fung. Original story and scenery along the Sacramento River gives a screen play by Herbert Fields and Frank feeling of the Middle West along the Mis- Partos. Direction by Edward Buzzell. sissippi where the story was laid, and many M.-G.-M. of the shots of the river and the steamboats Since dancing musicals need little in the are very lovely. The cast is excellent and way of plot, this story of a movie star who the screen play by Hugo Butler, very fine, changes places with his double is adequate. retaining as it does the spirit of the original Robert Young plays a dual role, a Holly- Adolescents, 12 to 16 Children, 8 to 12 wood favorite who is tormented by auto- Fine Exciting but good Six MOTION PICTURE REVIEWS

THE JONES FAMILY IN HOLLYWOOD O LET FREEDOM RING O O Jed Prouty, Spring Byington, Ken Howell, Nelson Eddy, Victor McLaglen, Virginia George Ernest, June Carlson, Florence Rob- Bruce, Lionel Barrymore, Edward Arnold, erts, Billy Mahan, William Tracy, June Guy Kibbe, Charles Butterworth. Original Gale, Marvin Stephens. Direction by Mal- story and screen play by Ben Hecht. Di- colm St. Clair. 20th Century-Fox. rection by Jack Conway. M -G.-M. When Father Jones is chosen as delegate Since foreign release of our American to the American Legion convention in Holly- films has been restricted, we may now raise our voices for our country without treading wood, all the family insist upon accompany- on some other nation’s ego. The stage has ing him in the trailer. He spends his time set the precedent, as witness the patriotic and breath blowing on a gigantic horn in fervor of a number of productions on Broad- the parade and dodging mounted Arabs in way. Thus it is only natural that the screen follow suit, and we may well see motion pic- the studios, while Lucy seeks a career in picture audiences rise and file out singing “My tures, Jack is charmed by a movie star, and Country T’is of Thee” led by the inimitable Roger learns to run a motion picture camera. voice of Nelson Eddy. “Let Freedom Ring” has a patriotic exhilaration which carries They have a gay time while it lasts but in the burden of entertainment gallantly all the the end find Hollywood disillusioning and are way through. It concerns the problem of quite satisfied to return home. It is a thor- ignorant immigrants who were the easy oughly wholesome picture, full of light and prey of economic tyranny until, spurred on amusing episodes which will probably in- by realization of their rights as American citizens, they became a powerful force for terest those who have never seen the film democracy. The railroad, as in “Jesse James,” capitol more than those to such scenes whom is again the villain. In its march across the are familiar. country, the lawless methods of individuals Adolescents, 12 to 16 Children, 8 to 12 caused many hardships which, for dramatic Yes Yes, if interested emphasis, have been exploited. The film uses this tyrannical force as a spur to renew a realization of individual rights and to stim- KING OF THE TURF O O ulate appreciation of American superiority to any form of dictatorship. It is a grand West- Adolphe Menjou, Roger Daniel, Dolores Cos- ern melodrama with thrilling suspense in tello, Walter Abel, Alan Dinehart. Direc- gripping action and, for climax, Nelson Eddy’s tion by Alfred E. Green. Edward Small- glorious voice bringing emotional response United Artists. to a high peak. Adolphe Menjou usually plays the smart Adolescents, 12 to 16 Children, 8 to 12 sophisticate whose emotions are perfectly in- General effect good Violent action sulated, and it is therefore a surprise as well as a pleasure to see him in a part LIFE DANCES ON (Un Carnet de Bal) O which calls for the expression of deep af- Marie Bell, Francoise Rosay, Louis Jouvet, fection courageous sacrifice. and Through Harry Baur, Pierre-Richard Willm, Raimu, most of the picture he is associated with Pierre Blanchar, - Fernandel, Robert Lynen. young Roger Daniel, a very natural boy in Written and directed by Julien Duvrvier. his early teens, lively and engaging, and it A.F.E. Corp. is a happy combination for both of them. American audiences who have been fortu- The story relates the fortunes of Jim Mason, nate enough to see other pictures directed by once the greatest figure in the racing world, Julien Duvivier (“Poil de Carotte,” “Marie now through drink and gambling fallen to Chapdelaine,” “The Golem”) will not want the lot of a common tramp. The adoration miss this most interesting film. In using and trust of Goldie, who has run away from to an unique device by way of a plot, it pre- home to become a jockey, give him the in- sents a series of absorbing character studies centive to battle his way back to his former enacted by some of France’s most able actors. position. Perhaps the development of the Christine, played by Marie Bell of the Com- plot relies too heavily upon coincidence, but edic Francais, finds herself alone in the world it never loses interest. The race-track scenes after the death of her husband, and sets are well photographed and are very thril- forth to rediscover the romance of her youth. ling. Both sides of the racing picture are an old dance card are the names of men presented: the best ideals of fine breeding, On in the past professed to love her, and sportsmanship and fair play and, in contrast, who determines to find each in turn to dis- the dishonorable practices of maiming horses she become of them and whether and manipulating races through bribery. cover what has any of them is the one with whom she could Adolescents, 12 to 16 Children, 8 to 12 Somewhat mature No have found happiness. The stories of these 2

MOTION PICTURE REVIEWS Seven

men as she finds them are sometimes tragic, slice of life, the heart-rending disappoint- sometimes amusing, and always absorbingly ments and small irritations of a young cou- interesting, and superlatively acted. ple who, on a limited budget and in too Adolescents, 12 to 16 Children, 8 to 12 close quarters, are compelled to live with a Unsuitable No disapproving mother-in-law. When a baby arrives the situation becomes even more complicated. Jo Swerling has evolved real- THE LITTLE PRINCESS O O ism and written natural and human lines. Shirley Temple, Sybil Jason, Mary Nash, In fact much of it is almost too real to en- Arthur Treacher, Cesar Romero, Ian Hunter, Richard Green, Anita Louise, Miles Mander, tertain in the accepted sense. It is life Marcia Mae Jones, Beryl Mercer. Based on brought to the screen with all its poignant novel by Frances Hodgson Burnett. Screen pathos as well as with its sweetness and play by Ethel Hill and Walter Ferris. Di- is often rection by Walter Lang. Photographed in inherent comedy which at the time so technicolor. 20th Century-Fox. overlooked. The ending becomes melodra-

When Shirley Temple is starred in a matic: a desperately sick child; serum rushed well-known, children’s classic, young hearts by plane across the continent through fear- finale which promises beat apprehensively for fear that the original some elements ; and a will be lost in a setting for the star. These easier living. The cast is excellent and the fears may be set at rest concerning “The Lit- direction uncommonly satisfactory. Carole tle Princess” for, while the story is altered Lombard plays without her customary exag- in in part, it retains the spirit of the original, gerated comedy. James Stewart is good a and in reuniting Sara with her beloved familiar type of role. Charles Coburn and father, it softens the pathos of Miss Burnett’s Lucile Watson are splendidly human and by book. It is quite the best story Shirley has ideally cast. The picture is distinguished had in recent times. Because children’s books the usual values of the Selznick productions. of the ’90s were melodramatic, they make Its appeal will depend entirely upon audi- good theatre, and there is enough of fairy ence taste. tale magic in this one to thrill even modern Adolescents, 12 to 16 Children, 8 to 1 interest Too mature children. Miss Mirtchin with her grasping Mature: little materialism is brought to life. Her sister has been changed to an amusing and sympathetic brother (delightfully portrayed by MR. MOTO IN DANGER ISLAND O O Arthur Treacher) who, because of a music- Peter Lorre, Jean Hersholt, Amanda Duff, hall past is qualified to tread a few secretive Warren Hymer, Richard Lane, Leon Ames, taps with Shirley as his “pardner in crime.” D. Dumbrille. Direction by Herbert I. Cesar Romero is a romantic Ram Dass, per- Leeds. 20th Century-Fox. fectly selected to bring about the enchanting This is another Mr. Moto mystery very metamorphosis of the drab hole to which like the others in the series. The well-known Sara has been exiled after her money has detective is sent to aid the governor of a re- disappeared. Shirley shows high dramatic mote island in apprehending a gang of mur- ability in her role, and Sybil Jason is out- derers and jewel smugglers. After search- standing as the little Cockney slavey, Becky. ing a haunted swamp, he finally gets his man. A charming interlude is an exquisite dream Adolescents, 12 to 16 Children, 8 to 12 sequence, a ballet. Another is the scene Passable No where Queen Victoria is sympathetically gracious to the child searching for her father among the wounded in the hospital. Techni- MR. MOTO TAKES A VACATION O O color adds greatly to the beauty of the pic- Peter Lorre, Joseph Schildkraut, Lionel At- ture. It is family entertainment which is will, Virginia Field, John King. Direction delightfully reassuring among a plethora of by Norman Foster. Photography by Charles films dealing with crime and disillusionment. Clarke. 20th Century-Fox. Adolescents, 12 to 16 Children, 8 to 12 Very entertaining Good but When an archeologist discovers the crown emotional of the Queen of Sheba, Mr. Moto accompanies him back to America because he has a well- founded suspicion that some famous jewel MADE FOR EACH OTHER O O thief will be in the offing and he hopes to Carole Lombard, James Stewart, Charles Co- have the pleasure of making the capture. burn, Lucile Watson, Eddie Quillan, Alma This situation develops into one of the most Kruger, Ruth Weston, Donald Briggs. Screen play by Jo Swerling. Direction by John successful of the Mr. Moto series with a real Cromwell. Produced by David O. Selznick. surprise at the end. The plot is swift-mov- United Artists. ing, and the dialogue pungent. Characteriza- It is a departure for a movie to start, not tions are unusually good. close, with a marriage. Thus “Made For Adolescents, 12 to 16 Children, 8 to 12 Each Other” is a novelty. It is a genuine Yes Yes, if interested Eight MOTION PICTURE REVIEWS

PERSONS IN HIDING O O woman. Together they succeed in re-estab- Lynne Overman, J. Carrol Naish, Patricia lishing the good name of her deceased parent. Morrison, William Henry, William Frawley. The action is involved, but everything clears Direction by Louis King. Paramount. up fairly well at the end. Adolescents, 12 to 16 Children, 8 to 12 Taken from a book by Edgar Hoover, J. Not constructive Too complex the story shows both sides of a life of crime: the activities of powerful criminals and the methods used by the Federal Government in SILVER ON THE SAGE O them. In this case the brain work destroying William Boyd, George Hayes, Russell Hay- of the gangsters is done by a woman who den, Standley Hayden. Direction by Lesley leaves her monotonous life as a beauty-parlor Selander. Paramount. Harry Sherman. operator for a calling which will net her Although talking pictures have many ad- expensive perfumes and mink coats. Patricia vantages over the old silent medium, a defi- Morrison is competent in this part. Exploits nite loss was suffered in the matter of rhythm. of the criminals are exciting, unscrupulous, Only the Westerns have preserved that qual- and cruel. The constructive part of the film ity to any degree, and perhaps that is the gives an insight into the work of the G-men: reason why many people who would not the efficient files of criminal histories, finger- choose the themes find real satisfaction in printing and statistical records of geograph- a good Western. “Silver On the Sage” has ical areas. It is doubtful if the final lesson a fine rhythm in the riding, the strains of balances the sordid and depressing details cowboy music, even in the dealing of cards of the story. Repetitious presentation of in the gambling hall. The plot of this “Hop- crimes and criminals does not aid extensively along Cassidy” story follows the familiar in social development. lines, but there is enough ingenuity in the Adolescents, 12 to 16 Children, 8 to 12 various episodes to give it freshness and Impossible No color. The hero is bent on capturing a gang of cattle rustlers, and his problem is given O O complexity by the fact that the leaders are ST. LOUIS BLUES two brothers so alike in appearance that Jessie Ralph, Lloyd Nolan, Dorothy Lamour, one can establish a perfect alibi in his gamb- Tito Guizar, Maxine Sulli- Jerome Cowan, ling saloon while the other is leading his van, William Frawley. Direction by Raoul desperadoes on evil ventures. Walsh. Paramount. Adolescents, 12 to 16 Children, 8 to 12 With a Mississippi show-boat for its back- Enjoyable Too exciting for ground and some well known singers and vaudeville performers for its cast, this ought to be an entertaining, if scarcely novel film. However, it falls short of possibilities. The THE SPIRIT OF CULVER O O story is poor and unconvincing and the mu- Jackie Cooper, Freddie Bartholomew, Tim Holt, Henry Hull, sic is not good enough to make the picture Andy Devine, Gene Reyn- olds. Karhryn Kane, Jackie Moran, Walter worthwhile. otherwise Tetley, Pierre Watkin, John Hamilton. Di- Adolescents, 12 to 16 Children, 8 to 12 rection by Joseph Santley. Universal. Passable Little interest The making of an anti-social youth into a worthwhile citizen by means of military school discipline and the influence of a fine STRIKES BACK O O THE SAINT roommate is the theme of this film. Jackie George Sanders, Wendy Barrie, Jonathan Cooper plays the part of a lad who is picked Hale, Jerome Cowan, Neil Hamilton. From out of a bread line by the American Legion the novel, "Angels of Doom," by Leslie and sent to Culver. Embittered by early Charteris. Direction by John Farrow. hardships, he resents the training at the R.K.O. -Radio. school and looks with cynicism upon the Probably those who are familiar with The medal for bravery which he believes had Saint of the Leslie Charteris stories will read cost his father’s life during the World War. enough into the the picture to find it satis- Gradually, however, his roommate (Freddie factory; the majority of others will feel that Bartholomew) succeeds in imparting to him it does not quite “click,” and that The Saint a love of service to his country. So far the fails to be the suave and magnetic adven- story is real and appealing. Then enters turer he is supposed to be. Introduced as the war-scarred father who turns out to be, a modern Robin Hood, with the police often not a hero who died in battle, but a shell- at his heels and often winking at his meth- shocked deserter, and from then on the story ods, he takes pot shots at a few enemies and is mawkish and unconvincing. However it is only one step removed from the status of may be enjoyed for the sincere acting of a criminal, although he turns his unusual the boys and the scenes of life at a military powers to the chivalrous defense of a young academy. As in other films dealing with the MOTION PICTURE REVIEWS Nine

subject of military training, its message may the other a suicide—and a love triangle. The be interpreted according to the individual usual ingredients of aviation pictures are bias of the beholder. here. But the novelty is that the fliers are Adolescents, 12 to 16 Children, 8 to 12 women and that the setting is the National Yes Passable Air Derby. If one is in search of excitement, “Tailspin” has its quota but the story STAGE COACH O O is weak and the ethics dubious. Adolescents, 12 to 16 Children, 8 to 12 Claire Trevor, John Wayne, Andy Devine, Not recommended No John Carradine, Thos. Mitchell, Louise Platt, George Bancroft, Donald Meek, Ber- ton Churchill, Tim Holt. Direction by John Ford. Photography by Bert Glennon, A.S.C. THREE MUSKETEERS O O Walter Wanger-United Artists. Don Ameche, Ritz Brothers, Binnie Barnes, When Walter Wagner decides to produce Lionel Atwill, Gloria Stuart, Pauline Moore, a Western, though he may use some of the Joseph Schildkraut, John Carradine, Miles stock characters and situations of frontier Mander, Douglas Dumbrille, John King, stories the result is no ordinary picture. In Russell Hicks. Direction by Allan Dwan. “Stage Coach” there is a sense of reality and 20th Century-Fox. importance in every scene, and great beauty “Three Musketeers” is a gay, nonsensical in the far-flung desert wastes with their ma- version of Dumas’ classic with the Ritz jestic mesas and cloud-strewn skies. Even Brothers cast as three lackeys masquerading in this day of fine outdoor photography, the absurdly as Porthos, Athos and Aramis, while effects are exceptional. sense The of reality Don Ameche plays D’Artagnan in the ap- is due primarily to clear-cut character draw- proved romantic style. The task of making ing, well-written dialogue and a cast who such a combination acceptable would seem enter with zeal into the individual parts. to present an impossible problem, but Di- When the story opens Geronimo is on the rector Allan Dwan has solved it with dis- warpath in Arizona Territory, but with one tinction, and the film is proof that with skill- exception the occupants of the stage coach ful handling almost anything may be turned bound for Lordsburg are so goaded by their into good entertainment. The plot is based own exigencies that they are willing to on that part of the novel in which D’Artagnan brave the horrors of Apache warfare to with the aid of the musketeers restores to the reach their destination. The first lap of the French queen the brooch which she has in- journey goes well, with a company of troops discretely given to her lover, and thus foils to act as guard; however, the soldiers have Richelieu’s plot to undermine her influence. received strict orders to return, and addi- In this version the musketeers are replaced by tional escorts are missing. At the second stop, the lackeys in disguise who, though they have matters are complicated by the arrival of none of the musketeers’ prowess with the a baby with the assistance of an abruptly rapier, employ their own very effective meth- de-alcoholized doctor. As the Apaches are ods with gusto. Production values are ex- closing in, the only alternative is to bundle cellent and the interpolated songs are pleas- everyone into the coach and go forward. ing. When the travellers believe themselves on Adolescents, 12 to 16 Children, 8 to 12 safe terrain, the Indians swoop down for a Entertaining Yes spectacular and thrilling battle with a providential rescue at the end. Unlike most West- erns, this one does not paint moral values TWELVE CROWDED HOURS O O clearly black and white. The two most im- Richard Dix, Lucille Ball, Allan Lane, Don- portant characters are an outlaw and a ald McBride, Cyrus W. Kendall. Direction woman of ill-fame who have managed to re- by Lew Landers. R.K.O. -Radio. tain certain admirable qualities and make a In order to free the brother of the girl he bid for tolerance and the simple chance to loves, Nick, a newspaper reporter vies with survive. the District Attorney in tracking down a Adolescents, 12 to 16 Children, 8 12 to gang of racketeers, and incidentally puts the Needs adult evalua- No tion D. A. to confusion. There is all the excitement and thrill and brutality of the usual gangster film, and these qualities remain TAILSPIN O O more impressive than the stereotyped lesson of “crime doesn’t pay.” One is left with a Alice Faye, Constance Bennett, Nancy Kel- ley, Joan Davis, Charles Farrell, Jane Wy- feeling of insecurity and a bad taste in the man. Edward Norris. Original screen play mouth, although the criminals are defeated by Frank Wead. Direction by Roy Del in the end. Richard Dix does well enough to Ruth. 20th Century-Fox. deserve a better vehicle. Daring exploits in the clouds, parachute Adolescents, 12 to 16 Children, 8 to 12 jumps, spectacular crashes—one accidental, No. Wrong emphasis Gruesome Ten MOTION PICTURE REVIEWS

YES. MY DARLING DAUGHTER O O YOU CANT GET AWAY WITH MURDER O Priscilla Lane, Jeffrey Lynn, Roland Young, Humphrey Bogart, Gale Page, Billy Halop, Bainter, Fay May Robson, Genevieve Tobin, John Litel, Henry Travers, Harvey Stephens. Ian Hunter. From the stage play by Mark Reed. Screen play by Casey Robinson. Based on the play "Chalked Out" by War- Direction by William Keighley. Warner den Lewis E. Lawes and Jonathan Finn. Bros. Screen play by Robert Buckner, Don Ryan This picture is a daring departure from and Kenneth Garnet. Direction by Lewis the accepted themes usually presented by Hol- Seiler. First National. lywood. It involves the same problem as the In a picture entitled “You Can’t Get Away stage production concerning the reactions of With Murder,” First National proves that a modern miss and her family to an uncon- you can, at least in the field of entertain- girl ventional episode which the demands the ment. The picture is stark, typical of what right to enjoy because she has pieced together one would expect of an author who has the the pattern of her mother’s somewhat irreg- grim responsibility of controlling convicted ular past and assumes that what was good criminals and who wrote “Twenty Thousand for the goose is equally right for the gosling. Years in Sing Sing.” Billy Halop of “Dead well The cinema version is exceedingly done. End” fame is really the leading character. The cast is excellent, and the characteriza- Most of the vehicles in which he has ap- tions are adeptly delineated. The lines are peared have been shaded by a grotesque humorous and sophisticated, and difficult humor. Even this was relief to an anxious, scenes are superbly handled. However, it tense, and often pained audience. “You of stage lacks the subtly witty sophistication the Can’t Get Away With Murder” lacks this a character in production. In adding new vague humanitarianism. It is the story of a the role of a grandmother who takes matters youth who gets into trouble through bad as- satire into her own hands, it turns clever sociations and who is finally murdered by a into broad farce. “Yes, My Darling Daugh- fellow-convict during a prison break. Of of ter” does not qualify as encouragement current productions, three have taken us to propriety. It ends on a conventional note, the death house, and for law abiding citizens, but its suitability is limited to adult audi- this is much too often. that it frankly ridicules ences who recognize Adolescents, 12 to 16 Children, 8 to 12 laxity in accepted social customs. Definitely no No. Adolescents, 12 to 16 Children, 8 to 12 No: requires adult No. interpretation MOTION PICTURE REVIEWS Eleven SUBSCRIPTION ORDER BLANK Please Detach and Mail in with Your Subscription

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FEATURE FILMS Almost a Gentleman Chasing Danger Dark Victory Dodge City The Flying Irishman Fram for Framgang The Hound of the Baskervilles The Ice Follies of 1939 I'm From Missouri The Lady and the Mob The Lady Vanishes The Lone Wolf Spy Hunt Love Affair Midnight Never Say Die Prison Without Bars Risky Business Sergeant Madden The Story of Alexander Graham Bell The Story of Vernon and Irene Castle The Strange Case of Dr. Mead Three Smart Girls Grow Up Trouble In Sundown Wife, Husband and Friend Winner Take All Within the Law Wuthering Heights You Can't Cheat An Honest Man Zenobia SHORT SUBJECTS The Great Heart Mamma's New Hat Marine Circus THE WOMEN'S UNIVERSITY CLUB LOS ANGELES CALIFORNIA

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MOTION • PICTURE • REVIEWS Published monthly by THE WOMEN'S UNIVERSITY CLUB 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. Francis Poyas, Subscription Chairman Cooperating Branches Long Beach Glendale Santa Monica Whittier EDITORS

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Vol. XIII APRIL, 1939 No. 4

FEATURE FILMS

ALMOST A GENTLEMAN O O CHASING DANGER O O Preston Foster, James Ellison, Helen Wood, Robert Kent, Lynn Bari, Wally Vernon, Henry Wilcoxson, Joan Woodbury, Harold June Clayworth, Robert Warwick, Leonard Huber, Jody Gilbert, Pedro de Cordoba, Penn, John Wray. Direction by Leslie Good- Stanley Fields, Roy D'Arcy. Direction by winds. R.K.O. -Radio. Ricardo Cortez. 20th Century-Fox. Newsreel cameramen, plotting Arabs, a For dog lovers, this picture will have con- girl spy, shooting, wild riding in a desert, siderable appeal because of the beautiful and broad, sometimes vulgar, comedy are German shepherd dog which plays an im- combined in this mixed-up adventure story portant part in the story. The plot seems a which may be characterized in the words of bit artificial and uses a familiar situation Gertrude Stein as “Not great accomplishing to provide an emotional effect (the dog is something being struggling.” accused of a vicious killing which is after- Adolescents, 12 to 16 Children, 8 to 12 wards traced to a wild animal). However, Questionable. No the underlying theme is unusual. A social misfit, who has quarreled with his blue- DARK VICTORY O O blood in-laws, befriends their dog when Bette Davis, George Brent, Humphrey Bo- gart, Geraldine Fitzgerald, Ronald Reagan, they have condemned it to death because it Cora Witherspoon, Dorothy Peterson, Vir- ginia Brissac. From the play by George is not a thoroughbred. There is a great deal Emerson Brewer, Jr. Screen play by Casey of bitterness in the atmosphere of the film, Robinson. Direction by Edmund Goulding. Warner Bros. but it is somewhat relieved by the happy “Dark Victory,” is an emotional tragedy ending and the presence of the beautiful which is significant because of splendid Picardy Max. direction and the exceptional acting Adolescents, 12 to 16 Children, 8 to 12 of Bette Emotional. No. Davis. In interpreting the behavior of a 2

Four MOTION PICTURE REVIEWS

young girl who is in love and who knows junior matinee audiences, but modern junior that she has only a short time to live, Miss high school critics demand greater finesse, Davis pictures varying moods so adeptly and the scenes of extreme violence make it that her portrayal is masterly. The other questionable fare for younger audiences. persons in the cast, notably, George Brent, However as a “rip-snorting western” it Geraldine Fitzgerald, and Humphrey Bogart, meets all requirements, and one can enjoy give outstanding performances, but of neces- the ravishing color and the sweep of action, sity they become background for the art of and can be assured that a most attractive Miss Davis because she must give the char- hero will subdue the villains, win a lovely acter reality and make us appreciate the bride and then go on to clean up all points courage which takes the sting from death farther west. and gives the girl the power to make her Adolescents, 12 to 16 Children, 8 to 12 Matter of taste Violent and life so successful that it will leave only beautiful memories for those who will be left when death has won. Several scenes are startlingly dramatic but THE FLYING IRISHMAN O O the one where she meets the doctor and yields Douglas Corrigan, Paul Kelly, Robert Arm- Peterson, to his insistance that a diagnosis be made strong, Donald McBride, Dorothy Eddie Quillan. Screen play by Ernest Pa- of her symptoms, is one of the most human gano, and Dalton Trumbo. Narrator, Knox and artistic bits of direction and acting that Manning. Direction by Leigh Jason. R.K.O. the screen. Its restraint we have seen on Douglas Corrigan is not an actor, and his and dramatic values have rarely been voice and stature are not the sort to insure equaled. The excellent musical background, immediate screen appeal. But his sincerity photography, sound recording, editing, and is so apparent that, especially in the flying add distinction to a production which is scenes, he manages to overcome these handi- notable for its artistry. caps and even arouse a measure of real Children, 8 Adolescents, 12 to 16 to 12 enthusiasm. The picture is almost docu- No: depressing No mentary in effect. It introduces a novel departure in telling its story by having a nar- DODGE CITY O O rator bridge over years of effort and hard- Olivia De Haviland, Errol Flynn, Bruce ship. Possibly the production would have Cabot, Anne Sheridan, Frank McHugh, Alan been improved had the narration also in- Hale, Quinn Williams, Cora Witherspoon. cluded the scenes of the flyer’s early boyhood Original screen play by Robert Buckner. and the unpleasant episodes involving his Direction by Michel Curtiz. Warner Bros. father. But when Mr. Corrigan himself enters Exquisite color photography is the chief the picture the action emphasizes a fine spirit interest of this melodramatic western. of sound ambition, of perserverance ac- of the scenes call for spontaneous Many companied by rigid discipline, and of cour- applause: prairies with herds of grazing ageous refusal to accept defeat, which makes buffalo; wagon trains winding through high the scenes of the trans-continental and the grass, accompanied by hundreds of long- overseas flight to Ireland splendid accom- horn cattle; riders outlined against a sun- plishments. The final impression is inspira- set sky. The stampede of steers is brilliantly tional in presenting a hero entirely worthy pictured, free-for-all fight in a saloon and a of admiration. is violent enough to enthrall anyone with Adolescents, 12 to 16 Children, 8 to 1 a yen for vicarious adventure. But the film Constructive and Yes, if interested is not an epic. The story lacks inspiration interesting and belongs to a bygone period of cinema technique. The railroad reaches its farthest out- FRAM FOR FRAMGANG (Road to Success) post in Kansas just after the Civil War, Jussi Bjorling, Ake Ohberg, Aino Taube, Anders Henrikson, Erik Berglund. Screen and the terminus is called Dodge City. As play by Gunnar Skoglund. Music by Eric the the town grows, lawless element runs Bengton and S. F. Orchestra. Produced by wild. Our hero is asked to settle there and A. B. Svensk Filmindustri, Stockholm. Screen enforce law and order. He hesitates until captions in English. an innocent child meets a horrible death in American audiences will be interested in an accident indirectly caused by a street this introduction to the Swedish tenor, Jussi brawl. The murders and terrorizing of Bjorling, whose beautiful voice has recently citizens suggest the atrocities in foreign been heard at the Metropolitan Opera and countries of which we read today, but over the air. He is not a romantic hero these are pictured only for emotional, melo- nor does this amusing comedy attempt to dramatic effect and to serve as a medium make him one. He plays the role of a singer for displaying the physical prowess and who strives for a radio audition and finally sterling courage of a picturesque hero. It resorts to forcing his way in to sing to the is the type of film which formerly thrilled head of a broadcasting station, unaware that MOTION PICTURE REVIEWS Five they are on the air. He realizes that he has whose career interferes with her home, but ruined a broadcast and goes into hiding from it has moments of bright dialogue and fresh, the police not knowing that they are looking delightful situations. The skating, however, for him because his voice has won recogni- is superb. Unfortunately, the first skating tion. Jussi Bjorling sings several folk songs sequence is in gray film, poorly illuminated and arias from “The Masquerade Ball,” and poorly photographed so that much of the English subtitles give clear understanding perfection in the chorus numbers is lost, but of the action and the foreign locale adds in- the second sequence called “The Cinderella terest and novelty. Finale” brings all the light and color one Adolescents, 12 to 16 Children, 8 to 12 has come to associate with “The Follies” and If musical Little interest is so close to perfection in staging and execution that when the picture has had its run, “The Cinderella Finale” in technicolor THE HOUND OF THE BASKERVILLES O ought to be lifted from the film and sent out Basil Rathbone, Nigel Bruce, Lionel Atwill, as a short. Beryl Mercer, Richard Greene, Ralph Forbes, Adolescents, 12 to 16 Children, 8 to 12 Wendy Barrie, Morton Lowry, John Carra- Entertaining for the Mature problems dine. Direction by Sidney Lanfield. 20th skating treated in story Century-Fox. the Baskervilles” may well “The Hound of I'M FROM MISSOURI O O be a preview of your next nightmare! Those Bob Burns, Gladys George, Judith Barrett, who follow a name to the movies will be a William Henry, E. E. Clive, Doris Lloyd, bit disappointed to see Basil Rathbone as Barry Lackay. Direction Theodore Reed. Paramount. Sherlock Holmes, for his ability is in no way taxed by this run-of-the-mill part. Bob Burns with his homespun humor is Set in a manor house of grim history on the the inspiration for this lightly entertaining bleak, craggy, treacherous moors of Devon- comedy in which he plays the role of a shire, the story has a background of super- Missouri mule-trader who takes his fam- natural suspense which is emphasized by ily and his pet mule to London. While his telling photography and eerie sound effects. wife tries unsuccessfully to break into Lon- Sir Henry Baskerville inherited the Basker- don society, he puts over a deal with the ville estate and with it a certain bit of British Army to buy the entire product of folklore concerning the violent deaths of the Missouri mule market and thus confirms his predecessors. Determined to rid him- the popular belief that to get along among self of this legend, Henry goes to Devon- foreigners a smart American business man shire and is almost killed by a huge dog need only be himself. which has been brought to the scene by the Adolescents, 12 to 16 Children, 8 to 12 heir next in succession. Richard Greene and Yes Yes Wendy Barrie are necessary bits of sunshine in this all too grim tale, and if you aren’t THE LADY AND THE MOB O O frightened out of your wits by the time the Fay Bainter, Ida Lupino, Lee Bowman, Hen- mystery is you’ll solved, be amused by Mr. ry Armetta, Warren Hymer, Harold Huber, Rathbone’s last line, “Come Watson, the George Meeker, Forbes Murray. Screen play needle.” by Richard Maibaum and Gertrude Purcell. Director Ben Stoloff. Columbia. Adolescents, 12 to 16 Children, 8 to 12 Exciting Too nerve wracking This tells of an enthusiastic crusade © against crime, led by an eccentric old woman who succeeds in clearing up dishonest prac- THE ICE FOLLIES OF 1939 O O tices in her city. Audiences will find it Joan Crawford, James Stewart, Lew Ayres, mildly entertaining because of its light- Lewis Stone, and International Ice "The hearted quality. One is always conscious Follies" with Bess Ehrhardt, Roy Shipstad, Eddie Shipstad, and Oscar Johnson. From of the ridiculous and incongruous elements the story by Leonard Praskins. Direction of which it is composed, but the story is by Reinhold Schunzel. M.-G.-M. held together by interesting characterizations, In the advance notices concerning “The especially that given by Miss Bainter. Old Ice Follies of 1939,” one gathered that Miss Mrs. Leonard is a type of role unlike any Crawford would skate. Intrigued by the she has assayed before on the screen, being promise of this new accomplishment, patrons less real and rather a tour-de-force for her. will be disappointed to find that she doesn’t. Ida Lupino skims through her part, Henry The role played by Miss Crawford seems a Armetta’s performance is heart warming as secondary one considering her stellar stand- well as laugh provoking, and Warren Hymer ing and could have been filled by any of and others of the gang are good. the attractive girls that studios have under Since the whole approach to the crime inexpensive contracts. The picture is held question in this case is for humorous pur- together by a stereotyped plot about a wife poses, one must not expect any serious solu- Six MOTION PICTURE REVIEWS

tion. Mrs. Leonard’s principle is, obviously, for the anemia which is said to have at- that the end justifies the means, and she tacked the screen. It merely tells the love uses extra-legal methods to bring about what story of two somewhat oversophisticated peo- the law has failed to do. The climax is ple, but it tells it in such a way as to make reached when she begs the exploited mer- their idyllic love believable and their sor- chants to resist the dictatorship of the racket- rows poignantly real. The lines have both eers and “be Americans.” Thus two favorite wit and sentiment, and the acting and direc- movie themes, gangster and patriotic, are ex- tion combine to make a truly outstanding pro- pounded in the same film. It is not an out- duction. Though Charles Boyer and Irene standing production but will be passably Dunne give exceptionally fine performances, amusing on a double bill, if one must en- Maria Ouspenskaya’s portrayal of the lovely dure this exhausting procedure. grandmother will be longest remembered. Adolescents. 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Passable Better not Mature No interest

THE LADY VANISHES O O MIDNIGHT O O Claudette Colbert, Don Ameche, Francis Margaret Lockwood, Michael Redgrave, Paul Lederer, John Barrymore, Mary Astor, Lukas, Whitty, Cecil Parker, Dame May Elaine Barrie, Hedda Hopper. Screen play by Linden Travers. Direction Alfred by Hitch- Charles Brackett and Billy Wilder. Adapted cock. Gaumont-British. from a story by Edwin Justus Mayer and “The Lady Vanishes” achieves distinction Franz Schultz. Direction by Mitchell Lei- sen. Paramount. in its field, not because of any striking performance, exceptional photography, or un- An ingenious plot, adroit direction, and usual sets, but because it is a smooth, highly a particularly clever cast, combine to give entertaining mystery, in the solution of which us one of the most hilarious farce com- the audience will find genuine pleasure and edies of the season. It concerns the astonish- amusement. The action takes place, first in ing adventures of a penniless American an Alpine inn where various travelers are chorus girl who arrives in Paris in an even- marooned for the night because of an ava- ing gown and without baggage after an lanche, and then on board a train which embarrassing streak of bad luck in Monte carries villians, victims, and numerous minor Carlo. A taxi driver befriends her but she characters who add lively interest to the runs away from him only to find herself mis- plot. taken for a guest at a fashionable musicale. Adolescents, 12 to 16 Children, 8 to 12 John Barrymore sizes up the situation and Entertaining Too involved and begs to use her as a decoy in order to exciting break up a romantic affair his wife is en- joying. She agrees and the resulting masquerade is uproariously funny as Claudette THE LONE WOLF SPY HUNT O O claims marriage to a man she’s never met Warren William, Ida Lupino, Rita Hay- and divorces a man she never married. worth, Ralph Morgan, Virginia Wiedler. Miss Colbert is at her best in this type of Direction by Peter Godfrey. Columbia. role. John Barrymore does his best comedy. With no attempt at finesse, logic or real- Don Ameche, Mary Astor and Francis ism a search for stolen plans races through Lederer are perfectly cast. Minor roles de- to a successful finish involving detectives, serve recognition. The sets and gowns are professional, amateur, and junior, in start- beautiful and lavish. For sophisticated, ling and exciting action. is The film of no witty comedy with a Continental background, great importance from any point of view. we recommend “Midnight.” Adolescents. 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Not worth while Too confusing Sophisticated and Unsuitable mature LOVE AFFAIR O O Irene Dunne, Charles Boyer, Maria Ouspen- NEVER SAY DIE O O skaya, Lee Bowman, Astrid Allwyn, Maurice Martha Raye, Bob Hope, Ernest Cossart, Moscovich. Screen play by Delmar Daves Paul Harvey, Andy Devine, Siegfried Ru- and Donald O. Stuart. Direction by Leo mann, Alan Mowbray, Gale Sondergaard. McCarey. R.K.O. -Radio. Based on a play by Wm. H. Post. Direc- tion Elliott “Love Affair” is one of those rare films by Nugent. Paramount. which happily appear just often enough to A young millionaire hypochondriac, win- restore public confidence in the belief that tering at a Swiss health resort, has his health a motion picture can be a thing of beauty chart mixed by laboratory workers with and a joy to those who see it. It has no that of a dog patient and is warned when burning issues to settle nor is it one of those he goes to get the results of his tests that fearless exposes of contemporary problems he has only a month to live. He and his which lately have been called the cure all valet then spend their time fleeing from a MOTION PICTURE REVIEWS Seven

pursuing widow, and in their efforts to es- SERGEANT MADDEN O <> cape, collide with the young daughter of Wallace Beery, Alan Curtis, Tom Brown, an American millionaire whose father has Laraine Johnson, Marc Lawrence. Screen brought her to Europe in search of a title. play by Wells Root. Direction by Josef The “title” is an impoverished prince who von Sternberg. M.-G.-M. is hounded by creditors and eager to marry the young heiress. With that setup the rest With the fear that the audience may not recognize theme, of the story is obvious. Despite the hack- the underlying Metro- Goid- neyed plot and slapstick detail, there are wyn-Mayer states it at the beginning of the some amusing lines, but the picture as a picture. Being thus forearmed, one learns are heroes block whole is only a mediocre farce which nar- that there on every though rowly avoids being vulgar. one may not recognize them, and of these, the Adolescents, 12 to 16 Children, 8 to 12 policeman on the beat, because of his ad- Not recommended No herence to duty, is outstanding. As proof, Wallace Beery, cast in the role of policeman and father, shows that his years of dis- PRISON WITHOUT BARS O O cipline and service force him to place his duty before his love for his son when that Corinne Luchaire, Edna Best, Barry Barnes, son turns into a murderous outlaw. The Mary Morris, Martita Hunt, Margaret Yarde, picture is sentimental, laden with the little, Eisie Shelton, Lorraine Clewes. Direction human details of everyday living. It be- by Brian Desmond Hurst. Korda-United comes violent in action when a boy turns Artists. criminal, and ends with a pleasant if rather In the manner of other current exposes of feeble anti-climax. the treatment of social delinquents, this melo- Adolescents, 12 to 16 Children, 8 to 12 drama investigates the problems of a girls’ Involved ethics Unsuited reformatory. Enlightened kindliness versus brutality in the handling of the inmates is presented in a story which uses many of the situations which seem inevitable in the pic- THE STORY OF ALEXANDER turization of such themes. The new director, GRAHAM BELL O O an attractive young woman, tries to put her Don Ameche, Loretta Young, Henry Fonda, theories into practice but is impeded by the Bobs Watson, Charles Coburn, Spring By- distrust of those who supported the former ington, Sally Blane, Polly Ann Young. administration and the lack of co-operation Screen play by Lamar Trotti, from an orig- among the worst element in the institution. inal story by Ray Harris. Direction by Irv- She is eventually vindicated, but in the ing Cummings. 20th Century-Fox. meantime loses her fiance, the institution In writing the life of this famous Amer- doctor, to one of the trusted inmates. In- ican, the scenarists have contrived a happy teresting to film addicts because it presents blending of realism and romance. We see a new foreign actress, Corinne Luchaire, it in the early scenes the familiar struggle will appeal otherwise only to audiences who of the hero and his faithful friend against have a definite liking for this type of en- poverty and derision. Don Ameche’s acting tertainment. Better than average acting and is a fine sensitive piece of work that im- technique may excuse its trite scenario but mediately endears young Bell to his audi- cannot make it a significant contribution to ence. We follow with sympathy his experi- the current screen output. ments, his casual first meeting with the deaf Adolescents, 12 to 16 Children, 8 to 12 girl who finally becomes his wife, and his Most unsuitable Most unsuitable teaching of a little deaf mute boy to talk. When he finally wins the backing of the little RISKY BUSINESS O O pupil’s father and the father of his fiancee for the perfecting of his telephone and goes George Murphy, Dorothea Kent, Eduardo to Europe with his lovely young wife to dem- Cianelli, Leon Ames, El Brendel, John Wray, onstrate the new device to Queen Victoria, Arthur Loft. Direction by Arthur Lubin. follow his fortunes with Universal. we absorbing interest. Then enters the villianin the form of the There have been many films in which a Western Union Company, which claims pri- smart newspaper reporter turns sleuth, but ority of patent on the new invention. The a novel twist is given to this picture by mak- court room scene in which Bell’s young bride ing a radio announcer the hero who solves reads one of his early love letters is some- a kidnapping and exposes the criminals. The what melodramatic and unreal, but the story action is dramatic enough to hold the atten- as a whole is a fine, inspiring piece of work, tion of audiences who find the subject matter beautifully acted and directed. to their liking. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Excellent. Excellent if they Questionable No are interested. Eight MOTION PICTURE REVIEWS

THE STORY OF VERNON AND THE STRANGE CASE OF DR. MEAD O ^ Jack Holt, Beverly Roberts, Noah Beery, IRENE CASTLE O <> Jr., Helen Jerome Eddy, John Qualen. Di- Fred Astaire, Ginger Rogers, Edna May rection by Lewis D. Collins. Columbia. Oliver, Walter Brennan, Lew Fields, Etienne If the subject of this picture is worth- Girardot, Janet Beecher, Victor Varconi, while propaganda for rural districts, it serves Donald MacBride, Robert Strange, Ralph its purpose. It is in fact a novel departure Sedan, Frances Mercer. Based on stories for a B class film in as much as it intro- Husband" and "My Memories of Ver- "My duces the serious problem of adequate med- non Castle" by Irene Castle. Screen play ical care in a backwoods community. A by Richard Sherman. Musical Director, Vic- prominent New York surgeon, trying to get tor Dance Director, Hermes Pan. Baravalle. a vacation where he will not be known and Director of production, H. C. Potter. R.K.O. thus will not be called upon for consulta- For those who have seen Irene and Ver- tions or talks before medical groups, hides in a section of the country where an un- non Castle at the height of their career, trained man is the only available practitioner. this picture will evoke a charmed nostalgia. This man’s prejudice and ignorance bewilder Ginger Rogers and Fred Astaire recreate the physician, and an epidemic arouses his enough of our fading impressions of the professional ire. At last he succeeds in Castles to give credence to their imperson- bringing order out of chaos. The produc- ations, and the beautiful love story is suffi- tion is not without interest but it is inferior ciently true to facts to satisfy what we know in script, direction and performances. of their lives. It is an exquisite picture about Adolescents, 12 to 16 Children, 8 to 12 Not recommended No interest charming people, set in a period which to many will recall the glorified magic of youth. The music, once universally popular, re- THREE SMART GIRLS GROW UP O O calls happy memories, and since many of Deanna Durbin, Charles Winninger, the dance tunes presented are being re- Nan Grey, Helen vived, even modern youth may recognize Parrish, Robert Cummings, Wm. Lundigan, Ernest Cossart. Nella the spell they conjure. Wal- ker. Direction by Henry Koster. Universal. The production develops the evolution of Deanna Durbin, with her spontaneous the modern ballroom dance, and few today charm and lovely voice, seemingly is all that could demonstrate this cavalcade as beauti- is needed to make a film popular. However, fully as Mr. Astaire and Miss Rogers. They for good measure this production are perfectly paired, and we hope that their offers Charles Winninger in one of his entertain- careers will not be separated and that they ing characterizations. The plot is almost may continue to combine their skill in in- too absurd especially in its ending, but the terpreting dancing in its perfection of rhythm film is full of lively incidents and grace. and on the whole is a well turned out, nicely finished The gowns, designed by Irene Castle, of product. Miss Durbin is again an exuberant the period 1911 to 1918 are pictured in such young miss who manages the love affairs of charming perfection that it is easy to ap- her sisters and brings a neglectful parent preciate the vogue for “Castle Styles” which to the realization of his deficiencies. once swept the country. (And how many of Adolescents, 12 to 16 Children, 8 to 12 us too assayed the “dutch cap” and bobbed Good Yes our hair?) The exaggerated eccentricities of the “Castle Walk” which some dancers IN O once affected were never popular with those TROUBLE SUNDOWN O George O'Brien, Rosalind Keith, Ray Whit- who saw it danced by its originators, and after this expression of rhythm performed ley, Chill Wills, Ward Bond, Cyrus W. Kendall, again with rare skill and dignity, we ap- Howard Hickman, Monte Mon- preciated anew the consternation which af- tague. Direction by David Howard. R.K.O.- fects the older generation when “jitterbugs” Radio. get under way. The cast is perfect, with Cowboy songs and outdoor scenery provide Edna May Oliver’s and Walter Brennan’s about all the entertainment there is in this delectable humor and Lew Fields, Etienne routine western. The main characters are: Girardot, Janet Beecher and Rolph Sedan a banker who is suspected of robbing his adding capable characterizations to an ex- own bank, the banker’s daughter, the hero ceptional performance. The direction of H. who is in love with her, and the respected C. Potter is very fine. For all audiences we citizen of Sundown who turns out to be the unreservedly recommend “The Story of arch criminal. The lines are stilted and the Vernon and Irene Castle.” acting stagey. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Excellent Excellent Passable Too much shooting MOTION PICTURE REVIEWS Nine

WIFE. HUSBAND AND FRIEND O O Law,” it is dressed in clothes by Dolly Tree Loretta Young, Warner Baxter, Binnie and otherwise brought up to date to become Barnes, Cesar Romero, George Barbier. Di- a starring vehicle for a promising young rection by Gregory Ratoff. 20th Century- actress named Ruth Hussey. Her role is that Fox. of a girl who is wrongfully convicted of larcency who promises to avenge her- Clever script and skilful touches in di- and self on the who sent her to prison. rection raise this comedy above the average man prison she studies law and learns although the farcical nature of the denoune- While in a great deal about unethical practice and ment is not in keeping with the original tone to remain just within the law. Fortified of the production, and in some scenes the how with this knoweldge she sets her stage and characters lose sympathy due to their be- for while her plot progresses, but the right havior under emotional strain. The theme a brings about a change of heart. With concerns the modern problem of the woman man the exception of Ruth Hussey and Tom Neal who wants a career above marriage, but in most of the players are seasoned performers this case she has not the talent to excuse her and their capable handling of secondary ambition and the husband finds an unusual roles assists in making this a better than weapon for defense when he discovers that average film. his own talent surpasses that of his wife. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Unsuited No No value No

WINNER TAKE ALL O O WUTHERING HEIGHTS O O Laurence Olivier, Merle Oberon, David Tony Martin, Gloria Stuart, Henry Armetta, Niven, Flora Robson, Donald Crisp, Hugh Kane Richmond, S. Summerville, Robert Al- Williams, Geraldine Fitzgerald, Leo G. Car- len, Eleanor Virzie. Direction by Otto Brower. 20th Century-Fox. roll, Cecil Humphreys, Miles Mander, Ro- maine Callender, Cecil Kellaway, Rex When Henry Armetta plays the part of Downing, Sarita Wooton, Douglas Scott. “Papa Gambini,” the kindly, excitable Ital- Direction by William Wyler. Samuel Gold- ian head of a large family, he gives suffi- win-United Artists. cient originality and humor to almost any to story atmosphere picture to make it worth the price of admis- Faithful the and of sion. His presence in “Winner Take All” the novel from which it was adapted, combined with some realistic prize-fight “Wuthering Heights” is a somber, psycho- sequences will probably lure enough of the logical study of inner conflict and the tragic public to reimburse the producers and ex- influence of warped philosophy. It is an hibitors. However, the picture has no other unusual character study of persons whose claims to merit, and patrons who are fond mental trends verge on the psychopathic. of “Papa Gambini” will be sorry to see The retrospective method of presenting the him mixing in prize-fight rackets and betting story is skilfully achieved. Beautiful photography, a charitable organization’s funds on a fight, an effective musical score, expert even though he wins thereby enough money acting, and superb direction contribute to an artistic to enable the Garibaldi Society to build a achievement. But with all the assets recreation hall for young people. Tony of the production and through no fault in Martin plays the part of a Montana cowboy interpretation, the unreality of the plot makes who works as a dishwasher in Gambini’s the characters seem as far removed from restaurant and through the encouragement real life as was the sheltered author of the book. of a girl news writer becomes a champion Heat/icliff, the wild gypsy waif, is pugilist. like the surrounding background of the Adolescents, 12 to 16 Children, 8 to 12 moors, dour, bleak, relentless and forbidding. Ethically poor No Cathy, less dominated by surrounding circumstances because of her natural inheri- WITHIN THE LAW O O tance, has generosity, fire and a great capac- ity for passionate love. These traits are so Ruth Hussey, Tom Neal, Paul Kelley, Wil- uncompromising that they form within her liam Gargan, Paul Cavanaugh, Rita Johnson, almost a dual personality. She both loves Samuel S. Hinds, Lynne Carver, Sidney and scorns the man who allows her frus- Blackmer. From the play by Bayard Veiller. trated love to poison the lives of all around Screen play by Charles Lederer and Edith him. These roles are magnificently inter- Fitzgerald. Directed by Gustav Machaty. preted by Laurence Olivier and Merle M.-G.-M. Oberon. The supernatural ending may M-G-M has dusted off an old play which arouse controversy but it is not out of keep- last made its appearance on the screen under ing with the spirit of the book. This pre- the title of “Paid,” starring Joan Crawford. sentation of a Victorian novel is an interest- Reassuming its original title, “Within the ing experiment, and the technical excellence 2

Ten MOTION PICTURE REVIEWS

will arrest attention even in a world pre- ZENOBIA O O occupied with serious contemporary prob- Oliver Hardy, Billie Burke, Joan Parker, lems. Certainly it affords no escape into a Harry Langdon, Alice Brady. Direction by happier realm, for its somber mood is estab- Gordon Douglas. Hal Roach-United Artists. lished at once and is sustained throughout. Zenobia is the elephant whose infatuation Adolescents, 12 to 16 Children, 8 to 12 for a doctor who healed her injuries is so An adult theme. No. amusingly recounted in the H. C. Bunner

story. Since the use of her name in the title CAN'T CHEAT AN HONEST MAN O YOU of this picture infers that she is still the (Charlie Mc- W. C. Fields, Edgar Bergen, heroine, her friends will be surprised and Snerd), Constance Carthy and Mortimer disappointed to discover that the human Moore, John Arledge, Mary Forbes, James characters almost push her out of the Bush, Thurston Hall, Princess Baba. Direc- scenario. The material of the original story tion by George Marshall. Universal. in the hands of skilled craftsmen might have an hilarious comedy, but to the What plot there is to this boiterous farce made fanciful framework of the original story concerns the efforts of a carnival owner to the screen writers have tacked a treatise on keep out of the way of the sheriff who is social snobbishness. Most of the cast play after his bankrupt show. W. C. Fields dis- “straight,” and the inconsistencies in treat- plays his usual brand of humor and con- ment turn the production into a hodgepodge of farce and serious drama including the tinues his feud with Charlie McCarthy. currently popular appeal to patriotic emo- There are funny episodes but as a whole it tions. Of the cast, the colored members is dull. give the most consistent performances.

Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 1 Matter of taste. No value. Passable Possibly enjoyable.

SHORT SUBJECTS

THE GREAT HEART O O versal amusement than any of the most An M.-G.-M. “Miniature" short subject. promising ponies that run at Santa Anita. Screen play by Morgan Cox. Direction by David Miller Commentator, Carey Wilson. Family. A somewhat theatrical and fictional but moving dramatization of the work of Father MARINE CIRCUS O O Dameon, who humanized the care of lepers A Pete Smith Short. Directed by James A. isolated on the lonely island of Molokai in Fitzpatrick. the Pacific. It is beautifully photographed A marine studio has been established on in sepia with intelligent narration. It is the coast of Florida for the scientific study

more suited to adult attention than to of subaqueous life. Portholes at different childrens’. levels of a large tank make possible a comfortable scrutiny of marine zoology. In his MAMMA'S NEW HAT O O inimitable fashion Pete Smith enlightens us A Captain and the Kids Cartoon. M.-G.-M. as to the names and feeding habits of many This animated cartoon in black and white of the specimens we see. Family. features a horse that will give greater uni- MOTION PICTURE REVIEWS Eleven SUBSCRIPTION ORDER BLANK Please Detach and Mail in with Your Subscription

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FEATURE FILMS

Back Door to Heaven Big Town Czar Broadway Serenade Calling Dr. Kildare Captain Fury Confessions of a Nazi Spy East Side of Heaven The Family Next Door The Hardys Ride High Heritage of the Desert Invitation to Happiness Juarez The Kid from Texas King of Chinatown The Lady's from Kentucky Man of Conquest Mystery of the White Room The Return of the Cisco Kid Sixty Glorious Years Society Smugglers Sorority House Stolen Life Sudden Money They Made Her a Spy Union Pacific

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MOTION PICTURE REVIEWS Three

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Vol. Xin MAY, 1939 No. 5

BACK DOOR TO HEAVEN O O lice, takes shelter in the old schoolhouse, and Wallace Ford, Alice McMahon, Stuart Er- there, in an almost farcical scene, bids his as- sembled win, Patricia Ellis, Bert Frohman, Kent classmates good-bye and dashes out Smith, Bruce Evans. Screen play by John to be shot. For some audiences the good act- Bright and Robert Trasker. Music score ing and emotional appeal may obscure the by Erno Rapee. Direction by William K. sentimentality of the story. Howard. Paramount. Adolescents, 12 to 16 Children, 8 to 12 Too sentimental and No Once more the boy victim of adversity is emotional the central figure in a crusading melodrama. The story centers around the small-town schoolhouse where we arc shown graduation BIG TOWN CZAR O O exercises of the typical grammar school Barton MacLane, Tom Brown, Eve Arden, class. There is the potential banker, the artist, Jack LaRue, Frank Jenks, Oscar O'Shea, the singer, etc. Frankie, the hero, who comes Esther Dale. Based on an original story, from a drunkard’s home, is urged by his "Czar of Broadway," by Ed. Sullivan. Screen teacher to prepare to take part in the closing play Hartman. exercises, and, lacking any means for com- by Edmund Direction by Arthur Lubin. Universal. plying, steals a harmonica from a music store and plays a solo. He is arrested and sent to a Consumed by ambition and a desire for reformatory. From this springboard we dive quick money, a man from the slums becomes into a dreary succession of incidents showing the leader of a gang. His younger brother Frankie and two companions going from bad leaves college for the greater excitement of to worse until Frankie is finally sentenced to a criminal life and both lose their lives. the electric chair. The story is merely a se- While the picture has the usual “crime does ries of prison close-ups unrelieved by even not pay” lesson, too much of the technique robust dialogue. Returning to the little home of crime is shown and a belated penalty is town just as the former grammar school not an adequate moral counterbalance to a class (now all middle-aged men and women) whole film of lawlessness. are staging a reunion honoring their old Adolescents, 12 to 16 Children, 8 to 12 teacher, Frankie, being pursued by the po- No No, definitely —

Four MOTION PICTURE REVIEWS

BROADV/AY SERENADE O O CAPTAIN FURY O O Jeanette MacDonald, Lew Ayres, Frank Brian Aherne, Victor McLaglen, Paul Lu- kas, June Lang, John Carradine, George Morgan, Ian Hunter, Rita Johnson, Virginia Zucco, Douglas Dumbrille, Virginia Field. Grey, William Gargan, Katherine Alexan- Screen play by Grover Jones, Jack Jevne der, Al Shean. Screen play by Charles and William DeMille. Direction by Hal Roach. Hal Roach Studios. Lederer. From an original story by Lew Lipton, John Taintor Foote and Hans Kraly. With the historical theme of the early con- Direction by Robert Z. Leonard. M.-G.-M. vict colony of Australia as material, this picture gets away to an exciting start when a M.-G.-M. didn’t let the script of “Ice Fol- new shipload of criminals arrives from Eng- lies” gather any dust, for here it is again, re- land and is sent to work on one of the large vamped for “Broadway Serenade,” with mu- sheep ranches. The opening scenes depict sic replacing the rink. young people Two brawls with other convict workers and the are struggling along together. The girl be- feud between the legitimate settlers and comes enormously successful, the boy can't land-grabbers who are stealing their estates. make the necessary adjustment, bitter and a Captain Fury, one of the late-comers among misunderstanding ensues; but eventually, the convicts, meets the daughter of the man when he also becomes successful, they are to whose service he has been assigned, falls reconciled. There is enough of Jeanette in love with her, and decides to head a gang MacDonald's singing to satisfy the most avid to help her father and his law-abiding fan, and so music ranging from opera much neighbors win out against the depredations to swing that the plot is sometimes obscured of the cruel landlord. The succession of by it. A rather bizarre symphonic finale fights is so swift and continuous that one which places the two types of music in juxta- finds it difficult to tell sometimes who be- position could have been interesting if the longs to which group, but with a dead man staging had been less complex, but the dark bniraculously coming to life in the final act, setting, the dark costumes, the grotesque everything is settled satisfactorily. Though masks the continuous changes in and camera the film may be distressingly violent for angles are confusing and tiring. On the some audiences, others will find it absorb- whole the picture is disappointing. ingly interesting and all will enjoy its un- Adolescents, 12 to 16 Children, 8 to 12 usual locale, its excellent comedy relief, and Possibly entertaining Tiring no the beautiful pastoral scenery. interest Adolescents, 12 to 16 Children, 8 to 12 Not recommeded No * CALLING DR. KILDARE O O CONFESSIONS OF A NAZI SPY O O Lew Ayres, Lionel Barrymore, Lana Turner, Edward G. Robinson, Francis Lederer, Laraine Johnson, Nat Pendleton, Marie George Sanders, Paul Lukas, Henry O'Neill, Blake, Lynne Carver, Samuel S. Hinds, Em- Dorothy Tree, Lya Lys, Grace Stafford. Based on the articles Leon G. Turrou. ma Dunn. Screen play by Harold Ruskin by Screen play by Milton Krims and John and Willis Goldbeck. From an original Wexley. Direction by Anatole Litvak. War- story by Max Brand. Direction by Harold ner Bros. S. Bucquet. M.-G.-M. Any title containing the word “confes- The second picture in the Dr. Kildare sions” is likely to connote something lurid, series picks up the story where the first left something presented' for its sensationalism off, with Dr. Kildare still an interne acting rather than its factual values. It is gratify- as Dr. Gillespie’s assistant. Dr. Gillespie ing, therefore, to find “Confessions of a Nazi believes he has found in Dr. Kildare the Spy” evading sensationalism. It is neither material for a great diagnostician, but when the hysterical outburst of an alarmist nor just he discovers a weakness in the younger doc- another story of espionage, but rather a log- tor’s work, aggravated by a certain cock- ical and vivid presentation of facts which sureness, he seeks to remedy it by a “sink or should bring us all to a vivid awareness of swim” expedient. Although this film is one the dangers that are developing in our midst. of a series, it is an entity and no previous Being a calm, easy-going people, comfort- acquaintance with the characters is neces- able in the security of natural barriers, we sary. While the story contains humor, pa- have too long been apathetic toward possible thos, suspense, and human interest in such threats to our political well being. The ac- happy proportions that a hearty acceptance tion is woven about the trial which took of the picture will probably be general, for place in New York several months ago, in the purpose of dramatic entertainment, situa- which four spies were convicted of espionage. tions are introduced which are certainly not By following the activities of these four peo- typical of the average interne’s experiences. ple up to the time of the trial, the picture Adolescents, 12 to 16 Children, 8 to 12 gives a very good idea of actual Nazi ac- Probably not Too mature tivities in the United States, including use of MOTION PICTURE REVIEWS Five nation wide propaganda and spy systems, perience. That he has the judgment to run the influence of Bunds, the terrorism of the away from a bad situation is in his favor, Gestapo and their methods of dealing with but the suggested sophistication is not in disloyal members. “Confessions of a Nazi keeping with the usual treatment given these as is becom- Spy” is not a picture to be easily forgotten. stories. Mickey Rooney Andy It deserves unqualified praise because of its ing a bit tiresome in his brash behavior, and uncompromising handling of a vitally seri- one wonders whether he is to continue to be ous problem and the absorbing way in which the perennial adolescent in spite of the wise the material is presented. and philosophical leadership of the kindly Adolescents, 12 to 16 Children, 8 to 12 Judge. When there is no character develop- Possibly mature, but No ment in a series such as this, each new epi- worthwhile sode becomes just another repetitious hour of light entertainment. SIDE OF HEAVEN O O Adolescents, 12 to 16 Children, 8 to 12 EAST Yes No interest Bing Crosby, Joan Blondell, Mischa Auer, Irene Hervey, C. Aubrey Smith, Robert Kent, Jerome Cowan, Sandy Lee, Jane Jones. Screen play by William Conselman. HERITAGE OF THE DESERT O O Direction by David Butler. Universal. Donald Woods, Robert Barrat, Evelyn Vena- ble, C. Henry Gordon, Sidney Toler, Russell Besides its singing star, the big drawing Hayden, Paul Guilfoyle, Paul Fix. From a card of this delightfully gay comedy is a story by Zane Grey. Screen play by Nor- fascinating baby named Sandy Lee, who is man Houston. Direction by Leslie Selan- der. Paramount. temporarily left in the care of two bache- lors, played by Bing Crosby and Mischa “Heritage of the Desert,” by Zane Grey. Auer. The story is hardly more than a That seven word statement is almost com- vehicle for Bing Crosby’s songs (including a ment enough. As one might suppose, it is a lullaby), but many of the situations are Western melodrama which provides abun- hilariously funny and the acting is good dant gun-play, rough dialogue, and unlim- enough to develop interest in the characters ited action. The plot concerns an Eastern and their problems. This is one of the best man who claims his heritage and assists in Crosby films. settling an old frontier feud. A certain Adolescents, 12 to 16 Children, 8 to 12 license is granted Westerns, since they usu- Very good Yes ally portray life in a locale which admin- V isters law in its own way, but in this one the murders are too casual even for this FAMILY NEXT DOOR O <- THE type of story. Gangster methods are gang- Hugh Hubert, Joy Hodges, Eddie Quillan, ster methods in any setting. Ruth Donnelly, Bennie Bartlett, Juanita Quigley, Thomas Beck, Cecil Cunningham, Adolescents, 12 to 16 Children, 8 to 12 James Bush, Frances Robinson. Screen play Too much violence No by Mortimer Offner. Direction by Joseph Santley. Universal. INVITATION TO HAPPINESS O O Unfortunately the family next door is one Irene Dunn, Fred MacMurray, Charlie Rug- which no one would care to cultivate. It is gles, Billy Cook, William Collier, Sr., Marion dominated by an ambitious mother who Martin, Oscar O'Shea, Burr Caruth, Eddie wishes to impress the suitor of a silly daugh- Hogan. Screen play by Claude Binyon. Based on a story by Mark Jerome. Direc- ter. The family investments furnish the tion by Wesley Ruggles. Paramount. suspense in the slight and melodramatic plot Even if this picture were better than it is, of a mediocre production. it would still be a mistake. To cast Irene Adolescents, 12 to 16 Children, 8 to 12 No No Dunne, who has proven her ability in high comedy, in such an unflattering role as that of the headstrong wife of a particularly RIDE HIGH O O THE HARDYS stupid prize-fighter, to photograph her in Rooney, Fay Holden, Lewis Stone, Mickey horribly unbecoming clothes and to give her Cecilia Parker, Virginia Grey, Ann Ruther- ford, Don Castle, William Orr, Minor Wat- a script with no subtlety and very little sense son, Ann Morriss, Halliwell Hobbes. Direc- is almost tragic. As Eleanor Wayne, the tion by George B. Seitz. M.-G.-M. daughter of a rich and socially prominent We have so counted on the Hardy series man, she meets King Cole, a prize-fighter as being superlatively human and natural with no idea in his head but that of be- that it is disappointing to find the family coming the heavyweight champion of the “riding high” in a way which suggests that world. Incredibly, she falls in love with Hollywood has gained the upper hand at him, pursues him to his training quarters, last. When an unexpected legacy seems about and marries him. Their marriage is slated to place the Hardys in the millionaire class, for failure but is saved after ten years of adjustment is difficult for all but Mother, but misunderstandings by putting the burden of to Andy comes the most disagreeable ex- their troubles on the shoulders of their little Six MOTION PICTURE REVIEWS son. The only real seeming thing in the pic- preciate his shortcomings. Jessie Ralph and ture is the prize-fight in which King Cole Buddy Ebsen have humorous lines, and good receives a terrific beating. support is also given by Florence Rice and Adolescents, 12 to 16 Children, 8 to 12 Virginia Dale. The film has spirited and No No entertaining action and will appeal to family groups. Adolescents, 12 to 16 Children, 8 to 12 JUAREZ O O Yes Good Paul Muni, Bette Davis, Brian Aherne, Claude Rains, John Garfield, Donald Crisp, Joseph Calleia, Gale Sondergaard, Gilbert Roland, Henry O'Neill. Music by Erich Wolf- KING OF CHINATOWN O O gang Korngold. Orchestral arrangements Anna May Wong, Akim Tamiroff, J. Carroll by Hugo Friedhofer and Milan Roder. Di- Naish, Sidney Toler, Philip Ahn, Bernadene rection by William Dieterle. Warner Bros. Hayes, Roscoe Karns, Ray Mayer, Richard Denning, Archie Twitchell. Screen play by It is difficult to say whether the film Lillie Hayward and Irving Reis. From a “Juarez” is most notable for Paul Muni’s story by Herbert Biberman. Direction by Juarez, Brian Aherne’s Maximilian, or for Nick Grinde. Paramount. its extraordinarily fine handling of a theme Anna May Wong in a restrained and sin- which is uppermost in the minds of Ameri- cere performance tries to redeem a hack- cans today. Though the life story of the neyed melodrama of racketeers in San Fran- Indian who rose from obscurity to become cisco’s Chinatown. the democratic leader of his country pro- Adolescents, 12 to 16 Children, 8 to 12 vides ample stirring material for a biograph- No No ical spectacle, Warner Brothers have made a film which is not only outstanding in the field of dramatic entertainment, but truly THE LADY'S FROM KENTUCKY O O significant as a document on the cause of George Raft, Ellen Drew, Hugh Herbert, ZaSu Pitts, Louise Beavers, Lew Payton, democracy. The situation of Mexico at the Gilbert Emery. Screen play by Malcolm time of Napoleon Ill’s occupation reveals Stuart Boyland. Based on a story by Row- unmistakable parallelism to the predicament land Brown. Direction by Alexander Hall. of small independent democracies today, and Paramount. the opposing political philosophies of self- Interest in this race-track drama is cen- government and the rule of a monarch, how- tered in a fine horse whose joint owners are ever benevolent, are clearly symbolized in a tough bookie and a nice young girl. Most the persons of Juarez and Maximilian. To audiences will enjoy the rustic scenery, the have produced a picture which carries such pictures of the beautiful horse, and the les- a definite message without sacrificing any of son in the training of thoroughbreds. The the qualities of artistic entertainment is an part of the story which deals with the shady achievement upon which the producers are practices of bookies seems unpleasant but to be congratulated. The cast is composed of inevitable, and the making of a gambler fine artists who are at their best in this pro- into a high principled sportsman is not en- duction. The dramatic incidents are handled tirely convincing. with a restraint that often gives them ter- Adolescents, 12 to 16 Children, 8 to 12 rific impact. The photography and the mu- Ethically poor No sical score are superb, and the portrayal of the love of Maximilian and his lovely wife, MAN OF CONQUEST O O Carlotta, is touchingly beautiful. Richard Dix, Edward Ellis, George Hayes, Adolescents, 12 to 16 Children, 8 to 12 Gail Patrick, Joan Fontaine, Victor Jory, Very fine Too mature Robert Barrat, Robert Armstrong, C. Henry Gordon, Ralph Morgan, Pedro de Cordova, Janet Beecher, Max Terhune. Screen play by Wells Root, E. E. Paramore, Jr. and Jan THE KID FROM TEXAS O O Fortune from an original story by Harold Dennis O'Keefe, Florence Rice, Anthony Shumate and Wells Root. Direction by Allan, Jessie Ralph, Buddy Ebsen, Rita George Nicholls, Jr. Republic. Johnson, Virginia Dale. Screen play by Republic is to be congratulated in bring- Florence Ryerson, Edgar Allan Woolf and Albert Mannheimer. Original story by Mil- ing the characters of Sam Houston and An- ton Merlin and Byron Morgan. Direction drew Jackson to the screen in a story which, by S. Sylvan Simon. M.-G.-M. while taking some liberties with factual ac- This is an unexpectedly fresh and amusing curacy, still admirably preserves the spirit comedy of outdoor life which will enhance of the times, pays a fine tribute to great men, any double bill. Dennis O’Keefe is excel- and dignifies a fascinating period of Ameri- lent in the role of IVild Bill Malone, an can history. Sam Houston’s love of adven- egotistical, wisecracking cowboy who sets out ture and loyalty to the Indians to whom he to show the four hundred in Long Island was devoted, played an important part in how he plays polo. He is put in his place shaping his character, but at the same time quite effectively and is sport enough to ap- disrupted his marriage, and for a time after MOTION PICTURE REVIEWS Seven

his divorce he lead a life of degradation. girl’s champion in a fight to regain title to In the picture his sense of values is restored a stolen ranch. Lovely photography, the de- by the Indians among whom he lives. He lightful musical setting, and its lighthearted espouses their cause at Washington and later mood make it an enjoyable film. takes up the battle to free Texas from Mexi- Adolescents, 12 to 16 Children, 8 to 12 can dominion. After the massacre of the Good Questionable Alamo, he is chosen as leader of the Texans and, at the Battle of San Jacinto, defeats SIXTY GLORIOUS YEARS O O the Mexican general, Santa frees Ana, the Anna Neagle, Anton Walbrook, C. Aubrey territory, and is influential in securing its Smith, Walter Rilla, Felix Aylmer. Screen admittance to the United States. The film play by Miles Malleson and Sir Robert Vansittart. Direction by Herbert Wilcox. is a dramatic and stirring narrative, a ro- Imperator (Distributed by R.K.O.). bust picture of an historical era, and a tell- Once more we find Queen Victoria at the ing portrayal of an interesting character threshold of her reign of sixty glorious years ; whose name has been honored by the city of then as the bride, wife, and mother, as well Houston, Texas. Richard Dix is excellent as “every inch a Queen.” We follow her in the character of Houston. Edward Ellis dealings with her ministers, particularly the also is extremely good in the part of Jackson. Duke of Wellington; her struggles to put her Other roles are finely etched, all contributing Prince Consort in a favorable light; her to recreate a vivid impression of memorable seclusion after his death; and her re-emerg- moments in a period which shaped the destiny ence to round out her long life as England’s of the country in which we live today. beloved symbol of permanence and respec- Adolescents, 12 to 16 Children, 8 to 12 tability. The film is essentially biographical Good Tense and mature and broader in scope than either “Victoria Regina” or “Victoria the Great.” Many important historical events are presented MYSTERY OF THE WHITE ROOM O O from the standpoint of comments found in Bruce Cabot, Helen Mack, Joan Woodbury, Victoria’s own diary, and thus the film cov- Constance Worth, Thomas Jackson. From ers authentically much material which effec- the novel, "Murder in the Surgery," by tively illuminates the background of Eng- James G. Edwards, M.D. Screen play by land’s domestic problems as well as the part Alex Gottlieb. Direction by Otis Garrett. it played as a powerful nation in world Universal. affairs. The production has great finesse and A murder takes place in the surgery of a dignity, and, in spite of moments of heavi- hospital and involves several members of the ness, an enormously sympathetic appeal. The staff. Except for the unusual setting of this exquisite photography in Technicolor, the mystery, and the sincerity of the cast, the costumes and authentic settings, make it a picture has few values. Laxity in usual hos- masterpiece of pictorial beauty, while the pital discipline and lapses in professional large and capable cast give vital portraits ethics lead one to suppose that the doctor of the royal family, the statesmen of the who wrote the book from which the screen period, and the English people. The final play was adapted, must have had his tongue sequence showing Victoria’s funeral proces- in his cheek. sion leaves a lasting impression of the tre- influence by a great queen Adolescents, 12 to 16 Children, 8 to 12 mendous exerted Unsuitable N0 upon her devoted subjects. Adolescents, 12 to 16 Children, 8 to 12 Very good Too heavy THE RETURN OF THE CISCO KID O O Warner Baxter, Lynn Bari, Cesar Romero, SOCIETY SMUGGLERS O O Henry Hull, Kane Richmond, C. Henry Gor- Preston Foster, Irene Hervey, Walter Woolf King, Frank Jenks, Fred Keating, Regis don, Robert Barrat, Chris-Pin Martin, Adri- Toomey, Frances Robinson. Screen play an Morris, Soledad Jiminez. Screen play by Arthur T. Howard and Earl Felton. Di- by Milton Sperling. Direction by Herbert rection by Joe May. Universal. I. Leeds. 20th Century-Fox. A clever gang of smugglers, through a radio contest by which the winners get a trip In “The Cisco Kid,” Warner Baxter did to Europe, use innocent travelers as a means a vast amount to further the tradition that of transporting gems unlawfully. The plot Mexican bandits are charming people. His concerns the breakdown of this traffic by second appearance confirms that impression, G-men from the Treasury Department. While although the new film has not the luster of the action is somewhat complicated, the pic- its forerunner. The plot reads like that of ture may hold interest for those who enjoy many another Western: the Kid, escaping detective dramas. Preston Foster and Irene from a firing squad with two henchmen, Hervey play their roles effectively. holds up the stage, falls in love at sight Adolescents, 12 to 16 Children, 8 to 12 with one of the passengers, and becomes the No value Too confusing Eight MOTION PICTURE REVIEWS

SORORITY HOUSE O O SUDDEN MONEY O O Anne Shirley, James Ellison, Barbara Read, Charles Ruggles, Marjorie Rambeau, Charles Grapewin, William Adele Pearce, J. M. Kerrigan, Helen Wood, Frawley, Broderic Craw- ford, Billy Lee, Evelyn Keyes. Based on the Doris Jordan, June Storey, Elizabeth Ris- play, "Whatever Goes Up," by Milton Laz- don, Margaret Armstrong, Selmer Jackson, arus. Screen play by Lewis Foster. Direc- Chill Wills. Screen play by Dalton Trum- tion by Nick Grinde. Paramount. bo. Direction by John Farrow. R.K.O.- When a drug clerk wins a fortune on a Radio. sweepstake ticket, the sudden wealth brings his “Sorority House” is a somewhat extreme chaos to family, for each foresakes the routine of his life to pursue his favorite and emotional picture of the evils attendant hobby. With the loss of the money, the the sorority system in girls’ colleges. upon family returns to normalcy. In the light of It undoubtedly contains food for thought in the plot, “Whatever Goes Up,” the title of showing the effect of the false emphasis the original play, would have seemed a more appropriate and less obvious title than “Sud- placed by some young women on the desir- den Money,” and would have indicated the ability of being invited to join a sorority, farcical nature of the picture. Fresh dia- but in exaggerating the snobishness of the logue mixed with old situations make this more fortunate as well as the hysterical re- good but not remarkable entertainment. Adolescents, 12 to 16 Children, 8 to 12 actions of those who have been left out, it Perhaps Mature loses force both as entertainment and as a brief for an improvement in the system. Its THEY MADE HER A SPY O O appeal lies in the sincere portrayals given Sally Eilers, Allan Lane, Fritz Leiber, by the three girls who for one reason or Frank H. Thomas, Theodor Von Eltz. From an another have to adjust themselves to being original screen story by George Bricker. Direction by Jack Hively. R.K.O. -Radio. on the outside. Adolescents, 12 to 16 Children, 8 to 12 In this age of suspicion and international Passable but over- No recrimination it is inevitable that espionage emotional should be used as a theme for motion pictures. Whether so implausible a plot as this is worth while is debatable, but the STOLEN LIFE O O production is full of action and exciting melodrama. Its influence is at best negative, Elisabeth Bergner, Michael Redgrave, Wil- for few adults could take it seriously. fred Lawson, Richard Ainley, Mabel Terry Adolescents, 12 to 16 Children, 8 to 12 Lewis, Doris Fordred. Story adapted by No. Brutal No Margaret Kennedy. Direction by Paul Czin- ner. Orion Production—Paramount. UNION PACIFIC O Exhibiting her facility in a dual role, Eliza- beth Bergner again charms American audi- Barbara Stanwyck, Joel McCrea, Akim Tamiroff, Robert Preston, Lynne Overman, ences with her luminous personality and Brian Donlevy, Anthony Quinn, Evelyn Keyes. Screen play by Walter De Leon, C. to “Stolen Life” an importance which imparts Gardner Sullivan, Jesse Lasky, Jr., Jack Ernest it does not otherwise deserve. The story Cunningham and Haycox. Music score by George Antheil. Direction by Cecil artificial obviously made to order seems and B. de M i lie. Paramount. to that one individual cannot success- prove “Union Pacific” is an exceptionally good fully “steal” another’s identity and live that frontier melodrama. With a theme which other person’s life, even though the mas- affords a rich vein of dramatic material, and under the direction of a master in the art of querade may defy detection. In “Stolen Life” creating spectacular effects, the production this proposition is illustrated in the case of is predestined for success. It has all the twin girls, one of whom assumes the identity familiar elements of the epic type of pioneer of the other. Miss Bergner is exceptionally adventure: rivalry between the two railroads clever in making a subtle distinction be- to beat each other to the junction at Ogden, tween the twins, who, though exactly alike labor troubles fomented by unscrupulous ene- in appearance, are opposites in temperament. mies, fights with maurauding Indians, shoot- However, in spite of its incredibility, the ings, carousals, and an appealing love story. plot is the kind which makes people “stand Imagination and skill have gone into its by” for the finish. The film is unusual and screening and the result is genuine, virile piquant entertainment. entertainment. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Too sophisticated No Good Too strenuous Story Parade A QUALITY MAGAZINE

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, 1939

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After 5 Days Return to Sec. 562, P. L. & R. Women's University Club U. S. POSTAGE 943 South Hoover Street PAID LOS ANGELES, CALIF. Los Angeles, Calif. RETURN FOSTAGE GUARANTEED Permit No. 1850 MOTION PICTURE REVIEWS JUNE 19 3 9

EDITORIAL Evaluating Pictures for Children FEATURE FILMS Boy Friend Bridal Suite Charlie Chan in Reno Ex-Champ For Love Or Money The Girl From Mexico Goodbye Mr. Chips The Gorilla The Gracie Allen Murder Case Hotel Imperial It's a Wonderful World The Kid From Kokomo Lucky Night The Mikado Rose of Washington Square 6,000 Enemies Society Lawyer

Some Like It Hot The Sun Never Sets Tarzan Finds a Son Tell No Tales

They Asked for It Unmarried Young Mr. Lincoln SHORT SUBJECTS Angel of Mercy Clown Princes Dark Magic Prophet Without Honor Radio Fans Sons of Liberty The Story of Dr. lenner INDEX January Through June, 1939 THE WOMEN'S UNIVERSITY CLUB LOS ANGELES BRANCH, AMERICAN ASSOCIATION OF UNIVERSITY WOMEN A. A. U. W., CALIFORNIA STATE DIVISION

10c Per Copy $1.00 a Year

MOTION PICTURE REVIEWS Three

MOTION - PICTURE * REVIEWS

Published monthly by THE WOMEN'S UNIVERSITY CLUB 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. Francis Poyas, Subscription Chairman Cooperating Branches Long Beach Glendale Santa Monica Whittier EDITORS

Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall Mrs. John Vruwink Address all communications to The Women’s University Club, 943 South Hoover Street, Los Angeles, California 10c Per Copy - - $1.00 Per Year

Vol. XIII JUNE, 1939 No. 6

EVALUATING PICTURES FOR CHILDREN

The School of Education of a large Mid-West University asked us recently what criteria we used in selecting pictures for children between ten and twelve years of age. It has been our custom to present these criteria in our pages from time to time, and we reprint in part our reply to the question, believing that it may help our readers more readily to understand our methods of classifying films.

“We believe, with you, that ‘individual experience should be considered to the same extent in selecting pictures as it is in book selections.’ As we point out to our reviewers, what one child will get from a movie will be absolutely different from what another will get, and any decision in regard to the value of any film will have to take into consideration the cultural background as well as the intellectual, emotional and mental development of a child; factors which vary as much as his physical development and nervous stability.

This makes it extremely difficult to make recommendations for the ten to twelve age (and more so when we include eight to twelve). Our work in evaluating pictures began in the

era of silent films. Since sound has come into effect, pictures are even less suitable for chil-

dren, in subject matter and treatment, and we recommend pictures reluctantly for those

under twelve. In a course for our previewers some time ago led by Dr. Miriam Van Waters

and Dr. Elizabeth Woods, we analyzed the functions of the family, and among those functions were the following

1. To transmit customs, habits and systems of ideas

2. To begin educational processes Four MOTION PICTURE REVIEWS

3. To provide moral standards

4. To develop the basis of good citizenship

The Family should be the agency which imparts these norms or standards. Unfortunately

the Family is passing through a time of stress and adjustment, and outside agencies are

taking from the functions of the home. The motion picture is undoubtedly one of these forces

and its influence is both constructive and destructive. It is the objective of our critics to

distinguish, in as far as possible, the social values of films. From the psychological side we

laid down definite rules based on the fact that a child’s fundamental needs are

1. A feeling of security

2. The satisfaction of curiosity

3. Healthy mental activity

4. Motor activity

Pictures should not inform younger children of unsuspected dangers and unknown mo-

tives which would cause them to arrive at a belief that society is insecurely organized and

that there is a division of authority. The most gifted children are the most curious, and

while some movies portray conditions correctly and thus satisfy curiosity, they may also over-

stimulate it. On the other hand, comparatively few pictures portray life honestly. Movies

should stimulate healthy mental thoughts so that healthy activities may result.

Long hours at theatres tire, strain the eyes and nerves, and frequently create naughtiness

from sheer exhaustion. The time would be better spent in normal active play, certainly for

‘protected’ children. This is particularly true now when the double bill is the rule. Habitual

attendance at unselected pictures may precipitate emotional stages too early, particularly in adolescence.

We do not recommend pictures in which scenes of cruelty are shown, since we believe that even individual scenes may dangerously impress children, especially younger children

who do not follow the whole story as a unit, and their highly organized nervous systems

may receive a shock. We do not recommend pictures which emphasize the criminal side of

life in spite of the fact that producers claim that their productions show that ‘crime does

not pay.’ We do not recommend films picturing so called ‘fast society’ because we believe

that they are untrue to the fundamental standards of life, undermine the ideals of family life,

fail to provide moral standards, and are definitely dangerous for young people who, in this

changing world, are too prone to accept laxity as an accepted norm of today. We try to

recommend for children only those films which they can understand, which can hold their

interest, which offer some constructive ideas, which do not hold up to ridicule individuals

or institutions for which we should have respect. We thoroughly approve the classes in

film evaluation given in many schools today. The work is helping to create discriminating

taste which is showing in attendance now and will continue to show in the future with

younger children as well as with adolescents. Finally, we repeat: in choosing pictures for

any child, it is most important to consider each child as an individual.” MOTION PICTURE REVIEWS Five FEATURE FILMS

BOY FRIEND O O CHARLIE CHAN IN RENO O O Jane Withers, Arleen Whelan, Richard Sidney Toler, Ricardo Cortez, Phyllis Brooks, Slim Summerville, Kane Richmond, Sen Bond, Douglas Fowley, Warren Hymer. Yung, Pauline Moore, Eddie Collins, Kay Screen play by Joseph Hoffman and Barry Linaker, Louise Henry. From the story Trivers. From an original story by Lester “Death Makes a Decree" by Philip Wylie. Direction Foster. Ziffren and Louis Moore. Direction by by Norman 20th Century- Fox. James Tinling. 20th Century-Fox. The ubiquitous Mr. Chan is now in Reno Jane Withers’ name in the cast will undoubt- to unravel a murder mystery in a fashionable edly attract the younger generation’s atten- hotel. Mrs. Bently, the victim, was stabbed to death while staying at the hotel waiting tion to this film, which is unfortunate because to marry an about-to-be divorced man. Jeal- “cops rob- its improbable plot is of the and ousy is thought to have been the motive. bers” variety, and while it shows the police With the famous detective working on the case, is to to advantage, it is hardly wholesome for the guilty person certain be apprehended and a satisfactory solution of the imaginative youngsters. Sally’s mother runs crime provided. Murder-mystery fans will for the a boarding house for rookies training probably enjoy watching Mr. Chan at work, police force. Her “boy friend,” Billy, has a though the locale of his latest activities and

brother in the school who is killed in a hold- the characters with whom he associates are less interesting than usual, and Mr. Chan up, and the two precocious youngsters deter- seems to have lost some of his finesse. mine to run down the murderers. The plot Adolescents, 12 to 16 Children, 8 to 12 is complicated by the fact that Sally’s brother Unwholesome Not suitable

is apparently one of the gang. The action is EX-CHAMP O O what one would expect in a melodrama of Victor McLaglen, Tom Brown, Nan Grey, this type—exciting, frantic and tense. It is Constance Moore, William Frawley, Samuel S. Hinds, Donald Briggs. From an original a vehicle to exploit a child star and is badly screen story by Gordon Kahn. Screen play directed in an attempt to allow her to hold by Alex Gottlieb and Edmund L. Hartmann. Direction by Phil Rosen. Universal. the spotlight. Ordinarily, one would say boxing and sen- Adolescents, 12 to 16 Children, 8 to 12 timentalism do in but they Not worthwhile Not advised not go hand hand, do in “Ex-Champ.” With an underlying theme of paternal devotion, the plot accents situations that are a little too patterned, a BRIDAL SUITE O O little too sticky. However, while it is en- Annabella, Robert Young, Walter Connolly, gineered to play on the emotions, it does not tax them too severely. ending is meant Reginald Owen, Billie Burke. Direction by The to be a surprise, but the plot development William Thiele. M.-G.-M. makes it quite obvious. On the whole, “Ex- Released under a title which was chosen for Champ” is negligible entertainment. publicity purposes, and which gives little idea Adolescents, 12 to 16 Children, 8 to 12 of the nature of the film, “Bridal Suite” is a Passable Perhaps light, rather artificial affair with a pallid plot. A young man with a doting mother and un- O O limited spending money becomes so utterly FOR LOVE OR MONEY Robert Kent, June Lang, Edward Brophy, devoid of responsibility that he jilts the same Etienne Girardot, Richard Lane, Edward girl three times, but he is finally persuaded Gargan, Horace McMahon. Screen play by to knuckle down to work, by a simple lass Charles Grayson and Arthur Horman. From an original and a gruff old psychiatrist. A picturesque story by Julian Blaustein and others. Direction by Charles Previn. Uni- hotel in the Swiss Alps contributes a light- versal. opera atmosphere, and no film can be a total A light and unconvincing race track melo- loss which contains the charming Annabella, drama in which $50,000 intended for a book- albeit she is not at her best. Robert Young maker is lost in transit. The plot concerns and Billie Burke have played similiar parts the frantic efforts of various people to recover so often that they could play these roles in the money. Drinking, gambling, and the their sleep. It is a picture to be run in as unsavory methods of gangsters, combined part of a program, scarcely solid enough to with inadequate production values make this stand by itself. picture poor entertainment. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Too sophisticated No No No Six MOTION PICTURE REVIEWS

THE GIRL FROM MEXICO O O quisite and the direction is superb. The pic- Lupe Velez, Donald Woods, Leon Errol, ture was produced in England. Many of the Linda Hayes. Original screen play by Lionel scenes were actually filmed at a famous Houser. Direction by Leslie Goodwins. RKO- boys’ school, and hundreds of the students Radio. give authenticity to the life pictured. One Denis, sent to Mexico to find talent for a of the strongest appeals is this picturization certain radio sponsor, finds the tempestuous of English Public School life: the beautiful Carmelita, who comes back to New York traditions and codes; the passing genera- with him. A law unto herself, she causes a tions of families who return to the school; furore wherever she goes, finally sings her- the respect, admiration, and loyalty the boys self into fame and the heart of Dennis. The have for the institution. It is a film which comedy is often slapstick and the develop- will appeal to discriminating audiences, both ment of plot improbable, but it has a good for the high production values and for the deal of color and variety. beauty of its theme. Adolescents, 12 to 16 Children, 8 to 12 No No Adolescents, 12 to 16 Children, 8 to 12 Good Probably too mature for deep GOODBYE, MR. CHIPS O O interest Robert Donat, Greer Garson, Terry Kilburn, John Mills, Paul Von Hernried, Judith Furse, THE GORILLA O O Lyn Harding, Milton Rosmer, Frederick Leis- Jimmy Ritz, Harry Ritz, Al Ritz, Anita ter, Austin Trevor, David Tree, Edmond Louise, Patsy Kelly, Lionel Atwill, Bela Lu- Breon. From the novelette by James Hilton. gosi, Joseph Ca I lei a. Screen play by Rian Screen play by R. C. Sherriff, Claudine West James and Sid Silvers, based on the play by and Eric Mashwitz. Direction by Sam Wood. Ralph Spence. Direction by Alan Dwan. M.-G.-M. 20th Century- Fox. Success in this changing world depends “The Gorilla” and “The Bat” were two upon one’s viewpoint. No doubt Mr. Chips of the chills-down-the-spine thrillers of past was a material failure and, since he real- decades, and both were very successful on ized his ambition to become Head Master the stage. In “The Gorilla,” detectives ar- only through a world cataclysm, he might rive on the scene to save a man and his have been called a scholastic failure as pretty niece who have been threatened by a well. But in his relations to his students, huge gorilla with homicidal propensities, his kindly, understanding friendship which and eventually help to solve a mystery. The meant so much to them throughout their film adaptation is not so realistic as the lives, he achieved a spiritual triumph which stage play. The Ritz Brothers, torn between could not be valued in dollars and cents, and playing detective or being just themselves, therefore who can say that his life was not are neither very convincing nor very funny; successful in the highest degree? The pic- Patsy Kelly, as the hysterical maid, garners ture is a faithful adaption of Mr. Hilton’s more laughs. “The Gorilla” presents a good novelette. It begins with Mr. Chips’ ar- example of make-up work and is repulsive rival at a famous boys’ school as a enough for anyone, but the production is so very young, shy and lonely man, so intro- stagey and loosely put together that one is spective and lacking in self-confidence that never convinced of the probability of the his control over the boys is painfully inade- situations. quate. A kindly German teacher takes him Adolescents, 12 to 16 Children, 8 to 12 on a vacation walking tour, and he meets a No Terrifying lovely girl whom he marries, and who brings out in him all the fine qualities she recog- THE GRACIE ALLEN MURDER CASE O nizes, and leads him to meet the students Gracie Allen, Warren William, Kent Taylor, on an understanding plane. Although she Ellen Drew, Jerome Cowan. From the novel by S. S. Van Dine. Screen play by Nat Per- dies soon, she is his inspiration always. rin. Direction by Alfred E. Green. Para- Sentimental perhaps — but a sincerely mov- mount. ing portrayal of a life which was rich in A murder mystery written by S. S. Van human relationships and Mr. Chips’ love for Dine especially for Gracie Allen is a new his boys, “thousands of them,” as he says species of film, the enjoyment of which may just before his death. Robert Donat suc- possibly be limited to her admirers. Gracie ceeds in presenting his most distinguished finds a murdered man at a cafe, calls the screen performance. He pictures the life police and in her own inimitable way chat- of a man — an average man — and makes ters through the investigations. Philo Vance, him lovable and human. His appearance who is retained to discover the real criminal, through the changing years is most convinc- tolerates her because he is afraid to let her ing, and the character development always out of his sight. In the end, quite inadver- understandable. Greer Garson is a lovely tently, she finds the murderer. heroine whose brief appearance is radiant Adolescents, 12 to 16 Children, 8 to 12 throughout. The courtship scenes are ex- If they like Gracie No MOTION PICTURE REVIEWS Seven

HOTEL IMPERIAL O O his success in “Kid Gallahad,” seems doomed Isa Miranda, Ray Milland, Reginald Owen, to play a prize-fighter. Here, he is a senti- Gene Lockhart, J. Carrol Naish, Curt Bois, mental, not too bright, country bumpkin, Henry Victor, Albert Dekker. Screen play waiting patiently on the for the by Gilbert Gabriel and Robert Thoeren. From down farm a play by Lajos Biro. Direction by Robert return of the “mom” who left him as a baby Florey. Paramount. on a doorstep. When he knocks out the vil- Aside from its picturesque setting and lage blacksmith in a brawl, a rogue of a some singing by a Don Cossack choir, this fight manager lures him to sign a contract war-spy melodrama has little to offer. The by promising him greater opportunities to scene is laid in an Austrian village which find the mother on whom his heart is set. is occupied alternately by Russian and Aus- His adventures with this manager, with an trian troops. The heroine is a traveling ac- ex-bubble dancer, the creature whom they tress who remains in the village to find out pass off as his mother, and the “bruiser” why her sister has committed suicide there. who claims to be his father in order to con- After many intrigues and narrow escapes, tinue the “fleecing" are far from edifying. she finds the person responsible for her sis- There are some well-staged fight scenes, but ter’s death, and she falls in love with an May Robson’s acting is the only real high Austrian officer. The plot and acting are light of a picture which doesn’t actually quite commonplace, and the atmosphere is “click,” and which is on the whole distasfeful. rather unpleasant. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 No Poor No No LUCKY NIGHT O O IT'S A WONDERFUL WORLD O O Myrna Loy, Robert Taylor, Bernard Nadell, Douglas Fowley, Henry O'Neill. From an Claudette Colbert, James Stewart, Guy Kib- original story by Oliver Claxto. Screen bee, Nat Pendleton, Frances Drake, Edgar play by Vincent Lawrence and Grover Jones. Kennedy, Ernest Truex, Andy Clyde. From Direction by Norman Taurog. M.-G.-M. an original story by Ben Hecht and Herman J. Mankiewicz. Screen play by Ben Hecht. This is a most unworthy vehicle for two Direction by W. S. Van Dyke II. M.-G.-M. popular stars. Myrna Loy as a bored rich James Stewart in a role that would have girl who has run away from home, meets a been a “natural” for James Cagney, turns young man on a park bench, drinks with in an excellent performance as a private de- him in several night clubs, and marries him tective who is trying to save his innocent before dawn. The rest of the picture is client from the electric chair, not so much taken up with the attempts of the young for humanitarian principles as for $100,000. wife to make a success of her marriage in In this he is aided and abetted by a slightly spite of the husband's drinking and irre- daft poetess (Claudette Colbert) who is sponsibility. The humor is a poor example alternately a jewel and a “pain in the of the “haywire” variety. neck.” Through his persistent efforts and Adolescents, 12 to 16 Children, 8 to 12 her sometimes clumsy, sometimes intelligent Extremely bad No aid, the real murderer is apprehended. A final softening of our hero forces him to admit that $100,000 is a minor consideration THE MIKADO O O when one has found love. The situations Kenny Baker, John Barclay, Martyn Green, Sydney Granville, Gregory Stroud, Jean Co- and gags are new and amusing, and the lin, Elizabeth Paynter, Kathleen Naylor, expert acting gives a human and rather Constance Willis, The Chorus of the D'Oyly touching effect. Carte Opera Company. Adapted by Geof- frey Toye. From Gilbert and Sullivan's "The Adolescents, 12 to 16 Children, 8 to 12 Mikado." Direction Victor Questionable Mature and un- by Schertzinger. Recorded by The London Symphony suited Orches- tra. Universal.

“The Mikado” is a cinematic curio, a fac- THE KID FROM KOKOMO O O simile of the original comic opera, faithfully Pat O'Brien, Wayne Morris, Joan Blondell, and reverently presented, and shortened May Robson, Jane Wyman, Stanley Fields, only to meet screen proportions. It adheres Maxie Rosenbloom. From an original story by Dalton Trumbo. Screen play by Jerry strictly to the traditions of the stage, mak- Wald and Richard Macaulay. Direction by ing no concession to the modern realism of Lewis Seiler. First National-Warner Bros. cinema technique. Dialogue is reduced to a It is a bit of a shock to find May Robson minimum, and music and staging hold the in just this type of boisterous farce, but attention. It is filmed in exquisite techni- from the moment we first see her in the role color. The cast, with the exception of Kenny of a drunken old kleptomaniac leering at Baker, is made up of members of London’s the judge in a night court, she steals the famed D’Oyly Carte Company, and the re- picture. Her role is unpleasant, but she cording is unusually good. The production plays it splendidly. Wayne Morris, since is in effect a photograph of a well-beloved —

Eight MOTION PICTURE REVIEWS favorite and will delight all followers of SOCIETY LAWYER O O Gilbert and Sullivan’s most popular pro- Walter Pidgeon, Virginia Bruce, Leo Carillo, duction. Eduardo Cianelli, Lee Bowman, Frances Mercer. From the novel “Penthouse" by Adolescents, Children, 12 to 16 8 to 12 Arthur Somers Roche. Direction by Edwin Excellent Possibly less inter- L. Marin. M.-G.-M. est—familiarity with the plot Notable for lively treatment, smart clothes, would increase gorgeous cafe settings, and good acting rather enjoyment than for any intrinsic value of plot, “Society »J> Lawyer” defends the status of the attorney ROSE OF WASHINGTON SQUARE O O in criminal cases, makes him a champion of Tyrone Power, Alice Faye, Al Jolson, Will- the unjustly accused. That Hollywood still iam Frawley, Joyce Compton, Hobart Cav- has a soft place in its heart for gangsters is anaugh. From a story by John Larkin and Jerry Horwin. Screen play by Nunnally proved by the casting of Leo Carillo, with Johnson. Direction by Gregory Ratoff. 20th his inevitable charm, in a gangster role, mak- Century- Fox. ing the moral lesson dubious. Walter Pidgeon Faintly reminiscent of “Alexander’s Rag- and Virginia Bruce play their parts with effi- time Band,’’ this picture accents that part of ciency and finesse. Those who favor murder the ragtime-jazz era which the earlier pic- mysteries will be entertained. ture did not stress, the period from about Adolescents, 12 to 16 Children, 8 to 12 1920 to 1925. It was the period of the speak- No. Poor ethics No easy, of Ziegfeld’s Follies, of such song hits as “The Vamp,” “Ja-da,” “My Man,” and “Rose of Washington Square.” It saw Al SOME LIKE IT HOT O O Jolson on Broadway at the peak of his the- Bob Hope, Shirley Ross, Gene Krupa and Orchestra, Una Merkel, Rufe Davis, Harry atrical career, singing the “Mammy” and Barris, Bernard Nedell. Screen play by Lewis “Dixie” songs which made him famous, and R. Foster and Wilkie C. Mahoney. Based on his presence in this picture lends it an at- a play by Ben Hecht. Musical advisor, Arthur Franklin. Direction by George Arch- mosphere of authenticity. All the parts are ainbaud. Paramount. well taken, especially a finished bit con- Take a cheap beach resort, a barker, a jazz tributed by Joyce Compton. The song “My band out of work, a “blues singer,” and a Man” really tells the story. It concerns a crowd of jitterbugs, shake them together promising young singer who falls in love make a picture. Plot? “Boy meets girl,” and with and marries a man whose weakness why the girl wants the egotistical, unsuccess- she recognizes. In spite of this and his ful promoter no one knows. It requires a eventual apprehension by the law, she goes true lover of modern jazz at its loudest and on loving him, thus fulfilling the line of the “hottest” to appreciate the qualities of this song—“but whatever my man does, I am his production. forevermore.” The picture has varied ele- Adolescents, 12 to 16 Children, 8 to 12 ments of entertainment and in general may Trivial —a matter of No value be considered good but unimpressive. taste Adolescents, 12 to 16 Children, 8 to 12 + Ethically confused Unsuited THE SUN NEVER SETS O O Douglas Fairbanks, Jr., Basil Rathbone, Vir- 6000 ENEMIES O O ginia Field, Lionel Atwill, Barbara O'Neil, C. Aubrey Smith, Melville Cooper, Mary Walter Pidgeon, Rita Paul Johnson, Kelly, Forbes. From an original story by Jerry Harold Huber, Nat Pendleton, Grant Mitch- Horwin and Arthur Fitz-Richards. Screen ell. Screen play by Bertram Millhauser, play by W. P. Lipscomb. Direction by Ro- based on story by Wilmon Menard and Leo land V. Lee. Universal. L. Stanley. Direction by George B. Seitz. M. -G.-M. Generations of Randolphs have been true When the D. A. convicts a woman on cir- to the British Colonial Service until the rebels. tradition of cumstantial evidence and insists that it is im- youngest member The however, to possible to “frame” a person, one is reason- the family is great enough, ably certain that he will suffer a like fate. swerve him from his purpose, but in ac- feels run over by He is sent to the penitentiary where 6,000 quiescing he he has been an convicts try to get even with him for sending Empire. Later, a crisis which involves his them up. The brutality of the prison scenes own career and that of his brother brings have never been equalled before: the prize forth a latent sense of nationalism. Argentina raises cattle, China raises tea, England fight is an orgy of sadism. Sentimentalism is but raises sons, and these sons are sometimes at times overpowering. Walter Pidgeon is an excellent actor with a delightful person- sent to the most farflung corners of the Em- with British Brit- ality. He should be used in roles in which his pire to take them law and qualities are not sacrificed. ish tradition, in spite of heat, rains, fever, and hostile natives. This particular son is Adolescents, 12 to 16 Children, 8 to 12 No, definitely Absolutely not sent to the Gold Coast in Africa. His initial MOTION PICTURE REVIEWS Nine

experience makes an exciting tale of ad- TELL NO TALES O O venture. The plot is absorbing, made be- Melvyn Douglas, Louise Platt, Gene Lock- lievable by the sincerity of the cast, its flaws hart, Douglas Dumbrille, Florence George, apparent only in retrospect. There is a thrill- Halliwell Hobbes, Sara Haden, Theresa Har- ing climax which seems rather fantastic, but ris, Harlan Briggs, Zeffie Tilbury, Hobart one has only to read the daily newspapers to Cavanagh, Tom Collins. Screen play by find that fact is stranger than fiction. To ap- Lionel Houser, based on a story by Pauline preciate thoroughly the powerful traditional London and Alfred Taylor. Direction by force which sends young men of fine families Leslie Fenton. M.-G.-M. to remote, obscure, uncomfortable posts with- This is an unpretentious picture which is out a what’s-in-it-for-me motive, one need not very entertaining. It is the story of a news- be British, but it might help. paper editor whose paper is suddenly ordered Adolescents, 12 to 16 Children, 8 to 12 Exciting Too exciting discontinued by its owner, thus throwing out of work many old time employees. Thor- oughly battled and discouraged, the editor ac- TARZAN FINDS A SON O O cidentally gets hold of a hundred-dollar bill which has been passed by kidnappers. He im- Johnny Weissmuller, Maureen O'Sullivan, mediately decides to track down the criminals John Sheffield, Ian Hunter, Frieda Inescort, alone and unaided in order to have an ex- Henry Stephenson, Henry Wilcoxon, Larine clusive story for his final edition. His suc- Day. Screen play by Cyril Hume, based on cess is rewarded by having the paper con- characters by Edgar Rice Burroughs. Di- tinue its distinguished existence. In the ex- rection by Richard Thorpe. M.-G.-M. citing action the plot introduces five different Unless you are really “old’’ and have lost stories of the persons who have handled the all love for vicarious adventure and for “hot money.” This is a novel and interest- thrills, you will probably thoroughly enjoy ing departure, and while the drama might have been worked up to a more smashing this return of Tarzan. It is quite the best of climax with all the threads tied more closely the series since the first one, which had the together, it is on the whole engrossing en- advantage of novelty. This has fine produc- tertainment, much above the average of its tion values and splendid shots of wild ani- type. The cast is large and competent. Melvyn Douglas is excellent and Gene Lock- mals, and it succeeds in establishing the at- hart and Theresa Harris (a colored girl) mosphere and danger of existence in the score individual triumphs. jungle. A new character, Boy, is introduced, Adolescents, 12 to 16 Children, 8 to 12 a child who as an infant is orphaned in an Exciting and mature Too mature airplane crash in the depth of the jungle and is found and adopted by Tarzan and IT O O Jane. When he is five, designing relatives THEY ASKED FOR come in search of information about the William Lundigan, Joy Hodges, Michael Whalen, Isabel Jewell, Lyle Talbot. From crash, for they will inherit a vast fortune if an original screen story by James B. Lowell. there are no survivors. They suspect that Screen play by Arthur T. Horman. Direc- “Boy" is the heir they seek, and they plan tion by Frank MacDonald. Universal. to take him with them and assume guardian- ship so that they may use his wealth. Jane Three recent college graduates, a doctor, is an unwitting accomplice until their evil a lawyer and the editor of a small town purpose is recognized. Tarzan again saves paper have met with so little success that the day in truly splendid fashion. It is a they are about to give up, when the town good story and the cast is excellent. John drunkard dies. The three of them, never for Sheffield is a delightful youngster, an ac- a moment doubting that his death was caused complished athlete, and therefore well-paired by overindulgence, hint at murder in order with Johnny Weissmuller who is convincing to give the paper a headline and a new lease in his role. The scenes of underwater swim- on life. This bit of fiction accounts for the ming are especially beautiful. The animal title and a vast amount of unexpected ac- scenes and those of native savages are spec- tivity which takes place in the sleepy little tacular. Chita, the monkey, is now grown Middle-Western town where they live. This up and is hilariously funny, while trained is a run-of-the-mill sort of play in which elephants add zest and thrills. each actor is adequate in his role. Isabel The film is exciting indeed for younger, im- Jewell distinguishes herself by another per- aginative children but great fun for every formance that is good enough to be beyond one else. criticism. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Good Depends on child No No Ten MOTION PICTURE REVIEWS

UNMARRIED O O before his personality and achievements Jones, Buck Helen Twelvetrees, Donald brought him fame. It presents an endearing O'Connor, Dorothy Howe, Larry Crabbe, Robert Armstrong, John Hartley, Sidney portrait of Abraham Lincoln as a young Blackmer. Screen play by Lillie Hayward man in Springfield, Illinois, began and Brian Marlow. From a story by Grover where he Jones and William Slavens McNutt. Direc- his law practice. His fairness, his honesty, tion by Kurt Neumann. Paramount. his wit, and his simple friendliness are ap- In this picture, the theme of the regenera- in his relations tion of adult characters through the love of pealingly shown with the a child is well enough worked out to com- people with whom he associated. The chief

pensate in some measure for a really hack- virtue of the production is in Henry Fonda’s neyed beginning and decidedly ambiguous sympathetic and sensitive performance of the ethics. A prize tighter and a night club hos- title role, although a cast admirably tess are mistaken by an orphan boy for a good and married couple who were friends of his restrained direction contribute greatly to the father, and they, knowing the circumstances generally pleasing effect. It would have been which have left him alone in the world, de- a more significant biographical portrait, how- cide to make a home for the boy. Whatever ever, if it had given a better rounded con- appeal the picture may have is due to its human touches. ception of the various influences which actu- Adolescents, 12 to 16 Children, 8 to 12 ally contributed to Lincoln’s development. Misleading No The fault of the film is in its overstressing of one incident of his career, the trial of two YOUNG MR. LINCOLN O O young rustics whom he defended against a Henry Fonda, Alice Brady, Marjorie Weaver, murder charge. However, it is good inspira- Arleen Whelan, Eddie Collins, Pauline Moore, Richard Cromwell, Donald Meek, tional entertainment and well worth the at- Judith Dickens, Eddie Quillen, Spencer Charters, Ward Bond, Milburn Stone, Cliff tention of discriminating audiences. Clark, Steven Randall, Charles Tannen, Adolescents, 12 to 16 Children, 8 to 12 Francis Ford, Fred Kohler, Jr. Original screen Excellent Probably not much play by Lamar Trotti. Direction by John interest Ford. 20th Century-Fox.

“Young Mr. Lincoln” is a biographical drama picturing our national idol as he was

SHORT SUBJECTS

ANGEL OF MERCY O O DARK MAGIC O (M.-G.-M.) (M.-G.-M.)

Founder of the Red Cross in 1861, Clara A comedy short stars Robert Benchley who Barton struggled to build up the organization brings home a box of magic tricks from the

which has become world-wide in its scope. store. Strangely enough, some of the demon- She encountered opposition from the fact that strations are successful. Done with the char-

she was a woman in a day when woman’s acteristic Benchley humor, this is fun for

place was definitely in the home, and it was children and parents alike. long before she received true recognition for © her work for suffering humanity. Excellent PROPHET WITHOUT HONOR O O for all ages. (M.-G.-M.)

A historical short subject of the life of CLOWN PRINCES O O Matthew Maury, nineteenth century Amer- An "Our Gang" comedy. Directed by George ican, places him in the ranks of those to whom Sidney. M.-G.-M. honor is due for great achievement. Crip- This “Our Gang” comedy is nicely moti- pled so that he could not follow the sea he vated but in comparing the finished perform- loved so well, he still followed it in every ances given by some experienced actors of thought and desire, and charted the wind five, six and seven with the work done in currents over the water so well that his find- this film, the gang seems quite amateurish. ings are used to the present day for ocean Boresome to anyone over ten. and airplane travel. All ages. MOTION PICTURE REVIEWS Eleven

RADIO FANS O O have been forgotten. This is one of those (M.-G.-M.) pages from history, beautifully pictured in technicolor, When a boy becomes an amateur radio convincingly acted by Claude others in the cast: the life of operator, the whole family is inspired to Rains and Haym join him in his hobby. Here we are shown Solomon, a Jewish immigrant who was im- how there can be an opportunity for real prisoned, gave all his earthly goods, and per- service, relaying messages from those in need suaded his friends in the synagogue to make of help in remote territory and on the sea. heavy sacrifices that the struggling young All ages. republic might survive. For all ages.

STORY DR. JENNER O O SONS OF LIBERTY O O THE OF Claude Rains, Gale Sondergaard. Direction With excellent narrative to accompany the by Michael Curtiz. Screen play by Crane action, this interesting film shows the courage Wilbur. Warner Bros. and persistency of a small-town English doc- At the present time there is a trend in tor who lived at the end of the eighteenth motion pictures to exalt American ideals, to century, combatting hypocrisy and supersti- make democratic standards as important as tion to prove the efficacy of his serum for the dictators have made their ideologies to the dread disease, small pox. It should make their people. In doing this there have been a good picture for the class room and also shown many passages of our history which be of value in stressing the importance of have seldom been featured or at the best vaccination for the general public. Family. Twelve MOTION PICTURE REVIEWS

INDEX . . . JANUARY through JUNE, 1939

A H The Hardys Ride High May The Adventures of Jane Arden March Heart of the North January Almost a Gentleman April Heritage of Ambush March the Desert May His Exciting Night January The Arizona Wildcat March Honolulu March Hotel Imperial B June Hound of the Baskervilles. The April Back Door to Heaven May Huckleberry Finn March Big Town Czar May Boy Friend June I Boy Slaves February The Ice Follies of 1939 April Boy Trouble March Idiot's Delight February Bridal Suite June I'm From Missouri April Broadway Serenade May Invitation to Happiness May Burn 'Em Up O'Conner February It's a Wonderful World June C J Jesse James February Cafe Society May The Jones Family in Hollywood March Calling Dr. Kildare May Juarez May Captain Fury May Charlie Chan in Honolulu March K Charlie Chan in Reno June Kentucky January Chasing Danger April The Kid from Kokomo June A Christmas Carol January The Kid from Texas May Confessions of a Nazi Spy May King of Chinatown May King of the Turf March D L Dark Victory April The Lady and the Mob April The Dawn Patrol January The Lady's from Kentucky May Disbarred February The Lady Vanishes April Dodge City April Let Freedom Ring March Life Dances On (Un Carnet de Bal) March E Little Orphan Annie January The Little Princess March East Side of Heaven May Little Tough Guys in Society January Edge of the World February The Lone Wolf Spy Hunt April Ex-Champ June Love Affair April Exposed January Lucky Night June F M The Family Next Door May Made for Each Other March Fast and Loose March Man of Conquest May Fisherman's Wharf March Midnight April The Flying Irishman April The Mikado June For Love or Money June Mr. Moto in Danger Island March Four Girls in White February Mr. Moto Takes a Vacation March Fram for Framgang April Mystery of the White Room May G N Nancy Drew, Reporter February The Girl Downstairs January Never Say Die April The Girl from Mexico June Going Places January P Goodbye, Mr. Chips June Pacific Liner January The Gorilla June Paris Honeymoon January The Gracie Allen Murder Case June Persons in Hiding March The Great Man Votes February Prison Without Bars April Gunga Din February Pygmalion January MOTION PICTURE REVIEWS Thirteen

R Three Smart Girls Grow Up April Tom Sawyer, Detective January The Return of the Cisco Kid May Topper Takes a Trip February Ride a Crooked Mile January Trade Winds January Risky Business April Trouble in Sundown April Rose of Washington Square June Twelve Crowded Hours March S U St. Louis Blues March Union Pacific May The Saint Strikes Back March Unmarried June Secrets of a Nurse January Sergeant Madden April W Silver On the Sage March Wife, Husband and Friend April 6000 Enemies June Wings of the Navy February Sixty Glorious Years May Winner Take All April Society Lawyer June Within the Law April Society Smugglers May Wuthering Heights April Some Like It Hot June Son of Frankenstein February Y Song of the Buckaroo February Yes, My Darling Daughter March Sorority House May You Can't Cheat an Honest Man. . . April South Riding February You Can't Get Away with Murder. March The Spirit of Culver March Young Mr. Lincoln June Stage Coach March Youth Marches On February Stand Up and Fight February Stolen Life May Z The Story of a Cheat February Zaza January The Story of Alexander Graham Bell April Zenobia April The Story of Vernon and Irene Castle April The Strange Case of Dr. Mead April SHORT SUBJECTS Sudden Money May Angel of Mercy June The Sun Never Sets June Clown Princes June Sweethearts January Dark Magic June Swing That Cheer January The Great Heart April T Mamma's New Hat April Marine Circus April Tailspin March Power February Tarzan Finds a Son June Prophet Without Honor June Tell No' Tales June Radio Fans June Thanks for Everything January Sons of Liberty June They Asked for It June The Story of Dr. Jenner June They Made Me a Criminal February They Made Her a Spy May EDITORIAL Three Musketeers March Evaluating Pictures for Children June Parade Story A QUALITY MAGAZINE

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FEATURE FILMS —o Bachelor Mother Five Came Back Forgotten Woman

The Girl and the Gambler Grand Jury Secrets

It Could Happen to You Inside Information

Land of Liberty Maisie Man About Town The Man in the Iron Mask On Borrowed Time

The Saint in London Second Fiddle Stronger Than Desire

Susannah of the Mounties

They All Come Out They Shall Have Music Timber Stampede Undercover Doctor

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Vol. xm JULY. 1939 No. 7

A recent edition of the Los Angeles Evening Herald-Express speaks of “Hollywood’s compromise entertainment—the anemic screen literature which spell box office shortage,” and pertinent comments by Mr. Douglas Fairbanks, Jr. as follows: “‘Roughly speaking, Hollywood makes three types of motion pictures—one, for adults; two, for juveniles, and, thirdly, the one which compromises between adults and juveniles.

The major mistakes lie in this third classification because it constitutes a jarring compromise.'

“Many a good adult story has been sacrificed by an attempt to inject angles which will appeal to juvenile minds and, conversely, many good productions which would be worth while entertainment for juveniles have had their entertainment values impaired by an effort to inject an adult slant, Fairbanks points out.

“As a result, he says, the effort to satisfy everyone from 7 to 70 has in some cases yielded a product “watered” to the point of becoming anemic screen literature. “ ‘If all great novelists and playwrights were forced to make similar compromises, books and plays could never make healthy contributions to literature. For instance, John Stein- beck’s ‘Grapes of Wrath,’ an overnight bestseller recently purchased by 20th Century-Fox, would have been meaningless had Steinbeck attempted to include a slice of ‘Heidi.’

“Carrying this argument directly to film exhibitors, it is Fairbanks’ view that the road to freedom of the screen can be opened if the men who show the pictures will take the problem in hand. He suggests a national exhibitors’ convention to devise a new and up-to- date system of showing pictures.

“‘As their discretion dictates,’ he declared, ‘they may find it possible for certain hours of certain days to be set aside for children’s matinees. Or a plan under which separate houses for children and adults are designated may prove workable. Perhaps an information service, Four MOTION PICTURE REVIEWS

telling in advance the nature of a forthcoming picture, thus sharing responsibility with

parents themselves, is the right answer.’”

He is repeating what many critics of motion pictures have thought for years. It is impossible to satisfy audiences from seven to seventy with the same subject matter and treatment. An occasional, vital theme, directed with taste and skill will hold general interest. But there are no feature pictures for junior matinees today, and few pictures for children

under twelve. Socially minded critics recognize this. There is, however, information at hand for parents so that they may “share the responsibility.” An increasing number of libraries over the country furnish an information telephone service based on reviews from reliable sources. Schools are training children in critical evaluation. Parents have recourse to publications of unbiased opinions. The theatres, alone, fall short in their service to the public

through ill chosen double bills, and failure to provide family night programs, and they

overlook the fact that even the goose that lays the golden egg at the box office will sooner

or later put it to other uses.

FEATURE FILMS

BACHELOR MOTHER O O chosen are somewhat stereotyped; there are Ginger Rogers, David Niven, Charles Co- the runaway lovers, the woman of question- burn, Elbert Coplen, Jr. Screen play by able morals, the scientist, the criminal, etc. Norman Krasna and Garson Kanin. Direc- But the actors handle their roles competently, tion by Garson Kanin. R. K. O. and the picture holds the spectator absorbed This is not one of Miss Ginger Roger’s as it rushes on to its startlingly dramatic dancing pictures, but it does not need to be, climax. The final scene of human heroism, for it is a really funny farce-comedy, and soaring to its loftiest heights, as the repaired Miss Rogers is a delightful comedienne. The airplane disappears behind a bank of clouds, story is a nonsensical yarn about a foundling is one of the finest bits of drama presented by and a working girl who is thought to be the the screen for many a day. The photography baby’s mother and an employer who tries to is especially notable. do his bit for humanity by helping the poor Adolescents, 12 to 16 Children, 8 to 12 girl bring fatherless child. Every- to up a No— Needs adult Unsuitable body misunderstands everybody else, and the evaluation more misled they are the more hilarious the picture becomes. The dialogue is unusually FORGOTTEN WOMAN O O clever, and considering the theme, there are Sigrid Gurie, Donald Briggs, Eve Arden, remarkably few lines with which to find William Lundigan, Elizabeth Risdon, Donnie fault. Dunagan, Paul Harvey, Joseph Downing, Screen Lionel Adolescents, 12 to 16 Children, 8 to 12 Norman Willis. play by Entertaining Probably not much Houser and Harold Buchman. Music score: interest Frank Skinner. Direction by Harold Young. Universal. Oh, Annie she was gently bred, FIVE CAME BACK O O And with her husband dear, Set for Chester Morris, Wendy Barrie, C. Aubrey out Florida one day. Smith, John Carridine, Lucile Ball, Alan Alas, she knew no fear! Jenkins, Kent Taylor, Joseph Calleia, Patric Knowles, Elisabeth Risdon. Direction by Two gangsters posed as gentlemen John Farrow. R. K. 0. And with them rode along. This picture presents a very interesting A bank was robbed, their car was wrecked. portrait gallery of human types, using as its The gangsters done them wrong. vehicle the familiar but not yet hackneyed With husband killed, a lone widow, device of the airplane trip. Twelve persons Poor Annie went to jail. of widely varied personalities embark on the She plead her innocence, but oh! journey to South America, meet disaster in She grew more wan and pale. the wilds of the Andes, and are forced to

spend several weeks together there while the Ah me, her little babe was born two young pilots struggle to repair the plane. Behind the prison bars, During that time their characters are shown And this should teach you not to ride in sharp relief against a background of hard- With unknown persons in your cars. ship, and the usual evidences of courage and Adolescents, 12 to 16 Children, 8 to 12 cowardice come to the surface. The types Too emotional No MOTION PICTURE REVIEWS Five

THE GIRL AND THE GAMBLER O O criminal and vindicates her husband. The holding suspense to the Leo Carrillo, Tim Holt, Steffi Duna. From direction is good in the play "The Dove" by Willard Mack. very end. Joseph A. Fields and Clar- Screen play by Adolescents, 12 to 16 Children, 8 to 12 by Lew ence Upson Young. Direction No—Obiectionable No Landers. R. K. O.—Radio. scenes It is surprising to note that an old stage was colorful, excit- play, “The Dove” which O O ing and amusing, becomes a depiction of INSIDE INFORMATION Lang, Mary lurid and unsavory cafe life on the screen. Dick Foran, Harry Carey, June Carlisle. From a story "47th Precinct" by taste. Leo Even some of the lines are in bad Martin Mooney and Burnet Hershey. Screen Carrillo is fairly romantic as El Rayo, a sort play by Alex Gottlieb. Direction by Charles of Mexican Robin Hood who does right or Lamont. Universal. wrong as the fancy seizes him, and Tim Holt This is second-rate entertainment. A and Steffi Duna add an interest of young young “rookie” in the police force tries to love, but summing up good points and short- substitute modern scientific methods for the comings, the film is merely lukewarm enter- “fiat-foot” procedure of his superior officers tainment. and succeeds in learning the identity of a Adolescents, 12 to 16 Children, 8 to 12 gang of gem thieves. Some of the details are No No brutal and objectionable. Adolescents, 12 to 16 Children, 8 to 12 No No GRAND JURY SECRETS O O John Howard, William Frawley, Gail Patrick, Jane Darwell, Harvey Stephens. Screen play LAND OF LIBERTY O O by Robert Yost and Irving Reis. Direction Visitors to the two fairs will find it well by James Hogan. worth while to attend a showing of “Land John Keefe’s moral laxity is opprobrious. of Liberty,” the Motion Picture Industry’s His sins including such items as planting a exhibit. It is an ambitious, extremely inter- short-wave broadcasting set in the grand esting, and novel production in which hun- jury room to obtain a “scoop” and posing as dreds of sequences depicting events in the a priest to elicit a doomed boy’s confession. history of the United States have been taken By contrast it is a satisfaction to find that his from motion pictures and news reels and brother, the District Attorney, is both upright skillfully combined to give a stirring pano- and brain}'. The interlocking themes of the rama of major events in the development brother rivalry and the value of “Ham” of our country. Also as was its intention, it (amateur radio) operators in crime detec- conveys a startling realization of the enor- tion include so many episodes that one is mous field of motion pictures. The project left with a feeling of mental indigestion. was in the hands of the master craftsman, Some of the individual performances are Mr. Cecil B. DeMille. It is suitable in good, but the picture as a whole is too in- content for all audiences, but its great volved to sustain interest and never rises length would make it tiring for young above mediocrity. children. Adolescents, 12 to 16 Children, 8 to 12 Too much emphasis No on trickery MAISIE O O Robert Young, Ann Sothern, Ian Hunter, Ruth Hussey, Cliff Edwards, Anthony Allan, Art Mix. Screen play by Mary C. McCall, IT COULD HAPPEN TO YOU O O Jr. from a book by Wilson Collison. Music score, Dr. William Axt. Direction by Edwin Stuart Erwin, Gloria Stuart, Raymond Wal- L. Marin. M.-G.-M. burn, Douglas Fowley. Story by Charles Hoffman. Screen play by Allen Rivkin. A tough-but-honest, wise-cracking chorus Direction by Alfred Werker. 20th Century- girl is no novelty on the screen, but Maisle, Fox. as played by Ann Sothern is unexpectedly picture begins with an excellent The refreshing. Stranded in a small western sketch of the life of a young married couple, town, she commandeers a job at a nearby in which a fine, loyal wife is striving dis- to cattle ranch as lady’s maid to the owner’s cover to means win recognition for her wife. The picture becomes a mixture of talented but unaggressive husband. As a vivid western comedy and courtroom melodrama and distasteful contrast follow the scenes but what happens is not so very important. of a “stag” party with wild girls chorus and Audiences who have forgotten the plot will drunken company executives on a night off. remember wistful, tough little Maisie with the party is When followed by a murder, her swaggering self reliance, her forthright the District Attorney’s office is shown in a honesty and her genius for pert repartee. bad light, the young wife in a noble one, Adolescents, 12 to 16 Children, 8 to 12 since she alone traces the clue to the real Depicts adult problems Too mature Six MOTION PICTURE REVIEWS

MAN ABOUT TOWN O O ON BORROWED TIME O O Jack Benny, Dorothy Lamour, Edward Ar- Lionel Barrymore, Sir Cedric Hardwick, nold, Binnie Barnes, Monty Woolley, Isabel Bobs Watson. Beulah Bondi, Una Merkel, Nat Pendleton, Henry Travers, Grant Jeans, Phil Harris, Betty Grable, E. E. Clive, Mitchell, Eily Malyn, James Burke, Charles Eddie Anderson, The Merriel Abbott Danc- Waldron, Ian Wolfe, Phillip Terry, Truman ers, Matty Malneck's Orchestra, The Pina Bradley. From a novel by Lawrence Ed- ward Watkin. Adapted from play by Paul Troupe. Screen play by Morrie Ryskind, Osborn by Alice G. Miller, Frank O'Neill based on a story by Morrie Ryskind and and Claude West. Direction by Harold Allan Scott. Musical numbers staged by Bucquet. M.-G.-M. LeRoy Prinz. Musical Director, Victor “We tell you a tale of everyday people in Young. Direction by Mark Sandrich. Para- a little town of present day America. It mount. is an absurd, charming and stupendous story it is not a one. Gossip Besides the screen presence of a popular —but new radio star, this film offers beautiful settings, of a similar amazing occurence was old good dancing, catchy music and lavish cos- whispered in the days when Chaucer was writing his ‘Canterbury Tales.’ tumes. Jack Benny shows off to advantage liked the story believed in a lot of hilarious sophisticated nonsense “Mr. Chaucer and about a shy, bungling young man who pre- it—and so do we. If, perchance, you believe it respectfully insist that tends to be a Lothario and almost succeeds don't we we (and Mr. Chaucer) must be right. in getting himself shot. The production is faith still fast-paced up-to-the-minute entertainment in Because performs miracles and find its just reward.” the manner of a “Benny” radio program. a good deed does foreword to Borrowed Time” Adolescents, 12 to 16 Children, 8 to 12 The “On Sophisticated No interest thrown on the screen gives the essence of this beautiful production, an unusual and sincere venture into the supernatural. It is THE MAN IN THE IRON MASK O O the story of an old man and a small boy Louis Hayworth, Joan Bennett, Warren whose love and need for each other tran- William, Joseph Schildkraut, Alan Hale, scend death. It is an emotional story but Walter Kingsford, Miles Mander, Bert balanced by exquisitely human reactions and Roach, Marian Martin, Montague Love, delicate humor. Gramps (Lionel Barry- Doris Kenyon, Albert Dekker, Nigel de more) is wonderful in his role, and Bobs His Brulier. Adapted from novel by Alexander Watson, as Pud, equally remarkable. Dumas. Direction by James Whale, Edward performance places him in the first rank. Small Production. United Artists. Mr. Brink, the role of Death, is played by Sir Cedric Hardwick. It is a difficult part Here is swashbuckling, romantic advan- and some may wish that it might have been ture, a lively adaptation of Dumas’ story, pictured in a more ethereal manner. How- “The Man in the Iron Mask,” the fanciful ever, Sir Cedric is amazingly impressive. tale of intrigue and struggle for the throne The supporting cast give superlative assist- of France when twin sons were born to ance. Louis XIII. In order to assure the succession, While the theme concerns the fact that the one boy is spirited away. He grows to man- world would be a tragic place if death were hood unaware of his royal blood, under the taken away, it is not' in the least morbid or watchful care of D’Artagnoti (Warren Wil- depressing. On the contrary; and the deli- liam) and his three musketeers. His twin is cate and tasteful direction of Sidney Frank- crowned at five years of age and, under the lin makes it exceptionally beautiful, while crafty influence of the ambitious Forget the natural humor, the amusing and earthy (Joseph Schildkraut) becomes a selfish and philosophy of Gramps, the spontaneous fun cruel king. The double role is admirably of Pud and the amazing situations give the played bv Louis Hayworth who subtly, by picture unusual interest. voice and demeanor indicates the spiritual Adolescents, 12 to 16 Children, 8 to 12 difference in the two characters. The plot Yes Too mature under and setting call for dramatic and vigorous 10 action and suggest the dark historical period > of social and political unrest of the times, THE SAINT IN LONDON O O Joan Bennett is very attractive as Maria George Sanders, Sally Gray, David Burns, Theresa, Spanish Princess who is betrothed Gordon McLeod, Henry Oscar, Athene Sey- to Louis XIV, and she gives an effective ler, John Abbott, Ralph Truman. From a screen play by Lynn Root and Frank Fenton performance. The supporting cast is excep- from a story, “The Million Pound Day" by tionably able. Settings are lavish and beauti- Leslie Charteris. Direction by John Paddy ful and the direction distinguished. The Carstairs. Musical direction: Harry Acres. R. K. O. production should have wide appeal. This is another chapter in the exciting Adolescents, 12 to 16 Children, 8 to 12 Good Very exciting adventures of Simon Templar, better known MOTION PICTURE REVIEWS Seven as “The Saint,” the glorified detective and What makes “Stronger Than Desire” better former safe cracker. In London, he befriends than most formula pictures is the keen another American ex-convict, and the two imagination of the director who focuses at- attempt to outwit crooks who plot to clear a tention on the less obvious phases of the fortune on printing government currency. story and highlights certain scenes and peo- After the usual number of harrowing ex- ple to give reality to the whole. The actors periences and providential escapes, they bag are capable: Virginia Bruce alert and pretty, their game. Meanwhile a charming lady Walter Pidgeon dignified without being has joined forces with them and has fallen stodgy, Ann Todd a nice natural little girl. in love with Templar. The attractive cast Ann Dvorak is effective, although she and good production values make the film “emotes" more than is usual in the present sufficiently entertaining for detective story era. The remainder of the cast is com- fans. mendable. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Questionable No Too sophisticated No > SUSANNAH OF THE MOUNTIES O O FIDDLE O O SECOND Shirley Temple, Randolph Scott, Margaret Sonja Henie, Tyrone Power, Rudy Vallee, Lockwood, Martin Good Rider, J. Farrel Edna May Oliver, Mary Healy, Lyle Talbot, MacDonald, M. Moscovi, Moroni, Olson, Alan Dinehart. Screen play by Harry Tu- Victor Jory. Screen play by Robert Ellis gend. story Based on by George Bradshaw. and Helen Logan from story by Fidel La Lyrics and music by Irving Berlin. Direction Bara and Walter Ferris, based on book by by Sidney Lanfield. 20th Century-Fox. Muriel Denison. Direction by William A. This is possibly Sonja Henie’s best pic- Seiter. 20th Century-Fox. ture. It has a new and different plot, humor- Although this latest vehicle for Shirley ously satirizing publicity in Holly- methods Temple is apparently designed for children, wood, and it gives her an opportunity to act the producers obviously reckoned without an as well as dance and skate. She is delightful. insight into child psychology. Muriel Deni- A rural school teacher is catapulted into son's book has so large a folowing among movies her photograph, sent in when by an young readers that its plot is perfectly admirer, gives her the chance to make a familiar, but the picture, while accepting screen test for the lead in a picture based the well known characters, has presented on a best seller. She makes good, but finds action which bears practically no resemblance herself bewildered by Hollywood and hurt to the original. The human, amusing and by the manufactured romance publicized by dramatic incidents of the book are replaced the studio. The skating scenes are logically by implausible melodrama which intelligent interpolated into the plot and are charming. children recognize for what it is, with the Tyrone Power is perfectly cast as the non- result that the picture has limited audience chalant press agent who finds the love affair appeal. he originated a boomerang. Edna May Adolescents, 12 to 16 Children, 8 to 12 Oliver is delightfully amusing and Rudy If interested Very exciting Vallee good in his role, while Irving Berlin’s tuneful music will undoubtedly score on the O O “Hit Parade.” It is all light and diverting THEY ALL COME OUT and well worth one’s attention. Rita Johnson, Tom Neal, Bernard Nedell, Edward Gargan, John Gallaudet. Story Adolescents, 12 to 16 Children, 8 to 12 and Excellent Good screen play by John C. Higgins. Direction by Jacques Tourneur. M.-G.-M.

This is a prison film which is set aside STRONGER THAN DESIRE O O from others by its rational and judicial atti- Virginia Bruce, Walter Pidgeon, Lee Bow- tude towards offenders. The first part, deal- man, Ann Dvorak, Ilka Chase, Rita John- ing with two bank robberies and subsequent son, Ann Todd. Based on a novel by escapes, is necessarily noisy, melodramatic, W. E. Woodward. Screen play by David and blood-chilling, but from the moment Hertz and William Ludwig. Directed by members of the Federal Bureau of Prisons Leslie Fenton. M.-G.-M. take over the procedure, the film becomes a When an ambitious criminal lawyer neg- fascinating though perhaps overoptimistic lects his pretty wife for his work, inevitably study in criminology. The prison staff, in- she looks elsewhere for admiration and cluding case investigators, doctors, psychia- writes letters which involve her in a murder trists, endeavors to find something in each case, from the toils of which she has to be man’s life or character which may be used extricated by her own husband. At least to build him into a normal, law-abiding that is the way it happens in motion pictures. citizen. They send to Alcatraz only the most Eight MOTION PICTURE REVIEWS

obdurate criminals, beyond hope of reclama- modern children as well as adults will ap- tion. There is a simple, sincere love story plaud enthusiastically the skill of the chil- woven into the plot with Rita Johnson and dren's performance. But above all this su- Tom Neal as two first offenders who help perb screen presentation of the art of Mr. each other in the struggle upwards. Heifetz is an accomplishment for which we Adolescents, 12 to 16 Children, 8 to 12 may be deeply grateful. Interesting but brutal No Adolescents, 12 to 16 Children, 8 to 12 at times Recommended Excellent

THEY SHALL HAVE MUSIC O O TIMBER STAMPEDE O O Jascha Heifetz, Gene Reynolds, Walter George O'Brien, Chill Wills, Marjorie Rey- Brennan, Joel McCrea, Andrea Leeds, nolds, Morgan Wallace, Robert Fiske, Guy Porter Hall, Terry Kilburn, Walter Tetley, Usher, Earl Dwire, Frank Hagney, Bob Chuck Stubbs, Tommy Kelly, Jacqueline Burns. Screen play by Morton Grant. From Nash, Mary Neuman, Alfred Newman, stories by Bernard McConville and Paul "Sucker." Original story by Irmgard Franklin. Direction by David Howard. von Cube. Screen play by John Howard Musical Director: Roy Webb. R. K. O. Lawson. Direction by Archie Mayo. Samuel In the routine, outdoor action melodrama, Goldwyn Production. United Artists. George O'Brien plays the part of Scott, an sure-shot It is a splendid accomplishment to present honest cattleman, who saves the citizens FV/ieel Jascha Heifetz in a cinema which combines of IVagon from eastern inter- lopers their ruffians. human and artistic interest. The story is and mob of hired The simple but dramatic, concerning an under- Easterners pretend to be building a railroad, privileged boy from a New York tenement but actually are plotting by faked homestead district who, more alert and original than his claims to seize the surrounding land for its fellows, becomes the leader of a neighborhood rich timber. The climax of the film is a vio- gang. Their activities tend toward the be- lent free-for-all at the local newspaper ginning of lawlessness, and the attitude of office where rival mobs battle for possession an unsympathetic step-father, who cordially of evidence that would prove the trickery of dislikes him and believes him incorrigible, the villians. The picture runs true to type makes home intolerable. He runs away at with action, humor, and romance mixed ac- the threat of reform school and wanders by cording to the usual formula and a hero chance into an East Side Settlement music who is more than a match for any number school, where the understanding director of armed thugs. offers him a haven. His inherited love of Adolescents, 12 to 15 Children, 8 to 12 If they like the type No too violent music and undeveloped talent are discovered, — and the stimulus brings out his latent fine- ness. Through his enthusiasm and unselfish O O courage the school is aided too. UNDERCOVER DOCTOR Lloyd Nolan, J. Carrol Naish, Janice Logan, This is the slender but very entertaining Broderick Crawford, Heather Angel, Robert plot which is used to introduce, logically and Wilcox, Richard Carle, Stanley Price, John dramatically, exquisite number by Jascha Eldredge, George Meeker. Screen play by Heifetz and the young students of the music Horace McCoy and William R. Lipman. school. Mr. Heifetz’s personality is charm- From J. Edgar Hoover's book, "Persons in ing and he is natural and pleasing. Walter Hiding." Paramount. Brennan gives another of his inimitable Interesting both in its factual content and characterizations. Gene Reynolds and the in its dramatic action, this film depicts the other boys are fine, as are others in the sup- methods of the Federal Bureau of Investi- porting cast. The plot has much humor. One gation in tracking down criminals. trail scene where the mothers of the young penni- The in this case takes them to the office of a less prodigies hold off the sheriff is particu- prominent doctor who has rich larly hilarious. An enchanting mongrel pup become through tending fugitives from the law re- deserves a special word of comment. without porting them. The character of the doctor, The great artist presents Rondo Capricci- the incidents which started him on his under- oso, Saint Saens; Flora Staccato, Dibicu- cover practice, and his unsuccessful efforts Heifetz; Estrellita, Ponce-Heifetz Tschai- ; to free himself from his criminal associations kowsky’s Melody; and Mendelssohn’s Con- are vividly portrayed. The picture is com- certo, the last movement, accompanied by the mendable for the restraint and good taste children's orchestra. The children are heard with which it is handled. in solos and orchestra ensembles. Since Adolescents, 12 to 16 Children, 8 to 12 schools today offer rare opportunities in Questionable type of No musical appreciation and interpretation. entertainment Story Parade A QUALITY MAGAZINE

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FEATURE FILMS —o Andy Hardy Gets Spring Fever Bad Lands Beau Geste Bulldog Drummond's Bride Career Challenge, The

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Vol. xm AUGUST, 1939 No. 8

ANDY HARDY GETS SPRING FEVER O O BAD LANDS O O Lewis Stone, Mickey Rooney, Cecilia Parker, Robert Barrat, Noah Beery, Jr., Guinn Wil- Fay Holden, Ann Rutherford, Sara Haden, liams, Andy Clyde. Story and play by Helen Gilbert, Terry Kilburn. Screen play Clarence Upson Young. Direction by Lew by Kay Van Riper, based upon characters Landers. R. K. O. created by Aurania Rouverol. Direction by This is an anomaly, a “western” without W. S. Van Dyke II. M.-G.-M. sufficient action. An attempt has been made It cannot be that we are tired of Andy to emphasize character but interest is di- and his adolescent problems, for boys are vided among so many people that it trickles always entertaining, even to parents, at least very thin. Eight men in a sheriff’s posse in to those who have the vision to appreciate pursuit of an Indian murderer, find the boyhood transient as a phase. But although tables turned when they are besieged in a Andy meets a new experience in a spring desolate canyon by a band of Apaches who fever epidemic, those who have followed snipe them off one by one. The film is too slow-moving to maintain suspense, while the series may feel that otherwise the plot dirge-like music, giving no impression of has familiar a pattern, and that the picture danger, serves only for added retardation. lacks the original and hilarious touches of Adolescents, 12 to 16 Children, 8 to 12 Dull No earlier productions. However, we do not wish to disparage the entertainment values BEAU GESTE O O CR of this picture. Andy writes a school play Gary Cooper, Ray Milland, Robert Preston, and acts the leading role under circum- Brian Donlevy, Susan Hayward, J. Carrol Naish, Donald O'Connor. Based on the novel stances which might easily discourage even by Percival Christopher Wren. Screen play a better man. He also meets a new emo- by Robert Carson. Direction by William A. Wellman. Paramount. tional upheaval, sanely and normally. It is Here is an excellent vehicle for Mr. Well- all good fun and nicely handled. man’s genius for depicting a man’s world. Adolescent, 12 to 16 Children, 8 to 12 Good Yes, if interested It drips blood and sweat. Brutality and no- Four MOTION PICTURE REVIEWS bility strike an even balance in a quite fan- CAREER O O Anne Shirley, Edward Ellis, Samuel S. Hinds, tastic tale of three brothers whose ideals Janet Beecher, Leon Errol, Alice Eden, John are such, that, like Dumas’ three muske- Archer, Raymond Hatton. From the novel by Phil Stong. Screen play by Dalton teers, they are “one for all and all for one.” Trumbo. Directed by Leigh Jason. R. K. O. When the last asset of a prominent English Radio. Phil Stong, author of “State Fair,” gives family, a huge sapphire called “The Blue us another of his detailed studies of the Water,” is stolen, Beau Geste claims to be middle western scene. This time he draws join the For- guilty of the theft and leaves to attention to life in a small Iowa town by eign Legion. Quite in the dark as to his delineating the problems of some of its citi- motive but thoroughly loyal, his two broth- zens. As a cross-section of life in a community, it is undoubtedly good, but a plot ers, Digby and John, follow him. Beau and which follows the divergent courses of a half Digby die bravely. John returns home and dozen people is apt to lack unity. In spite ultimately learns the true story of the stolen of this obvious fault, it is an interesting pic- jewel when his aunt reads Beau's last mes- ture after the manner of many of the family pictures which are currently popular, and sage. Together they conclude that he was it could easily be carried into a series. It aptly named, Beau Geste, Beautiful Gesture. features the initial screen appearance of “Beau Geste” is a gripping tale even though Alice Eden and John Archer, winners of the the flash-back method is used in the telling. Lasky “Gateway to Hollywood Talent Search.” Their performance is good but the The fact that at the beginning one is ap- other members of the cast, particularly Ed- prised of certain concluding scenes does not ward Ellis, should be credited with a valiant rob it of interest. However, in skipping from “assist.” The story concerns a boy who tries a dramatic scene of an isolated fort in the to place a career before marriage. When he does decide to marry, he finds that he has Sahara to one of relative calm in the Eng- lost the girl to someone else. There is some lish countryside, there is something of a consolation for him when he learns that his let-down. The early part of the picture does father did not allow a similar experience not compare favorably with the last half to be tragic for him but found an enduring happiness with another. but is necessary for explaining the succeed- Adolescents, 12 to 16 Children, 8 to 12 ing action. Entertaining Mature Adolescents, 12 to 16 Children, 8 to 12 exciting No Too CHALLENGE, THE O O Robert Douglas, Luis Trenker, Joan Gard- ner. Scenario by Patrick Kirwan and Milton Rosmer. Direction by Milton Rosmer. Den- ham Films Ltd., London, England. BRIDE O O BULLDOG DRUMMOND'S The scenario of this film is founded upon John Howard, Heather Angel, H. B. War- the historic feat of climbing the perilous ner, Reginald Denny, E. E. Clive, Eduardo Matterhorn, accomplished in the year 1865 Cianelli, Louis Mercier. Based on the by an intrepid young English explorer, Ed- "Bulldog Drummond" stories by H. C. (Sap- ward Whymper, whose four companions lost per) McNeile. Direction by James Hogan. their lives in the descent. The story re- Paramount. volves around the ambitious rivalry of the Swiss and Italians to be the first to reach This latest episode in the “Bulldog Drum- the top. This rivalry causes bitter feeling, mond” series is also the poorest. Drum- and treachery is employed to prevent the mond is about to be married when a bank Italian guide, Carrel, from accompanying robbery occurs and he delays his wedding Whymper. A romance of the innkeeper’s daughter and the Italian guide lightens the to go sleuthing. In Paris he is put in jail as seriousness and tenseness of the drama. For a joke on the part of his London office, lovers of deeds and adventure this film will and while there he manages to learn the have much interest on account of the over- details of the robbery. Slapstick action and powering realism of the perilous mountain- has the feeling of be- humor are derived from such old time stand- climbing scenes. One ing with the climbers facing momentary bys as a pursuit over roofs, upset buckets death. The Alps are shown in all their mag- of paint, and broken furniture. nificent and treacherous grandeur. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Too Poor Worthless Very harrowing No MOTION PICTURE REVIEWS Five

EACH DAWN I DIE O O that New York is a happy hunting ground James Cagney, George Raft, Jane Bryan, where wily huntresses snare rich “boy- George Bancroft, Maxie Rosenbloom. From friends” and live glamorously ever after. the novel by Jerome Odium. Screen play Adolescents, 12 to 16 Children, 8 to 12 by Norman Reilly Raine and Warren Duff. Much too sophisticated No Direction by William Keighley. First Na- tional. FOUR FEATHERS O It is difficult to find a justification for this John Clements, Ralph Richardson, C. Au- picture outside of the fact that James Cag- brey Smith, June Duprez, Allan Jeayes. ney and George Raft are given an oppor- From the story by A. E. W. Mason. Screen tunity to play he-man, human-nature-in-the- play by R. C. Sheriff. Direction by Zolton raw parts in which they both excell. It is Korda. London Films (Alexander Korda). full of unbridled brutality and distorted so- A man’s picture and particularly a British- cial values. A young newspaper man, er’s, “Four Feathers” might be dedicated to “framed” by a candidate for high office, is the valor of war and the glory of the Em- sent to the penitentiary for a long term. pire. It is very fine in its way, a huge Since the prison is in a State which does spectacle with gorgeous color photography of not permit capital punishment, obviously it Egypt’s deserts and the Nile, and of native should be one of the most enlightened in- hoards and bright-uniformed British sol- stitutions. However, it is manned by a de- diery, with thrilling and bloody battles praved staff and is as degrading and vicious fought in the historically famous campaign as the worst prisons of the deep South some which ended in the capture of Khartum. years ago. The only people who possess a The central figure of the story is Harry shred of honor are a few of the convicts. Favcrsham, last descendant of a line of Full of action, the picture ends with a military heroes, who uses the excuse of battle which would do credit to a World civilian interests to cloak physical cowardice. film and a confession which would be War He is sent four white feathers by his friends, thrown out of any court in the land. It is and can be exonerated only by military bad material, well acted and well produced. prowess, which in the end he achieves Adolescents, 12 to 16 Children, 8 to 12 through great sacrifice and heroism. The Bad stuff Impossible attitude towards war will be displeasing to many thinking people who believe that cool should be preserved at a time when ELSA MAXWELL'S HOTEL FOR WOMEN sanity all the world is seeing red, but if it can be Elsa Maxwell, Ann Sothern, John Halliday, taken as straight military adventure, and if Lynn Bari, Alan Dinehart. Joyce Compton, one is not too squeamish about details of Linda Darnell, James Ellison, Katharine torture, it is well worth seeing. Acting and Aldridge, Jean Rogers, June Gale, Sidney direction are commendable. Blackmer. Screen play by Kathryn Scola Adolescents, 12 to 16 Children, 8 to 12 and Darrell Ware. Based on a story by Too brutal Decidedly not Elsa Maxwell and Kathryn Scola. Directed by Gregory Ratoff. 20th Century-Fox. Assuming that Elsa Maxwell knows FRONTIER MARSHAL O O whereof she speaks, this film provides a Randolph Scott, Nancy Kelly, Cesar Ro- splendid opportunity to become acquainted mero, Binnie Barnes, John Carradine. Based with the conversation and habits of the more on a book by Stuart N. Lake. Screen play successful models, show girls, and profes- by Sam Heilman. Direction by Allan Dwan. sional gold diggers of Manhattan. The story 20th Century-Fox. gives a rather hackneyed account of the Although this story follows the main out- adventures of Marcia Bromley of Syracuse lines of the usual “western,” it is done in a who came to New York to rekindle the affec- manner which makes it convincing. The tions of a cast-off suitor and remained to characters act like real people, and there is ornament night clubs with her dazzling pres- actually more emphasis on saving human ence until she attracted the attention of a lives than on taking them. A new marshal, roue, got mixed up in a shooting, and was self-appointed, determines to run the dis- rescued by her Syracuse sweetheart. While reputable, gun-toting element out of Tomb- the plot is stereotyped, the incidents of life stone and in his progress is brought in con- in the hotel for women are rich in humor, tact with a doctor amd a dance hall girl the dialogue is clever, and the various types who in spite of checkered pasts, have re- of girls are entertainingly portrayed. tained elements of good in their characters. Though Miss Maxwell delivers kindly hom- Photography is beautiful in many scenes. ilies on courage and straight shooting and Adolescents, 12 to 16 Children, 8 to 12 keeping your chin up, the impression persists Good "Western" Too exciting Six MOTION PICTURE REVIEWS

IN NAME ONLY O O important to no one, though possibly enter- Carole Lombard, Cary Grant, Kay Francis, taining for Taylor or Lamarr fans. The Katharine Charles Coburn, Helen Vinson, scene is laid in Saigon, “Paris of the East.” Alexander, Jonathan Hale. From the novel Thither Bill "Memory of Love" by Bessie Breuer. Di- by yacht comes Carey, 300 per rection by John Cromwell. R. K. O. -Radio. cent American, playboy, perennial guest, and loafer. The This is an absorbing problem-play por- moment he catches sight of traying hatred, bitterness, selfishness, and Manon de Vargnes the course of his life is thwarted love. Kay Francis plays the part changed, and he knows it. But in spite of his of a wife who, having married her husband American chivalry and the comfortable for money, refuses to relinquish her legal awareness of Uncle Sam’s protection, he is hold upon him to a woman who loves him, no match for suave, sinister, immensely influential Pierre de Laroch, a and much of the film is taken up with a por- half breed who trayal of the subtle ways by which she at- wishes to claim Manon, also a half breed, for his tempts to torment him and the woman he very own. De Laroch adopts cat-and- mouse tactics to getting wishes to marry. Carole Lombard is cast as prevent Manon from the unfortunate victim of her hatred. It a passport to leave Indo China, till at last seems improbable that many would enjoy the Manon murders him and perishes by her own hand, but one feels that it is all for the best. theme, although it is handled interestingly enough. Carole Lombard and Cary Grant Joseph Schildkraut as de Laroch reaches are at ease in their roles and Kay Francis for the peak of villainy, and Miss Lamarr looks once has a chance to be something more than extraordinarily beautiful. a dress model and takes advantage of her Adolescents, 12 to 16 Children, 8 to 12 No No opportunity. Adolescents, 12 to 16 Children, 8 to 12 Altogether bad No MAGNIFICENT FRAUD, THE <> O Akim Tamiroff, Lloyd Nolan, Mary Boland, Patricia Steffi I STOLE A MILLION <> O Morison, Ralph Forbes, Duna, Ernest Cossart. From the play "Caviare for Raft, Claire Trevor, Dick Foran, George His Excellency" by Charles G. Booth. Screen Henry Victor Jory. Screen play Armetta, play by Gilbert Gabriel and Walter Ferris. by Nathanael West. Direction by Frank Direction by Robert Florey. Paramount. Tuttle. Universal. This film belongs to the case history type The picture is interesting chiefly for the and will appeal only to those who are in- acting of Akim Tamiroff in a double role. terested in studying a depressing record of He takes the part of the president of a nameless country a misdirected life. It deals with a typical Central American and the case of a mal-adjusted youth who becomes actor-imposter who fills his office during the a criminal because of his quarrelsome dis- negotiations for a ten million dollar loan States. position and unwillingness to adapt himself from the United Lloyd Nolan is a soldier of fortune, finding in the to existing conditions. Unfortunately, there romance maze of political intrigue. It is a fairly exciting is no way of gauging the effect of this sort in which trickery and deception of picture upon the thousands of impress- melodrama, are made attractive until the next to the last ionable young people who will see it, for scene. while it does not attempt to excuse the acts Adolescents, 12 to 16 Children, 8 to 12 of its hero, neither does it present any con- Poor standards No structive solution for his problems, and the emotional appeal of his love for a fine young girl may make it difficult to remember MILLION DOLLAR LEGS O O that his punishment is a just one. Betty Grable, Jackie Coogan, Larry Crabbe, 1 to 1 Adolescents, 2 to 16 Children, 8 2 Dorothea Kent, John Hartley, Matty Kemp. Unsuitable Impossible Screen play by Lewis Foster and Richard English. Direction by Nick Grinde. Para- mount. LADY OF THE TROPICS O O “Million Dollar Legs” may be a piquant Robert Taylor, Hedy Lamarr, Joseph Schi Id- title, but the picture is just another movie kraut, Gloria Franklin, Ernest Cossart, Mary version of what keeps students entertained Taylor, Charles Trowbridge, Paul Porcasi, at a co-educational college, the principal ob- Frederick Worlock, Margaret Padula, Cecil Cunningham, Natalie Moorhead. Screen play jective of this particular student body is to by Ben Hecht. Direction by Jack Conway. raise money to support crew racing. By the M.-G.-M. simple expedient of betting on a winning Important to fashion experts is the news horse they succeed in financing the new sport that Miss Hedy Lamarr, in numerous care- and capturing the rowing honors for dear old fully posed close-ups, introduces twenty cos- Middleton. tumes designed by Adrian featuring the new Adolescents, 12 to 16 Children, 8 to 12 Oriental influence. The rest of the picture is Fair Passable MOTION PICTURE REVIEWS Seven

MIRACLES FOR SALE O O bittered woman, and the calculating cousin, Robert Young, Florence Rice, Henry Hull, Delia, whose jilted lover Charlotte had con- Lee Bowman, Astrid Allwyn, Frank Craven. soled, grows more human and gracious on the novel, "Death from a Top Based through devotion both to her own children Hat," by Clayton Dawson. Direction by Tod Browning. M.-G.-M. and the chance-born girl in whom both of them see again the man they have loved. Selling miracles is a strange business, but Delia’s revenge in depriving Charlotte of a that is what Mike Morgan did. He sold suitable marriage is something which seeps equipment to magicians— all that “hand-is- like subtle poison through the latter’s quicker-than-the-eye” sort of thing. Quite in- a whole life. The cast is unusually competent, nocently he stumbled on two murders which including Bette Davis, Miriam Hopkins, Don- for weird magic had him puzzled. By a des- ald Crisp, Jane Bryan and others. The most perate ruse, he solved them and saved the difficult role is that of Charlotte, played by life of a third person. With the material at Bette Davis with fine character shading and hand, Miracles for Sale could have been a deep feeling; her change in appearance as thriller or a brisk farce. Handled as a well as in temperament is practically flaw- straight murder mystery, it is neither dra- less. Miriam Hopkins is splendid as Delia matic nor amusing enough to be interesting and will be remembered as one of the most except as an expose of magician’s tricks. exquisite brides of all times. The picture is Adolescents, 12 to 16 Children, 8 to 12 Too exciting No replete with weddings, there being no less »: than four, with lovely groups of bridesmaids and all the panoply of the day. Settings are NEWS IS MADE AT NIGHT O O carried out in great detail to give an authen- Preston Foster, Lynn Bari, Russell Gleason, tic background, and the music adds greatly George Barbier, Eddie Collins, Minor Wat- son, Betty Compson. Screen play by John to the atmosphere, although those who listen Larkin. Direction by Alfred Werker. 20th closely will be a little surprised at the use Century-Fox. Max Steiner makes of an old ditty which Fast action and a steady stream of new has almost become an American folk song. newspaper-detective complications make this Adolescents, 12 to 16 Children, 8 to 12 yarn lively enough for anyone, but the piling Too mature No on of absurdities robs it of all but the most superficial interest. The foundation for the OUR LEADING CITIZEN O O story is familiar in design: newspaper edi- Bob Burns, Susan Hayward, Joseph Allen, tor is trying to exonerate man condemned to Elizabeth Patterson, Gene Lockhart, Otto die for murder, girl reporter is determined Hoffman, Charles Bickford, Kathleen Lock- to get a job, turns up at all critical moments hart, Paul Guilfoyle, Clarence Kolb, Fay and finally obtains conclusive evidence. The Helm. Screen play by John C. Moffitt. picture alternates between the most sinister Based on a story by Irvin S. Cobb. Direc- realism and outright slapstick comedy. None tion by Al Santell. Paramount. of the characters is really admirable and This film can claim attention on three most of them are villainous. counts: it is one of the few to use Capital Adolescents, 12 to 16 Children, 8 to 12 No Impossible vs. Labor as its theme; it casts Bob Burns in a straight role; it administers a huge dose of Americanism. Otherwise it is not a not- OLD MAID, THE O O able achievement. The characters, like those Bette Davis, Miriam Hopkins, George Brent, in the old morality plays, seem to represent Donald Crisp, Jane Bryan, Louise Fazenda, abstractions rather than individuals. Prac- James Stephenson, Jerome Cowan, William tically all the virtues are in Lundigan and Cecilia Loftus. From the story combined the and play by Edith Wharton and the play Leading Citizen, and the duty of resolving by Zoe Akins. Direction by Edmund Gould- economic difficulties is placed squarely upon ing. Warner Bros. his shoulders. Evil qualities are somewhat Edith Wharton’s stories of old New York unequally divided between Capital and La- depict a rigidly correct society of the days bor, for although Labor is discovered to of the Civil War and the decades which have been misguided by the insidious influ- immediately followed. In them the age old ence of a foreign power, Capital has no emotions of desire and jealousy and mother excuse for his wickedness and is roundly love seethe beneath the surface, grow punished for his greed. The scenes of clashes stronger because of repression and are some- between pickets and hired strike-breakers times diverted into strange channels. So it keep the picture from becoming monotonous. happens that a lovely, too generous girl, Though the cast is capable and well-chosen Charlotte Lovell, injured by the double ig- for the various roles, the picture is a bit too nominy of being an “old maid” and mother obvious to be inspiring. of a child born out of wedlock, is trans- Adolescents, 12 to 16 Children, 8 to 12 formed into a punctiliously conventional em- Might be interesting Too mature Eight MOTION PICTURE REVIEWS

SPELLBINDER. THE O O story concerns a sly, conniving, dishonest Lee Tracy, Barbara Read, Patric Knowles, executor who plans to sell the faithful plan- Allan Lane, Linda Hayes, Morgan Conway. tation slaves but is finally thwarted. The Screen play by Thomas Lennon and Joseph plot is interesting because of minor episodes A. Fields. Direction by Jack Hively. R. K. and variations. There is a delightful, hum- O. -Radio. orous inn-keeper in New Orleans (Alan No methods were too reprehensible to be Mowbray), a rare old gouty judge with employed by attorney Marlow in obtaining Epicurean tastes (Robert Creif), a funny the acquittal of his underworld clients, but negro who masquerades as little Tim’s when his school-girl daughter was tricked maiden aunt (Clarence Muse), and through into marriage by one of them who was an it all the Hall Johnson choir whose songs avowed murderer, his love for her led him vary from choruses of thanksgiving to dole- to shoot the villain and take the consequences. ful chants of despair. While we all know There is little that can be said in favor of that modern “swing” came from the negroes, the picture except that Lee Tracy as Marlow one wonders if it were quite as “hot” as gives a convincing performance. shown in one sequence in the pre-Civil War Adolescents, 12 to 16 Children, 8 to 12 days. No No Adolescents, 12 to 16 Children, 8 to 12 Yes Would probably <• enjoy it UNEXPECTED FATHER O O Sandy Lee, Shirley Ross, Dennis O'Keefe, Mischa Auer, Leo Murphy, Paul Guilfoyle, WHEN TOMORROW COMES O O Mayo Methot. Original play by Leonard Spigelgass and Charles Grayson. Direction Irene Dunne, Charles Boyer, Barbara O'Neil, by Charles Lamont. Universal. Onslow Stevens, Nydia Westman, Nella Walker, Fritz Feld, Greta Meyer, Harry C. If the story built around little Sandy Lee Bradley and Milton Parsons. Screen play is not particularly original or stimulating, it by Dwight Taylor based on story by James really does not matter a great deal, for that M. Cain. Photography, John J. Mescall. enchanting baby could make almost any pic- Directed by John M. Stahl. Produced by ture entertaining. She—or he as the script John M. Stahl. Universal. insists—has an amazing stage presence and a personality which covers all deficiencies. Since a poignant love story is the sine Jimmy (Dennis O’Keefe) learns that his qua non of a successful Boyer-Dunne pic- former dancing partner and her husband ture, Universal must have had quite a prob- have been killed in an accident, leaving a which baby boy. He locates the child’s only rela- lem to solve in finding a new vehicle tives, but finds them unwilling and unsuit- would be sufficiently different from “Love able guardians. There follow amusing ex- Affair” and at the same time give the screen’s periences as Jimmy and a fellow trouper try most popular lovers a chance to exercise their to care for the child, and an entire theatre talent for depicting tender romance. “When cast assume responsibility and give assist- Tomorrow Comes” meets the specifications ance after their fashion. An unrehearsed very nicely and will not disappoint the wait- appearance of Sandy on the stage causes pub- ing public. For variety, it commences with licity which inspires the relatives to lay a scene in a crowded restaurant where the claim to him, but he settles all problems in waitresses are about to go on strike and his own entirely capable way. It is light where Miss Dunne, as Helen, one of the and amusing and Sandy gives an unexcelled waitresses, meets Mr. Boyer, as Philip Char- exhibition of what it takes to be a star gal, whom she mistakes for a spy employed performer. by the management, but who turns out to be Adolescents, 12 to 16 Children, 8 to 12 Yes Yes a famous pianist with a swanky house on Long Island. Of course they fall in love, but an insurmountable obstacle forces them to part. Surprisingly, interest in the love WAY DOWN SOUTH O O story temporarily gives way to a tremen- Bobby Breen, Alan Mowbray, Ralph Mor- dously realistic sequence which re-creates gan, Clarence Muse, Seffi Duna. Story and the hurricane on Long Island, and it is the screen play by Clarence Muse and Langston thrilling suspense of these scenes which makes Hughes. Direction by Barnard Vorhaus. the picture distinctive. In a supporting role Principal-R. K. O. Barbara O’Neil gives a surpassingly fine performance. This is simple, rather pleasing fare, prob- Adolescents, 12 to 16 Children, 8 to 12 ably a good choice for Bobby Breen. The Too mature in theme No MOTION PICTURE REVIEWS Nine

WINTER CARNIVAL O O of Dartmouth traditions and college life for Ann Sheridan, Richard Carlson, Helen Par- the less interesting details of a romance be- rish, Robert Armstrong, Marsha Hunt. Screen tween a young faculty member and a notori- play by Budd Schulbert, Lester Cole and ous glamor girl, the divorced wife of a Maurice Rapt. Direction by Charles F. Ries- Count. In the latter role Ann Sheridan ner. Walter Wanger (United Artists). displays an elaborate wardrobe, but scarcely In the shadow of “oomph” poor old Dart- justifies the intriguing promises of her pub- mouth makes her screen debut. Her loyal licity agents. Besides the leading characters sons may thrill to the sight of their snow- there are numerous other young men and decked Alma Mater, but they will certainly girls whose romances and ambitions make squirm in their seats if they stay to watch a the plot more confusing than interesting. glamorous divorcee steal the spotlight in a Adolescents, 12 to 16 Children, 8 to 12 film which overlooks the entertainment values Possible No interest

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Abus de Confidence The Adventures of Sherlock Holmes Blackmail Blondie Takes a Vacation Charlie Chan at Treasure Island Chicken Wagon Family Death of a Champion Dust Be My Destiny Everything's on Ice Five Little Peppers and How They Grew Golden Boy Hawaiian Nights Island of Lost Men My Fifth Avenue Girl Night Work Nurse Edith Cavell Range War Stanley and Livingston The Star Maker Stop, Look and Love These Glamour Girls The Underpup The Wizard of Oz The Women

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Vol.Xm SEPTEMBER, 1939 No. 9

ABUS DE CONFIDENCE O O THE ADVENTURES OF SHERLOCK Danielle Darrieux, Charles Vanel, Valentine HOLMES O O Tessier. Produced by Pathe Paris. Basil Rathbone, Nigel Bruce, Ida Lupino, French pictures frequently treat life from Alan Marshal, Terry Kilburn, George Zucco. Screen play by Edwin Blum and William an angle unusual in American films and pre- Drake, based on the play “Sherlock Holmes" by William Gillette, with the permission of sent strange problems that are none the less the executors of the late Sir Arthur Conan fascinating. This is the story of a penniless Doyle. Direction by Alfred Werker. 20th Century-Fox. little Parisienne who inspires only the preda- The generation to whom William Gillette tory instinct in men, and to escape their loath- in “Sherlock Holmes” is a vivid and de- some attentions, conceives the idea of foisting lightful memory may not find the current herself upon a distinguished man as his screen version of Gillette’s play altogether daughter by a long dead mistress. Danielle satisfactory, but when Sir Arthur Conan Doyle created the omniscient sleuth and his Darrieux’s countenance is too often like a faithful assistant and evolved a new school lovely, carven mask, although she speaks of crime detection by deductive reasoning, he with great feeling and conviction in the presented the world with some exceptionally court-room scene towards the end. Charles hardy perennials. Basil Rathbone and Nigel

Vanel, as the older man, is reasonable and Bruce are as good a team as could have been chosen to play the parts of Holmes and IVat- human, evoking deep sympathy. The music son, and the story of how they saved the sustains the mood, photography is good, and British crown-jewels from the diabolical there are fine touches of symbolism typical Professor Moriarty is still an absorbing of the best foreign films. thriller.

Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 No. Very mature Unsuitable Too much crime detail Harrowing 2

Four MOTION PICTURE REVIEWS

BLACKMAIL O O Biggers. Screen play by John Larkin. Di- rection by Norman Foster. 20th Century- Robinson, Edward G. Ruth Hussey, Gene Fox. Lockhart, Bobs Watson, Guinn Williams, John Wray, Arthur Hohl. Story by Endre Like most of the Chan stories, this is a Bohem and Dorothy Yost. Screen play by good mystery film with interesting characters Dave Hertz and William Ludwig. Direction and high-pitched by H. C. Potter. M.-G.-M. suspense. It is a clever idea to use as a setting the San Francisco For audience entertainment an innocent Exposition, first seen from the air as the man is again sent to the chain gang, escapes, China Clipper circles over the landing field, and after nine years is caught to endure bringing to earth a dead man whose con- again unbelievable treatment. Once more he nection with a certain mystic, Zodiac, sends escapes, and this time he succeeds in bringing Charlie Chan on another crime hunt. Ex- to justice the man responsible for the injus- planation of spiritualistic trickery is in- tice. There may be those who will enjoy the triguing, although the final solution is ac- violent scenes unfolded on the screen, but it complished by mind-reading far more diffi- is scarcely women's fare, and we question its cult to accept. Sidney Toler carries on the social value. If movie patrons were moved personality of Charlie Chan very capably, to investigate the truth of situations such as Sen Yung is laugh-provoking as the “honor- those pictured, such films have some excuse. able sprout,” his second son, Cesar Romero Otherwise, what purpose? Certainly not en- is colorful, and other parts are well cast. tertainment. As violent melodrama, it suc- Adolescents, 12 to 16 Children, 8 to 1 ceeds pictorially. The cast is adequate, with Good mystery film Too tense Gene Lockhart giving an outstanding impression of a sinister and evil man. But in our opinion it is not worth seeing. CHICKEN WAGON FAMILY O O Adolescents, 12 to 16 Children, 8 to 12 Jane Withers, Leo Carillo, Marjorie Weaver, Bad Impossible Spring Byington, Kane Richmond, Hobart Cavanaugh. Based on the novel by Barry Benefield. Screen play by Viola Brothers

Shore. Direction by Herbert I. Leeds. 20th BLONDIE TAKES A VACATION O O Century-Fox. In this humble picture Jane Withers is Penny Singleton, Arthur Lake, Larry Simms, Donald Meek, Donald MacBride, Thomas Addic Fippany, the energetic younger daugh- Ross, Elizabeth Dunne and Daisy. Screen ter of a creole family who live in a house- play by Richard Flournoy. Direction by wagon and travel about the South trading Frank R. Strayer. Columbia. various supplies and knickknacks for chick- Babies seem to be walking away with ens. The father, played by Leo Carillo, loves stellar honors in pictures these days. Cer- this carefree existence, but the women long tainly little Larry Simms and his dog Daisy for the opportunities of city life. The latter provide the laughs in this diverting comedy half of the play relates their adventures in from the in adapted characters Chic Young’s New York City. It is a suitable film for comic strip. Blondie, Dag’wood Baby Dum- , Jane Withers, whose pranks are less harm- pling and Daisy start off on a long deferred ful than usual. Spring Byington and Leo vacation, although Baby Dumpling and Daisy Carillo have good character parts, and there all will have secret misgivings that not be is a pleasant romance. smooth sailing. Sure enough, they antagonize Adolescents, 12 to 16 Children, 8 to 12 the manager of the hotel where they wish to Yes Yes stay and are forced to go to another inn, where they have amazing adventures but O O manage to give help to an elderly couple. DEATH OF A CHAMPION Overman, Robert Paige, Joseph Allen, It’s all good fun to which Donald Meek as Lynne Jr., Donald O'Connor, Susan Paley, Harry an elderly pyromaniac contributes. Baby Davenport, Walter Soderling. Screen play Dumpling offers the opinion that while he by Stuart Palmer and Cortland Fitzsimmons, loves his mother and daddy, he sometimes based on a story by Frank Gruber. Direc- tion by Robert Florey. Paramount. finds them hard to live with, and judging There have been films depicting murder from his experiences we sympathize. He is in almost every conceivable locale, but here probably not unique among children in this is a new one—murder at a dog show. First opinion. a champion dog is poisoned and afterwards Adolescents, 12 to 16 Children, 8 to 12 Good Yes several people are killed. The murders are solved by a small boy and a man who runs one of the concessions. The picture is sec- CHARLIE CHAN AT TREASURE ISLAND ond rate and is only partially redeemed by Sidney Toler, Cesar Romero, Pauline Moore, the scenes at the dog show. Sen Yung, Douglas Fowley, June Gale. Adolescents, 12 to 16 Children, 8 to 12 Based on the character created by Earl Derr Questionable No 2

MOTION PICTURE REVIEWS Five

DUST BE MY DESTINY O O by J. Robert Been and Gladys Atwater. Adapted from the book by Margaret Sidney. John Garfield, Priscilla Lane, Alan Hale, Direction by Charles Barton. Columbia. Frank McHugh, Billy Halop, Bobby Jordan, Charley Grapewin, Henry Armetta, Stanley Here is a picture made for children, girls Ridges, John Litel, Moroni Olsen, Victor especially. The Five Little Peppers, with Kilian. From a novel by Jerome Odium. Polly taking place, the house- Screen play by Robert Rossen. Direction Mother’s run by Lewis Seiler. Warner Bros. hold, struggle with the faulty stove, plan Technically superior and expertly acted, birthday surprises, and catch the measles. this film nevertheless adds nothing to the A fairy godfather, in modern guise, lends already overcrowded gallery of portraits of assistance at the proper moment. It is sim- unfortunate youths who emerge from unjust ple, kindly melodrama, catching the psy- imprisonment hating and fearing organized chology of the original story which has been society, and always more sinned against than popular with little girls for fifty years. The sinning. The crusading purpose of the cast is good, and little Dorothy Anne Seese role author is evident in the court-room plea of is particularly delightful in the of the defense attorney. In a speech obviously Phronsie. directed to the theater audience, he pleads Adolescents, 12 to 16 Children, 8 to 12 Amusing Good for Joe Bell and others like him who are the helpless victims of an unfeeling and unin- formed society. But like most other films in GOLDEN BOY O O the same category, this one offers no prac- Barbara Stanwyck, Adolphe Menjou, Will- tical solution for the problem and is perhaps iam Holden, Lee J. Cobb, Joseph Calleia, more likely to be effective as a justification Sam Levene, Edward S. Brophy, Beatrice for young criminals than as an incentive to Blinn, William H. Strauss, Don Beddoe. From the play by Clifford Odets. Screen provide a better for environment under- play by Lewis Meltzer, Daniel Taradash, privileged youth. John Garfield is a con- Sarah Y. Mason, Victor Herrman. Direction vincing Joe Bell. Priscilla Lane handles her by Rouben Mamoulian. Columbia. emotional scenes effectively, but in dress “Golden Boy,” on film as on the stage, is and demeanor she gives no impression of strictly for adult audiences, although much being the neglected step-daughter of the of the rough dialogue of the original play drunken superintendent of a work camp. has been omitted. The writing of a “happy Adolescents, 12 to 16 Children, 8 to 1 ending” will be an objection to some, al- Needs adult evaluation No though the picture flows with powerful smoothness throughout. It is a psychological EVERYTHING'S ON ICE O O problem drama of a sensitive, emotional Irene Dare, Roscoe Karris, Edgar Kennedy, young boy with a great musical talent and Lynne Roberts, Eric Linden. Screen play by the physical equipment of a prize fighter. Adrian Landis and Sherman Lowe. Direc- The action takes him through his career in tion by Erie C. Kenton. R. K. O. -Radio. the prize ring, and back to his music and In a picture built to exploit talent as her normal living after the unforgettable fight an ice skater, six-year-old Irene Dare is in which he kills his opponent, a young ne- given plenty of opportunity to perform. The gro boy. William Holden as the “Boy” is story is rather feeble but serves its purpose. effective, both with his violin and as a fighter; A shiftless, four-flushing family capitalizes the emotional struggle is well handled and on the ability of a little girl and moves to is credible throughout. The other charac- Florida where the child has a skating con- ters are convincing and have as much inter- tract at a fashionable resort. The family est as individuals as in their relationship problems are satisfactorily settled when big to the boy. Particularly good is Lee Cobb sister marries a millionaire. The picture is as the father. sufficiently entertaining because of the comedy Adolescents, 12 to 16 Children, 8 to 12 scenes and the expert skating. It will be less No. No pleasing to audiences who dislike seeing a child in an environment of adult sophistication. HAWAIIAN NIGHTS O O Adolescents, 12 to 16 Children, 8 to 12 Johnny Downs, Constance Moore, Mary Passable Passable Carlisle, Eddie Quillan, Thurston Hall, Sam- uel S. Hinds, Etienne Girardot. Direction by Al Rogell. Universal.

FIVE LITTLE PEPPERS AND HOW “Hawaiian Nights” is one of those medi- THEY GREW O O ocre films which people seldom remember Edith Fellows, Clarence Kolb, Dorothy Peter- for long. It might serve to create a certain son, Ronald Sinclair Jasper, Charles Peck, nostalgia if one had been in the Islands, for Tommy Bond, Jimmy Leake, Dorothy Anne Seese, Leonard Carey. Story by Natalie the scenes of palm groves and moonlit shores Bucknal and Jefferson Parker. Screen play and the lovely dancing of the lua seem Six MOTION PICTURE REVIEWS

authentic. The story is an old one, of a An inappropriate title sets off a picture young man who wants to be an orchestra which has just enough entertainment value leader and is opposed by a stern, time-clock- to keep a tolerant audience in their seats. punching parent. As a matter of fact, the Charlie Ruggles and Mary Boland are far best parts are performed by the older men, from their best. Part of the difficulty lies in Thurston Hall, Samuel S. Hinds and Etienne the fact that a farce is based on a theme Girardot. Some of the dialogue is poor, which is not at all farcical; the struggle of some of the music pleasing. two people to keep an adopted boy they have Adolescents, 12 to 16 Children, 8 to 12 come to love. The picture of little Billy Lee Fair Little interest dangling from a rope fourteen stories above the pavement will strike terror into many a ISLAND OF LOST MEN O O mother’s heart.

Anna May Wong, J. Carrol Naish, Anthony Adclescents, 12 to 16 Children, 8 to 12 Quinn, Eric Blore, Broderick Crawford, Yes No. Might Ernest Truex. Direction by Kurt Neumann. frighten Paramount. A gangster picture with an Oriental setting tells of an Eurasian, Gregory Prin, rul- EDITH O O ing over a jungle river country in Indo China NURSE CAVELL with henchmen who are fugitives from jus- Anna Neagle, Edna May Oliver, George Sanders, May Robson, Zasu Pitts, H. B. tice. To this unsavory region comes a young Warner, Sophie Stewart, Mary Howard. Chinese girl in search of her father, a Screen play by Michael Hogan from the general, last seen with $300,000 in his pos- story "Dawn" by Capt. Reginald Berkeley. Direction Herbert Wilcox. Imperadio- session. It is a tense, gruesome picture which R. K. O. serves to raise goose-flesh in spite of the fact The tragic story of Edith Cavell which that actors behave like automatons; even moved the world to horror and indignation such seasoned performers as Anna May at the time of the World War is revived Wong and Eric Blore fail to be convincing. on the screen at the moment when it quite Adolescents, 12 to 16 Children, 8 to 12 possibly might be regarded as anti-German No Impossible propaganda. Those who see it, however, will be impressed by the fact that every effort MY FIFTH AVENUE GIRL O O is made to keep the treatment sincerely ob- Ginger Rogers, Walter Connolly, Verree jective, unclouded by sentimentality and Teasdale, James Ellison, Tim Holt, Kathryn Adams, Franklin Pangborn, Ferike Boros, emotionalism, and free from malice. Edith Louis Calhern, Theodor von Eltz, Alexander Cavell, as Anna Neagle presents her, might D'Arcy. Screen play by Allan Scott. Di- be an heroic woman of any nation at any rection by Gregory LaCava. R. K. O. period of history who, having dedicated her- Here is a light comedy of manners, a self to the saving of human life, falls victim modern fairy tale, which amusingly ridicules to the warped psychology of war. The story both the capitalistic and the socialistic view- opens at the outbreak of the World War and points, and, by exaggeration rather than by progresses with restrained but powerful emo- realism, presents a certain pattern of human tion to a tragic conclusion that is known behavior. Walter Connolly appears as the from the first to be inevitable. The setting is typical business man, victimized by the re- Brussels during the German occupation. The sponsibilties of his tremendous wealth. Both plot traces Nurse Cavell’s activities in re- he and his deluded, unsocial family are storing wounded soldiers to health and in brought to a saner appreciation of life’s pos- helping them to escape, the gradual appre- sibilities by a young woman who comes from hension of her activities by German military a completely different social stratum. The officials, and her arrest, court martial, death production is adequately acted and amusing, sentence and execution. The acting of the and with all its fun it offers really con- a entire cast is remarkably fine, and Miss structive suggestion that most lines of thought Neagle creates an unforgettable Edith Cavell. be may reconciled through the application of Adolescents, 12 to 16 Children, 8 to 12 tolerance and sympathy. Depressing No Adolescents, 12 to 16 Children, 8 to 12 Requires adult Unsuitable interpretation RANGE WAR O O NIGHT WORK O O William Boyd, Russell Hayden, Britt Wood, Mary Boland, Charlie Ruggles, Billy Lee, Matt Moore, Betty Moran, Pedro de Cor- Donald O'Connor, Clem Bevans, William doba, Kenneth Harlan, Willard Robertson, Frawley, Joyce Matthews, John Hartley. Francis McDonald, Don Latorre. From an Screen play by Lloyd Corrigan and Lewis original screen story by Josef Montaigue. R. Foster. Direction by George Archain- Screen play by Sam Robins. Direction by baud. Paramount. Lesley Selander. Paramount. s

MOTION PICTURE REVIEWS Seven

This is a good, exciting “western” of the THE STAR MAKER O O Hopalong Cassidy series. The story is based Bing Crosby, Louise Campbell, Linda Ware, as usual on the efforts of wicked men of the Ned Sparks, Laura Hope Crews, Walter West to hamper industrious pioneers who, Damrosch. Based on a story by Arthyr Caesar and William Pierce, suggested by help, are triumphant in a with Hopalong’ the career of Gus Edwards. Musical di- good fight. While the dialogue is only fair, rection by Alfred Neumann. Walter Dam- the photography of the High Sierras is ex- rosch conducting the Philarmonic Orchestra back- of Los Angeles. Direction by Roy Del Ruth. tremely beautiful and the musical Paramonth. ground adds to the effectiveness of the picture by unobstrusively building up the mood Gus Edwards, the song writer who com- of the story. William Boyd continues as the posed “School Days,” “In My Merry Olds- likeable hero, and Pedro de Cordoba is dig- mobile,” “I Can’t Tell Why I Love You But nified and impressive as the Padre of the I Do,” and many other favorite songs, also mission where the final battle takes place. was a discoverer of child talent. Among Adolescents, 12 to 16 Children, 8 to 12 those to whom he gave their first jobs are Yes Exciting such famous entertainers as Eddie Cantor, the Duncan Sisters, Walter Winchell, Helen Menken, and others too numerous to list. STANLEY AND LIVINGSTON O O “The Star Maker” is inspired by his career, and though not actually biographical, it Spencer Tracy, Nancy Kelly, Richard Greene, Walter Brennan, Charles Coburn, Sir C. more or less parallels his experience as a Hardwicke, Henry Hull, Henry Travers. His- children’s impresario. The cast is made up torical research and story outline by Hal of a horde of precocious youngsters with Long and Sam Heilman. Direction by Henry King. 20th Century-Fox. Bing Crosby as the showman. Music and dancing are offered in generous quantity, This is a notable contribution to the list of and Linda Ware, fourteen-year-old soprano, historical films, for it brings to the present makes her screen debut along with Dr. Wal- generation an unforgettable picture of the ter Damrosch and the Los Angeles Philhar- Stanley expedition into the unexplored heart monic Orchestra. Her voice is truly remark- of Africa. In 1869, James Gordon Bennett, able for her age, although she is not yet ad- dynamic publisher of the New York Herald, equately prepared for the demands of either unconvinced that Dr. Livingston was dead, Tschaikowsky’s “Valse des Fleurs” or “Parla financed a party under his fearless and re- sourceful reporter, Henry Morton Stanley, Valse” by Arditi, both of which she sings in to find the missionary and bring him home. the film. While a large public will undoubt- Traveling inland the expe- from Zanzibar, edly enjoy the juvenile performers, an equally dition worked upward through African veldt large number of theater-goers who dislike and forest, attacked by native tribes, battered by storms and heat, and threatened by seeing children ape adults, will earnestly wild animals. Toward the end, almost ex- hope that not too many mothers will be in- hausted by the ravages of fever, Stanley, spired to make tap-dancers and blues-singers learning that there is a white man on the of their offspring. shores of Lake Tanganyika, presses on to find the lost missionary, who after all does Adolescents, 12 to 16 Children, 8 to 12 Good Yes if interested in not care to return to civilization. Spencer musical entertain- Tracy as Stanley does a superb piece of ment acting throughout the picture. His most dramatic scene is his appeal for recognition before the English Geographical Society, which refuses to believe he has reached his ob- STOP, LOOK AND LOVE O O jective. Sir Cedric Hardwicke gives a finished Jean Rogers, William Frawley, Robert Kel- performance, and there are fine portrayals lard, Eddie Collins, Minna Gombell, Cora by Henry Travers, Charles Coburn, Henry Sue Collins, Jay Ward, (Roger McGee, Hull and others. Some of the episodes and Lillian Porter. Based on the play “The Family Upstairs" by Harry Dolf. Direction minor characters are fictional, added for by Otto Drawer. 20th Century-Fox. romantic and comedy relief, but they do not detract from the historical atmosphere of This is an unimportant light comedy in the film. Direction and photography are ex- which a tactless matchmaking mother all but pert. At the finish one feels that one has ruins her daughter’s chances of marrying been with Stanley on a glorious and perilous the right man. The plot and the humor are expedition into the heart of Africa. both rather obvious, and the acting is only fair. Adolescents, 12 to 16 Children, 8 to 12 Very fine Too exciting for Adolescents, 12 to 16 Children, 8 to 12 some Fair No interest 2 2

Eight MOTION PICTURE REVIEWS

THESE GLAMOUR GIRLS O O York, who is placed in a summer camp among Lew Ayres, Lana Turner, Tom Brown, Jane girls from the privileged, wealthy class. She Bryan, Richard Carlson, Anita Louise, Mar- wins their respect and love through the inspir- sha Hunt, Ann Rutherford, Mary Beth Hughes, Owen Davis, Jr., Ernest Truex. ing force of her character and her charming From the Cosmopolitan Magazine story by Jane Hall. Screen play by Jane Hall and personality. Without preachment the situa- Marion Parsonnet. Direction by S. Sylvan tion has been admirably handled. Her spir- Simon. M.-G.-M. itual wealth is contrasted with the spiritual This is almost like a party to present the poverty of her companions who strive to find younger actors of M.-G.-M., and fine look- compensation by a display of material being youngsters they are: girls with good longings. “Pip-Emma” (Gloria Jean) wins looks and charm and the ability to wear them all, and the “Penguins” take her in to clothes, and attractive, clean-cut youths. It their group and capitulate to new and higher is a play about a week-end of house parties values. It is delightful entertainment, rich given at an eastern men’s college known as in fun and heart-warming in interpretation, Kingsford, with a more realistic atmosphere a picture with appeal for all ages. Gloria than is usually palmed off on the public in Jean is a lovely child and she sings beauti- such pictures. It shows a good deal of the fully. C. Aubrey Smith adds another endear- unpleasant side of modern young people. ing character portrayal to his long list of They are selfish, scheming, contemptuous of achievements. those who have less wealth and social posi- Adolescents, 12 to 16 Children, 8 to 1 tion. To one fraternity house come snob- Excellent Good bish daughters of the “four-hundred” and also a taxi-dancer, invited by one of the boys on a recent “binge,” who, believe it or not, has a sweeter manner and a smoother THE WIZARD OF OZ O O “line” than any of the socialites. The plot Judy Garland, Frank Morgan, Bert Lahr, is fair to middling and is not enhanced by Billie Burke, Ray Bolger, Jack Haley, Mar- the suicide of the five-star prom girl, which garet Hamilton, Charley Grapewin, The Munchkins. Screen play by Noel Langley, is decidedly off-key in a production ninety Florence Ryerson and Edgar Allan Woolf. Direction by Victor Fleming. M.-G.-M. per cent light college romance. Most of the qualities of ideal entertain- Adolescents, 12 to 16 Children, 8 to 1 Only passable No ment are combined in this picture. It is

irresistibly gav, and it carries you as far

from everyday life -as the cyclone carried THE UNDERPUP O <> Dorothy. To readers of the Baum books it Robert Cummings, Nan Grey, Gloria Jean, is like a happy reunion with old friends. Beulah Bondi, Virginia Weidler, Margaret The whole cast is so good that it is hard to Lindsay, C. Aubrey Smith, Billy Gilbert, Ann Gillis, Raymond Walburn, Paul Cavanaugh, say which actors excel, but Bert Lehr as Samuel S. Hinds. Screen play by Grover The Cowardly Lion has undoubtedly the Jones adapted from a story by I. A. R. Wylie. Direction by Richard Wallace. choice role, and he never misses a trick, Universal. while Judy Garland’s unaffected charm and In the constant flow of new releases, un- spontaneity help us to accept her absurd less there is much fanfare of trumpets, crit- companions as the lovable playmates she ical fans may easily overlook good pictures. seems to imagine them. The humor, the Possibly the “Underpup” has already attracted music, the color, and the fairy-tale atmos- favorable notice, but in any event it deserves phere combine to make a fantasy that points attention. It has an excellent cast and an ap- an enticing way to new and delightful pos- pealing story, skillfully and sympathetically sibilities for screen entertainment. directed by Richard Wallace, and above all it Adolescents, 12 to 16 Children, 8 to 12 offers a philosophy of living which adds real Delightful Excellent unless unusually emo- worth to its entertainment values. It is the sim- tional or high- ple story of a child from the slums of New strung MOTION PICTURE REVIEWS Nine

THE WOMEN O O clever and brilliantly acted. It is, however, too sardonic to provoke much light-hearted Norma Shearer, Joan Crawford, Rosalind amusement. Russell, Mary Boland, Paulette Goddard, Phyllis Povah, Joan Fontaine, Virginia Adolescents, 12 to 16 Children, 8 to 12 Weidler, Lucile Watson, Marjorie Main, Most unsuitable No Virginia Grey, Ruth Hussey, Muriel Hutch- ison, Hedda Hopper, Florence Nash, Cora Witherspoon, Ann Morriss, Dennie Moore, Mary Cecil, Mary Beth Hughes. From the play by Clare Boothe, by arrangement with Max Gordon Plays and Picture Corporation. Screen play by Anita Loos and Jane Murfin. SHORT SUBJECT Direction by George Cukor. Produced by Hunt Stromberg. M.-G.-M. MARCH OF TIME NO. 13 O d R. K. 0. -Radio. Given wide publicity as a venomous satire on unscrupulous, gossipping women, the An intensely interesting short feature shows play from which this film is adapted was New York City in its component parts. One also noted for its risque lines. Toned down sees it from the air and from the water- to conform to the motion picture code, it is front and looks upon its people from Park less startling, but equally venomous. Norma Avenue to Harlem, its transportation, in- Shearer, cast as Mary Haines, the epitome dustry and finance. The last part of the film of devoted motherhood and a paragon of is devoted to the part played by the police wifely virtues, inexplicably surrounds her- force, and shows the transformation of a self with a coterie of rich parasites whose gangster-cursed, graft-ridden city into one gleeful tattling about her husband’s affair with an honest administration under Mayor with a gold-digger induces her to seek a La Guardia and Chief of Police Valentine. Reno divorce. Although the problems of The accompanying narrative is adequate Mary and her sensetive little daughter are without being too wordy. almost too poignant to be coupled with the Adolescents, 12 to 16 Children, 8 to 12 raucous and exaggerated comedy of the other Interesting and Good characters, the production is exceedingly instructive

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FEATURE FILMS

Call a Messenger Chump at Oxford, A Dancing Co-Ed Day the Bookies Wept, The Espionage Agent Full Confession

Here I Am a Stranger Honeymoon in Bali Intermezzo: A Love Story Jamaica Inn Kid Nightingale Mr. Smith Goes to Washington Private Lives of Elizabeth and Essex, The Rains Came, The Real Glory, The Rio Rulers of the Sea Thunder Afloat Two Bright Boys What a Life

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Vol. Xm OCTOBER, 1939 No. 10

the University of California is again showing carefully selected pictures at Royce Hall Auditorium on Saturday afternoons throughout October, November and De- cember. The admission is 15c—2 for 25c— for children; adults 25c. These programs were very popular last year, the attendance being from 400 to 1,600. The pictures are preceded by one-half hour organ music by Mr. Harry Q. Mills. The musical selections are particularly chosen from the best composers with regard to their interest for a young audience. We understand that Occidental College is beginning a similar series this year. FEATURE FILMS

CALL A MESSENGER O O too many false notes in its handling of the Billy Halop, Huntz Hall, Robert Armstrong, material and the result is unpleasant rather Mary Carlisle, Anne Nagel, Victor Jory, than constructive. Larry Crabbe, El Brendel, Hally Chester, Wm. Benedict, David Gorcey, Harris Berger. Adolescents, 12 to 16 Children, 8 to 12 Direction by Arthur Lubin. Universal. No No

Here is another film exploiting the “Dead End” gang and dealing with the problem of A CHUMP AT OXFORD O O making good citizens out of boys who have Stan Laurel, Oliver Hardy, Forrester Harvey, already become petty thieves and East Side Wilfred Lucas, Forbes Murray, Frank Baker, Eddie Borden, Gerald Rogers. Screen play toughs. Billy Hallop, as Hogan, is Jimmy by Charles Rogers, Felix Adler and Harry reformed when a kindly man puts him to Langdon. Direction by Alfred Goulding. work as a messenger boy. The main idea is Musical score by Marvin Hatley. Hal Roach. a laudable one upon which to build a mo- As in former Laurel and Hardy films, the tion picture, but this particular film strikes plot of this ironical farce-comedy is incon- Four MOTION PICTURE REVIEWS sequential. Two street sweepers unwittingly buy the race horse. The Colonel, amusingly capture a thief and are given scholarships to played by Thurston Hall, is a sharper who Oxford by their grateful benefactor. They soon sells Ernest, by a tricky device, a horse accept with the optimistic hope that educa- named Hiccup which can run only when it is tion will make them “smart." Upon their drunk. The unsuspecting cabbies, none of arrival they are put through an initiation whom knows a good horse from a poor one, which gets them into trouble with faculty put their savings on the horse and lose. Just and students alike. Laurel is hit on the head as they are about to give up the whole pro- and discovers a dual personality which adds ject as a failure, the horse finds a barrel of to the hilarity. The settings are novel and beer, and wins the big race in an 80 to 1 the musical score adds materially in placing long shot. Fortunately, the sweetheart of the mood. Enjoyment of this type of enter- Ernest has learned of the horse’s eccentrici- tainment is largely a matter of taste, but ties, and has placed all the money of the Laurel and Hardy fans will welcome their cabbies on their own horse; and the picture return to the screen in a vehicle which offers ends with her distributing a basket of money opportunity for spontaneous fun. to the happy owners. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Amusing Yes Passable Passable

ESPIONAGE AGENT O O DANCING CO-ED O O Joel McCrea, Brenda Marshall, Jeffrey Lynn, Lana Turner, Richard Carlson, Artie Shaw, George Bancroft, Stanley Ridges, James Ann Rutherford, Lee Bowman, Thurston Stephenson. From an original story by Hall, Leon Errol, Roscoe Karns, Mary Field, Robert Henry Buckner. Screen play by Walter Kingsford Screen play by Albert Warren Duff, Michael Fessier and Frank Manheimer, based on a story by Albert Donoghue. Direction by Lloyd Bacon. Treynor. Direction by S. Sylvan Simon. Warner Bros. M. G. M. A young man in the United States Foreign Campus comedies seem to be improving, Office marries a girl whose past catches up and this one is unusually entertaining. A with her and ruins his career. However, motion picture studio conducts a nation-wide their love for each other and their feeling of contest throughout the colleges of the U. S. loyalty toward their country take them on a in order to obtain the lead in the studio’s dangerous mission of espionage, and by their forthcoming million dollar epic, “Dancing daring and brilliance, they acquire enough Co-Ed.” The studio press agent plants a information concerning spies and saboteurs dancer, Patty Marlowe, played by Lana Tur- to influence Congress to pass legislation es- ner, on Midwestern University Campus, and tablishing a system of counter-espionage in of course she is to win the contest. When this country. The subject matter is so timely the editor of the college newspaper suspects that it seems to have leapt out of newsprint the whole contest of being a hoax and sets into film, and, as in most news of today, the forth to uncover it, Patty, to divert suspicion, apocryphal is hard to distinguish from the becomes a cub reporter and pretends to help real. It is laden, too, with pro-isolation him in his task. The film makes clever use propaganda. The plot is typical of most of the comic aspects of student life, and all stories of espionage in that the sympathetic parts with in- of the young cast play their characters come through unscathed and the spirits. This is the kind of fectious good others are eliminated. Of note are the steps picture that really “drives dull care away.” in the training of junior officers for the De- Adolescents, 12 to 16 Children, 8 to 12 partment of State. Of note, also, is a fresh Good Good new type in the person of Brenda Marshall, whose experience on the stage reaches back THE DAY THE BOOKIES WEPT O O several years. Joe Penner, Betty Grable, Richard Lane, Adolescents, 12 to 16 Children, 8 to 12 Tom Kennedy, Thurston Hall, Bernadene Yes for high-school Too tense Hayes, Carol Hughes, Jack Arnold. Screen age play by Bert Granet and George Jeske from a story by Daniel Fuchs. Direction by Leslie Goodwins. RKO-Radio. FULL CONFESSION O O Entertainment of the lightest kind is pro- Victor McLaglen, Sally Eilers, Joseph Calleia, Fitzgerald, Elisabeth Risdon, Adele vided for Joe Penner fans in this absurd Barry Pearce, Malcolm McTaggart, John Bleifer, farce. Ernest, a well-meaning but none too William Haade, George Humbert. Screen bright cab driver, wants to train pigeons, play by Jerry Cady. Story by Lee Dirinski. Direction by John Farrow. R. K. O. but his fellow cabbies feel he is the man to buy a race horse for them. To silence his In “Full Confession” Victor McLaglen is protests, they arrange to have him discharged, cast in a role somewhat similar to that which and he eventually arrives in Kentucky to he enacted in “The Reformer.” He proves MOTION PICTURE REVIEWS Fir. his artistry again by making this character phy of the futility of women trying to be subtly different from the earlier one, although satisfied with a career alone. The acting is McGinnis is another dull-witted, quarrel- uniformly good, with an adorable if preco- some Irishman who commits murder. The cious child playing her role like a seasoned problem involved is whether a priest may trooper. The music is as delightful as the betray a guilty man’s confession, even to smart, sophisticated dialogue, and the pro- save an innocent person. Joseph Calleia is duction is directed with taste and skill. a splendidly sincere and convincing Father Adolescents, 12 to 16 Children, 8 to 12 Loma, and the story of how he found a way Mature No interest out of his dilemma makes an absorbing > though grim drama. INTERMEZZO: A O O Adolescents, 12 to 16 Children, 8 to 12 LOVE STORY Unsuitable No Leslie Howard, Ingrid Bergman, Edna Best, John Halliday, Cecil Kellaway, Enid Bennett, Ann Todd. Douglas Scott, Eleanor Wessel- hoeft, Maria Flynn. HERE I AM A STRANGER O O From the original by Gosta Stevens and Gustav Molander. Di- Richard Greene, Richard Dix, Brenda Joyce, rection by Gregory Ratoff. Selznic Inter- Roland Young, Gladys George, Katherine national. Aldridge, Russell Gleason, George Zucco, Edward Norris, Henry Kolker, Richard Bond. “Intermezzo” tells an old story so persua- Based on a story by Gordon M. Hillman. sively that it seems wholly new and charm- Screen play by Milton Sperling and Sam ing, and spreads a veil of Heilman. Direction by Roy del Ruth. 20th tender romance Century-Fox. over a situation that is intrinsically bitterly The reform of a drunkard through his tragic. Holger is a renowned violinist. Re- turning after a his love for his son is not a new theme in pic- long tour to wife, Margit, and their two children, tures, but it is somewhat differently presented he finds Margit still in this film. In the beginning Clara leaves a lovely and adoring wife, but also a busy her good-for-nothing husband, ex-football mother, occupied with her family. Quite by star and journalist, and takes their two-year- accident he begins a friendship with Anita, old son, David, with her. Twenty years later the young piano teacher who comes to give his David is in college, where he meets a pro- daughter lessons, and soon the friendship fessor who had taught his father and who becomes a consuming passion. He persuades shows him some of his father’s writings. the girl to go away with him, and they seem Inspired by these articles, David decides to ideally happy until Anita begins to realize find his father. Thus father and son are that the thought of Margit and the children will always them. brought together. The father is given the in- come between The dia- is effortless natural centive to reform and David learns, through logue so and that one speaking several unexpected happenings, to value his forgets that actors are lines. Ex- quisite logically used to father’s integrity. With less restrained direc- music, motivate the film tion the film might have been melodramatic, action, gives the exceptionally great production possibly mawkish. However, Mr. del Ruth appeal. The whole is proof that cast a and the excellent cast have succeeded in true artistry c*n spell of enchantment without the of novelty in plot or setting. making it both interesting and worthwhile. respect in which one Adolescents, 12 to 16 Children, 8 to 12 The only might wish Mature No the film crere different is the touch of melodrama at the end which makes the solution an emotional rather than an intellectual one. IN BALI O O HONEYMOON In -fery other way it is a notably artistic Fred Carroll, Allan MacMurray, Madeline hp->dling of the problem. The new star, In- Jones, Akim Tamiroff, Helen Broderick, Osa grid Bergman, is Massen, Carolyn Lee, Astrid Allwyn. Based vivid and lovely in the on stories by Grace Sartwell Mason and role of Anita. Katherine Brush. Screen play Virginia by Adolescents, 12 to 16 Children, 8 to 12 Van Upp. Musical score by Sigmun Krum Needs adult evaluation Unsuitable gold. Direction by Edward H. Griffi 41 - Paramount. ' The choice between a husband and • c a . JAMAICA INN O O reer no longer seems to be the tragic afflict Charles Laughton, Maureen O'Hara, Leslie for it 2 was - American women which on'* Banks, Marie Ney, Emlyn Williams, Wylie However, there are exceptions, and ,ot every Watson, Morland Graham, Edwin Green- " wood, Robert Newton. Gail’s decision is auspicious eno-8^ t0 * n From the novel by Daphne Du Maurier. Screen play by Sidney sure her a honeymoon in Bali. I 1 enter- Gilliat, Joan Harrison and Alma Reville e Carroll taining social comedy Madeli is Direction by Alfred Hitchcock. Mayflower perfection Production Paramount. the lovely heroine, dressed t to display her beauty. Helen Broderick is an Readers of Daphne Du Maurier’s spirited l0n_sense philoso- excellent foil with her com melodrama will recall that it is a super- j

Six MOTION PICTURE REVIEWS

gangster story in costume. The gangsters MR. SMITH GOES TO WASHINGTON O O are smugglers and murderers who wreck Jean Arthur, James Stewart, Claude Rains, vessels on the rocky shores of the English Edward Arnold, Guy Kibbee, Thomas Mitch- ell, Eugene Pallette, Beulah Bondi, H. B. coast and leave no survivors to tell the tale. Warner, Harry Care, Astrid Allwyn, Ruth Their hideout is Jamaica Inn, a lonely place Donnelly, Grant Mitchell, Porter Hall, Pierre usually avoided by respectable people. To Watkin, Charles Lane, William Demarest, Dick Elliott, Billy Watson, Delmar Watson, this inn comes a young girl to make her home John Russell, Harry Watson, Gary Watson, with an aunt, and she finds herself involved Baby Dumpling, H. V. Kaltenborn. Story in a sinister and frightening experience. The by Sidney Buchman and Lewis R. Foster. Direction by Frank Capra. Frank Capra Pro- brains of the gang, known to one man only, duction. Columbia. is Sir Humphrey Pengallon. Charles Laugh- The following is a condensed report. ton, who excels in diabolical characteriza- A more complete review will appear next month. tions, plays this role to the hilt, the chief “Mr. Smith Goes to Washington” deserves gangster in another era, the forerunner of highest praise. The theme is significant, the present day man higher up. Any appear- touching on social, political and patriotic ance of Mr. Laughton is an event. He is no values. It is superbly directed and offers disappointment in this, for he is very clever thrilling entertainment which arouses intel- in the role of a seeming dandy and fop who lectual as well as emotional response. Both is in reality the cruel, bestial leader of the young people and adults will find inspiration cutthroats. The sympathetic character is and encouragement in the belief in the ulti- played by lovely Maureen O'Hara, a new- mate power of practical idealism. comer to the screen, whose histrionic possi- Adolescents, 12 to 16 Children, 8 to 12 bilities seem very great. She has a magnetic Extremely interesting Very mature personality and shows restraint and sureness and worth while, es- in her acting. There are numerous striking pecially for high school age bits played by others in the cast who are unfamiliar on the American screen. It is a blood curdling tale, but unusual and very interesting. Some of the dialogue is lost by THE PRIVATE LIVES OF ELIZABETH enunciation too rapid for ears attuned to AND ESSEX O O English as Americans pronounce it, but the Errol production is a striking one, handsomely set Bette Davis, Flynn, Olivia de Haviland, Donald Crisp, Alan Hale, Vincent Price, and photographed and splendidly directed by Henry Stephenson, Henry Daniell, Nanette Fabares. From the stage play by Maxwell the man who guided “The Lady Vanishes’’ Anderson. Screen play by Norman Reilly and “39 Steps.” Raine and Aeneas Mackenzie. Direction by Michael Curtiz. Warner Bros. Adolescents, 12 to 16 Children, 8 to 12 done Exciting but well Inappropriate Maxwell Anderson’s stage play, “Elizabeth the Queen,” has been adapted for the screen as "The Private Lives of Elizabeth and Es- sex.” Possibly the original title is the better, KID NIGHTINGALE O O for it is Bette Davis’ interpretation of Eliza- John Payne, Jane Wyman, Wafer Catlett, beth which makes the film significant. The Ed Brophy, Charles D. Brown, Max Hoffman, story concerns the tragic passion of the Vir- Harry Burns. Story by Lee Katz. Screen gin Queen for the Earl of Essex, a man play by Charles Belden and R a Vriond younger in years, handsome and fascinating, Direction by George Amy. Wa, Schrock. flef proud and overbearing, and consumed by an Bros. irrational ambition. Errol Flyn plays the the model for “Golden Boy” is apparently role of Essex, and while, for the most part, “Kid Nightingale,” since again we have a he seems more the dashing hero of “Robin- than a torn between love for a boy with a musical talent going into the fight ^od” man w “nan and the desire for power, there are game. This time he is lured by a false prom- scenS, notably the last one, in which he physical work ise of voice training, and the reacht, convincing heights. Miss Davis, on otL is supposed to be only a means to an end. the r hand, is exceptionally fine. She sacrf} has cei] beauty to give a faithful im- The stress is laid on comedy, ably executed pression v aging Elizabeth, but her Brophy, and the the by Walter Catlett and Ed personal m^ net ; sm ; s tremendously convinc- romantic leads are not particularly stimulating. In the o*j n ; n g scenes s he seems possibly < ing. It is stereotyped entertainment which too hysterical or a Woman in the exalted position of Qut will hold second place on a double bill. n 0 f England, but as the play progresses a Adolescents, 12 to 16 Children, 8 to 12 j t b e strain under which character labor. No value No the s understood, the depth s

MOTION PICTURE REVIEWS Sevan and sincerity of her interpretation is appar- THE REAL GLORY O O ent. Elizabeth’s passion for Essex is a con- Gary Cooper, Andrea Leeds, David Niven, suming fire which embitters her life. She is Reginald Owen, Broderick Crawford, Kay Johnson, Capt. Manning, Vladimir Sokoloff, distrustful of his disinterested love, fearful Benny Inocencio, Chas. Waldron, Rudy Ro- of his motives and of the motives of those bles, Tetsu Komai, Roy Gordon, Henry around her. She understands his impulsive Kolker. Screen play by Jo Swerling and Robert R. Presnell, from the novel by Chas. nature and his lack of balance and maturity. L. Clifford. Direction by Henry Hathaway. She is aware of his great popularity with the Samuel Goldwyn. it, for people of England and fears she knows With the Philippines replacing the Khyber that he could easily ruin the country, and Pass and Moro juramentados substituting she therefore sacrifices for the of him good for hostile East Indian tribes, “The Real for England. Thus the tragic ending them Glory” lustily revives a popular formula both. The film gives an arresting interpre- for blood-curdling action pictures and proves tation Elizabeth' motives, but as the plot of that American soldiers are no less resource- is pas- concerned entirely with the romantic ful than British in dealing with fanatical sion of the two characters, it is less a picture savages in the outposts of civilization. A of historical episode a study of an than new idea, however, is contributed when Dr. conflicting emotions against the background Canavan, American Army surgeon, turns of an historical period. Others in the cast the tide by routing fear from the minds of are but uniformly good, seem unimportant by the superstitious cowed Filipinos, and re- contrast. The magnificent costumes and set- storing the morale of the American Com- tings in technicolor are beautiful, and the manding Officer who is fast growing blind is outstanding, musical background although from a head wound. A spectacular escape at times distracting. The picture appeals to across a broken bridge, the horrid sight of the mind more than to the emotions and will tortured, dismembered bodies, the cholera interest for hold most adult audiences. epidemic, and the ferocious battle with knife- Adolescents, 12 to 16 Children, 8 to 12 throwing, arrow-shooting natives are only a Possibly interesting Too long and tiring few of the unforgettable thrills supplied by the picture. The mass action scenes are THE RAINS CAME O O everything that might be expected from the Myrna Loy, Tyrone Power, George Brent, man who directed “The Lives of a Bengal Brenda Nigel Joyce, Bruce, Maria Ouspens- Lancer.” The historical value of the pro- kaya, Joseph Schildkraut, Mary Nash, Jane Darwell, Marjorie Rambeau, Henry Travers, duction is debatable, but it does treat of a H. B. Warner, Laura Crews. Based on the locale and events that are new to the screen novel of the same title by Louis Bromfield. and which should be of particular interest Screen play by Philip Dunne and Julien Josephson. Direction by Clarence Brown. to Americans. 20th Century-Fox. Adolescents, 12 to 16 Children, 8 to 12 Even if it were possible to crowd all the Very violent Too violent interesting characters and scenes of Brom- field's long novel into a screen-sized drama, the result would certainly be tedious. As RIO O O it is, the movie a gives comprehensive if Basil Rathbone, Victor McLaglen, Sigrid somewhat disjointed resume of the book, Gurie, Robert Cummings, Leo Carrillo, Billy retaining everything that is essential to the Gilbert, Maurice Moscovich, Irving Bacon, Samuel S. Hinds, Irving Pichel, Ferike Boros. development of the theme and making up Screen play by Aben Kandel, Edwin Justus in violence of earthquake and flood scenes Mayer, Frank Partos and Stephen More- for the painstaking descriptiveness of the house Avery. Direction by John Brahm. Universal. novel. Except for these colossal spectacles the film is concerned chiefly with the be- There is very little entertainment here for havior of certain characters when a disaster any but those who enjoy horrible prison in Ranchipur interrupts their ordinary mode scenes and brutality. Even the actors are not of life, and particularly with the regeneration, at their best and the plot, though exciting, is through love and service, of a dissolute, self- unwieldy and unconvincing. Basil Rathbone, ish woman. With the exception of Mme. cast as Paul Reynard, a dishonest French, Maria Ouspenskaya, who gives a breath- financier, is sent to a penal colony at Rio. taking characterization of the Maharani, the His wife falls in love with another man, cast hangs up no new records. Technically and when Reynard escapes from the colony the production is a tour-de-force and it has he threatens to murder her lover, but is enough novelty in story and setting to make himself killed by the police. Elaborate scenes it of more than ordinary interest to the of night-club life and a carnival are intro- general public. duced to give South American atmosphere. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Unsuitable No No No Eight MOTION PICTURE REVIEWS

RULERS OF THE SEA O O THUNDER AFLOAT O O

Douglas Fairbanks, Jr., Margaret Lockwood, Wallace Beery, Chester Morris, Virginia Will Fyffe, George Bancroft, Montagu Grey, Douglas Dumbrille, Carl Esmond, Henry Victor. Based on story by Wells Love, Vaughan Glaser, David Torrence, Root and Commander Harvey Haislip. Alan Ladd. Story and screen play by Tal- Screen play by Ralph Wheelwright and bot Jennings, Frank Cavett and Richard Commander Harvey Haislip. Direction by Collins. Produced and directed by Frank George B. Seitz. M. G. M. Lloyd. Musical score by Richard Hageman. Events today parallel so vividly the action Paramount. of “Thunder Afloat” that it seems almost Frank Lloyd excels in portraying the ro- incredible to learn that the story was written a year ago. True, it pictures the activi- mance and drama of the sea. He has given ties of German U boats in 1918 in an attempt the screen films which are long remembered to cripple U. S. shipping, but the World for their etched beauty and epic quality. In War of twenty years ago fades into the this film he has chosen a new pioneering sub- background and one feels the terror of today with an emotional reaction which is appall- ject, steam versus sails on the Atlantic, and ing in its intensity. For a nation determined has succeeded in making the principal inter- to keep neutral, to see objectively the Euro- est a sturdy little paddle steamer which pean struggle, this picture is difficult to struggles valiantly through storm and stress, evaluate. It is thrilling fare and almost impossible to view without partisanship. Wal- loaded to the deck with coal, finally burning lace Beery plays an unsympathetic role as masts and spars when the coal is gone, to a man who is unable to conform to dis- cross the ocean in fifteen days and thus make cipline or rules. After the scow he owns history in 1838. The accomplishment inspired is sunk by a German submarine, he joins Samuel Cunard to establish regular steam the navy actuated only by a desire for re- service two years later. It is a stirring nar- venge. He still refuses to obey orders and rative which has Will Fyffe in a dominating is court martialed and demoted. His final character role, as John Shaw, a doughty valor is in entire conformity to the character, Scotchman who conceives the vision of steam which is consistent throughout. The part is replacing sails for transoceanic travel. He well-written and suited to Mr. Beery’s tal- gives a remarkably sympathetic impression ents. Others in the cast are competent. visionary inventor strives in spite of the who The actual scenes of sub-chaser activity of repeated disappointments to bring fulfil- and navy technique are very interesting, and ment to his dream. Fyffe’s exquisite skill while the film is uneven in spots and the makes the character human and beloved. ending is fantastic and unreal, it is still an plays Shaw’s daughter Margaret Lockwood interesting picture which will hold popular with great sincerity girl who is torn be- —a appeal. On the other hand, it may arouse tween love for her father and distrust in his adverse criticism among some spectators for Fairbanks, is excellent dreams. Douglas Jr., its military atmosphere and for the fact that well-suited to him. Others in the in a part few can remain neutral in spirit, when a cast give capable support. dialogue is The country which is the aggressor again today, fine, written with an artist’s particularly is shown violating the so-calied ethics of war. appreciation of fitness and beauty. Mr. Adolescents, 12 to 16 Children, 8 to 12 Hageman’s musical score is admirable. The Undoubtedly of inter- Not advised subject has real significance, for the devel- est but stimulating opment of the steamship was an accomplishment which changed the picture of ocean travel, offering greater speed, a factor im- TWO BRIGHT BOYS O O portant to commerce, and greater safety to Jackie Cooper, Freddie Bartholomew, Alan passengers and to seamen. This latter point Dinehart, Melville Cooper, Dorothy Peter- motivates the character played by Mr. Fair- son, J. M. Kerrigan. Screen play by Val Burton and Edmund L. Hartmann. Direc- banks, for it is the unnecessary risk to sailors tion by Joseph Santley. Universal. which causes him to give up his place as This picture mate on a sailing vessel making a hazardous provides a fairly entertaining for of chil- trip against time, and to join forces with vehicle two Hollywood’s problem dren in the embarrassing stage of being too Shaw in pushing the steam invention . It is enthralling entertainment, beautifully photo- old for child parts and too young for ro- roles, cast excel- graphed and picturing in faithful detail the mantic and the gives them support. business of settings of a bygone age now increasingly lent The adventurous oil drilling has not frequently as difficult to reproduce. been used screen material, but it is full of dramatic and Adolescents, 12 to 16 Children, 8 to 12 Excellent Good but mature photographic possibilities which, in this film, MOTION PICTURE REVIEWS Nine

compensate for the weak plot, — a story of ogre ! Sixty cents a ticket for the school crooks cheating crooks and thus saving an dance and no money! “What a Life”! oil well for a widow and her son. The ethics This is an adaptation of Clifford Gold- are dubious, but in true movie style the lik- smith’s Broadway play about the Aldrich able ne’er-do-wells are supposedly reformed. family. Jackie Cooper plays the role of Adolescents, 12 to 16 Children, 8 to 12 Henry, and if he does not seem quite the Requires mature No Henry we know on the radio, he is still a evaluation delightful, bungling, lovable boy struggling against his own feeling of inferiority. But Betty Field is amazing. She is the perfect WHAT A LIFE O O adolescent with her uncurled hair, her shy Jackie Cooper, Betty Field, John Howard, beauty masked by braces on her teeth, her Janice Logan, Vaughn Glaser, Lionel Stan- der, Hedda Hopper, James Corner, Doro- emotional upsets, her loyalty, and her thy Stickney, Kathleen Lockhart, Lucien straightforwardness. Littlefield, Sidney Miller. Based on play by Clifford Goldsmith. Screen play by Charles The large cast is excellent, and if the Brackett and Billy Wilder. Direction by adults for the most part seem out of focus, Jay Theodore Reed. Paramount. let us remember that we are viewing them Life from an adolescent viewpoint, and through youthful eyes, perhaps more truth- what a life! Who reads Shakespeare for fully than we would care to admit. It’s great pleasure? Who is Marius? So what? Par- fun for all. ents with a Phi Beta Kappa complex! Teach- Adolescents, 12 to 16 Children, 8 to 12 ers all screwey, and a Principal like an Good Yes

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FEATURE FILMS —o Allegheny Uprising All Quiet on the Western Front Another Thin Man At the Circus Babes in Arms Bad Little Angel Betrayal Blondie Brings Up Baby The Cat and The Canary The City Disputed Passage Drums Along the Mohawk Eternally Yours Fast and Furious First Love Heaven With a Barbed Wire Fence Hollywood Cavalcade The Housekeeper’s Daughter Little Accident The Llano Kid The Marshal of Mesa City Meet Dr. Christian Mr. Smith Goes to Washington Ninotchka $1,000 a Touchdown Pack Up Your Troubles The Roaring Twenties Remember? Sued for Libel Television Spy Too Busy to Work 20,000 Men a Year U Boat 29 The Unknown Soldier Speaks We Are Not Alone SHORT SUBJECTS Acres of Plenty Be Your Age Information Please Sportscope The March of Time, Issue 1, Vol. VI The March of Time, Issue 2, Vol. VI THE WOMEN'S UNIVERSITY CLUB LOS ANGELES BRANCH, AMERICAN ASSOCIATION OF UNIVERSITY WOMEN ENDORSED BY A. A. U. W., CALIFORNIA STATE DIVISION

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ALLEGHENY UPRISING O O main part of the picture is as vivid and as Claire Trevor, John Wayne, George Sanders, powerful now as it was then. It is es- Brian Donlevy, Wilfrid Lawson, Robert Bar- pecially impressive because it is told from rat. Directed William A. Seiter. Screen by the German point of view, and one realizes play by P. J. Wolfson. Based on the factual story, "The First Rebel," by Neil H. Swan- that youth of all nations is very much the son. RKO Radio Studios. same, brave, idealistic, fired by high-sound- Set in Pennsylvania in pre-Revolutionary ing patriotic phrases, rushing forth to horror War days, “Allegheny Uprising” has a story and physical degradation and violent death. based on the attempt of the settlers to head There is little glory on the modern battle- off contraband liquor and guns being dis- field, and there is a great deal of mud and tributed to the Indians under the protection hunger even when the air is not rent by of unscrupulous or oblivious British army shrieks of shells and the dying. The story officers. The characters and the conflicts be- tells of a group of boys from one classroom tween the stalwart hero and the smugglers who join the army on the same day in 1914, are in the manner of a western. The film and it carries them through their lives at is not important as an historical document the front till all are killed or hopelessly but it is an entertaining action drama with wounded. Lew Ayres is very fine in the part a pleasing romance and some rousing fights. of young Paul, and the group of boys who are his all Adolescents, 12 to 16 Children, 8 to 12 comrades seem very real; Louis Interesting Exciting Wolheim is outstanding as the burly, grotesque kind-at-heart corporal. The picture, used at this time, is patently ALL QUIET ON THE WESTERN FRONT O propaganda, although most of it is salutory Louis Wolheim, Lew Ayres, John Wray, Ar- in effect. The original film, heart-rending nold Lucy, Alexander, Ben Scott Kolk, Owen as it is, has a place as a strong indictment Davis, Jr., Walter Browne Rogers, Beryl of war. this have been a series of Mercer. From the book by Erich Maria Re- To added marque. Adaptation and dialogue by Max- news-reel shots at the beginning, a running well Anderson. Screen play by George Ab- commentary through the body of the film, and bott. Lewis Milestone. Universal. another collection of news-reel events at the This is a remake of the original film which end, rising to a crescendo of anti-Hitler prop- was shown in the spring of 1930, and the aganda. These additions detract both from 2

Four MOTION PICTURE REVIEWS

the artistic value of the production and from in connection with Groucho's remark, “How its effectiveness as a peace message. The can I do that without getting into trouble end of the film should be the hand of the with the Hays’ office?” We wonder. boy, grown careless for a moment, reaching Adolescents, 12 to 16 Children, 8 to 12 out into the sunshine, then slowly crumpling Questionable Very funny up in death. Adolescents, 12 to 16 Children, 8 to 12 BABES IN ARMS O O Too strong No Mickey Rooney, Judy Garland, Charles Win- niger, Henry Hull, Guy Kibbee, June Preis- ser, Grace Hayes, Berry Jaynes, Douglas Mc- THIN O O Phail, Rand Brooks. Directed by Bubsy ANOTHER MAN Berkeley. M.-G.-.M. William Powell, Myrna Loy, Virginia Grey, The versatility of Mickey Rooney and the Otto Kruger, C. Aubrey Smith, Ruth Hus- charm of Judy Garland have never before sey, Nat Pendleton, Patric Knowles, Tom been so apparent as in this musical film in Neal, Phyllis Gordon, Sheldon Leonard, Wil- which each has an excellent opportunity to liam Poulson, Abner Biberman, Marjorie earn more laurels. The cast contains a great Main. Book by Dashiel Hammett. Screen many juveniles, since the story is all about play by Frances Goodrich, Albert Hackett. how the offspring of vaudeville actors band Directed by W. S. VanDyke II. Produced together to become the support of parents by Hunt Stromberg. M.-G. M. whose specialties are no longer in demand. Nick Charles acquired Mr. and Mrs. have The picture is made up of a series of songs, a "Nickie Junior” during their absence from dances, and impersonations by the talented the screen, his the and presence complicates younger generation and is exceedingly good situation in find menacing which they them- entertainment of its kind. selves. plot is intricate, The and gory and Adolescents, 12 to 16 Children, 8 to 12 the usual number of underworld characters Excellent Yes typical of Dashiel Hammett’s books confuse the mystery but sinister events are lightened BAD LITTLE ANGEL O O by the domestic bonhomie of Nick and Nora Virginia Weidler, Guy Kibbee, Gene Rey- and by their amusing attitude towards each nolds, Ian Hunter, Elizabeth Patterson, other and the world in general. It is an ex- Reginald Owen, Henry Hull, Lois Wilson. cellent detective story well acted and di- Screen play by Dorothy Yost based on a book by Margaret Turnbull. Direction by rected, although shortening would improve it. William Thiele. Produced by Albert Levoy. Adolescents, 12 to 16 Children, 8 to 12 M.-G.-M. Sophisticated No This is a departure in film subjects because it dares to have a spiritual motivation. AT THE CIRCUS O O A little orphan girl’s religious education has been furnished by an elderly spinster Groucho Marx, Chico Marx, Harpo Marx, who has been very kind to her. Left alone Kenny Baker, Florence Rice, Eve Arden, by the lady’s death- she turns to the Bible for Margaret Dumont, Nat Pendleton. Screen messages which she interprets as her guide play by Irving Brecher. Direction by Edward for all difficult occasions, and she brings Buzzell. Produced by Mervyn LeRoy. light and happiness to those with whom she The fun is a little slow in getting un- comes in contact. The cast is excellent. The der way in this latest picture of the Marx screen play is sentimental and resorts to Brothers, but it it when gains momentum emotional melodrama as a climax, but Vir- is as silly, as uproarious hysterical and as ginia Weidler carries conviction where a as their admirers anticipate. After all, peo- less gifted child might have failed. The ple either like the Marx Brothers or they theme is unique and there is humor, pathos don’t. Groucho is the “legal eagle” called and kindliness in its unfolding. in to help the owner of a circus (Kenny Adolescents, 12 to 16 Children, 8 to 1 Baker) who is about to lose his investment Yes Emotional climax for lack of ten thousand dollars. Chico plays the piano; Harpo sneezes twice, plays the harp and ejects a bushel of feathers from BETRAYAL O O his mouth in a bedlamish scene on board a Annie Vernay, Pierre Richard Willm, Suzy Pullman car. It all winds up with a sur- Prin, Roger Karl. Screen play by Companez and Jacoby. Sets and design by Alexei An- prise performance of the circus on the estate dreiev. Direction by Fedor Ozep. Produced socialite, of a while the world-famous or- by S. Nebenzahl for Nero-Chronos Films, chestra, engaged for the occasion to play Paris. on a stage built over the water, drifts sym- “Betrayal” is the story of two ill-starred phonically out to sea. Many of the swiftly- lovers. It is historical drama of the time of interpolated wise-cracks might be considered Catherine the Great treating of a plot against s s

MOTION PICTURE REVIEWS Five

her throne by a Polish nobleman, Prince Dumpling, is particularly refreshing, since Radziwill, who uses as his pawn a lovely he does not act beyond his years. young girl, daughter of the shoe-maker Tara- Adolescents, 12 to 16 Children, 8 to 12 kanova, and builds her up as Elizabeth the Excellent Excellent Second, true heir to the throne of Russia. V Their temporary court is in a Venetian pal- THE CAT AND THE CANARY O O ace. There Catherine sends her favorite, Bob Hope, Paulette Goddard, John Beal, Count Orloff, who is noted for his powers Douglas Montgomery, Gale Sondergaard, of fascination with women, to lure her on Nydia Westman, George Zucco, Willard board his battleship and bring her back to Robertson, Elizabeth Patterson. Based on stage play by John Willard. Screen play by prison and death. But the unpredicted hap- Walter DeLeon and Lynn Starling. Direction pens. Count Orloff loses his heart to the by Elliott Nugent. Paramount. trusting girl. Both are betrayed, fine-spirited, Lovers of thrilling mystery melodrama and Catherine, who gave short shrift to should enjoy this version of a well known anyone who had designs on her throne or stage play. The story is carefully con- lovers, metes out punishment. While the film structed, the people seem real, and the sug- is not done in the grandiose style of many gestions of the supernatural are adroitly off- American costume pictures, it has a haunt- set by spontaneous humor. On the tenth an- beauty. Remarkable use is of the ing made niversary of the death of an eccentric old light playing on various fabrics and sur- man, his heirs as directed by his will, meet faces, candlelight falling on velvets and dia- in the stately old home over which his house- phanous curtains, on symetrical carvings and keeper still presides, isolated in a Louisiana floors, the gleam of torches against marble bayou, with her black cat and supernatural dark prison stones. Annie Vernay has deli- visitants for companionship. The will is cacy and grace; Pierre Richard Willm plays read indicating Joyce Martin, an attractive Orloff well; Suzy Prin is both strong and girl, as the exclusive heir if she prove of sinister as Catherine, Roger Karl interest- sound mind. The name of the alternate heir ing as Radiziwill. Titles are in English, but is to be revealed only if she be judged in- the French is spoken so clearly that anyone sane. Thus are offered possibilities for eerie with a fair knowledge of the language can action during the night which follows before understand it. a settlement is made to the satisfaction of all Adolescents, 12 to 16 Children, 8 to 12 concerned. Mature No The settings establish an air of decay and mystery which persists throughout. Music BLONDIE BRINGS UP BABY O O is used effectively to establish varying moods, Penny Singleton, Arthur Lake, Larry Simms, and while all the happenings cannot be Daisy. Directed by Frank R. Strayer. Screen scrutinized too critically, the production ac- play by Gladys Lenan, Richard Flournoy. complishes its purpose of raising goose pim- Based upon the comic strip created by Chic ples and providing amusement for those who Young. Story by Robert Chapin, Karen De- like this sort of thing. Wolf, Richard Flournoy. Columbia. Adolescents, 12 to 16 Children, 8 to 12 The latest story in the “Blondie" Series Depends on taste No and nerves is woven about Baby Dumpling’s starting to school, with his subsequent emancipation from his mother’s apron strings, and Dogwood’ THE CITY O O loss of his job through his visionary archi- Presented by American Institute of Plan- ners tectural ideas. Tragedy, in the shape of the through Civic Films, Inc. Filmed and directed by Ralph Steiner and Willard Van disappearance of Baby Dumpling’ dog Daisy, Dyke. Original outline by Pare Lorenz. eventually leads to the rehabilitation of a Scenario by Henwar Rodakiewicz. Commen- crippled child and the solution of Dogwood’s tary written by Lewis Mumford. unemployment problem. It is excellent en- Following the progress made by John tertainment, comprising situations and ex- Greerson and Paul Rotha in England, sev- periences common to children and parents, eral documentary films have been made in and within the appreciation of all. The prob- this country. They are done entirely from lems of the sheltered child, starting to school, life with no stage settings or professional and the solicitude of the parents for his actors, by simply using the material at hand. welfare present a healthy universal appeal. “The City” is propaganda, but the message Penny Singleton, as the solicitous mother, is one with which no one can disagree: the gives a true-to-type performance. Dogwood’s need of better housing for workers. The impractical nature furnishes much of the first part shows the industry of early days comedy in so natural a way that one does in America when people did craft work in not question the plausibility of the situations. the pleasant, clean surroundings of rural The performance of Larry Simms, as Baby life; then as an appalling contrast are shown s s

Six MOTION PICTURE REVIEWS

the slums of our great modern cities where in the original although his philosophy sup- the laboring class is forced to live. The plies part of the motivation. The ending, final part is the picture of the model com- with Dr. Douglas’ consent, has been changed munity which would be possible with the to China, and the modern war scenes are so decentralization of industry. Photography is perfect in their restraint that they are pro- very good and the choice of material inter- foundly moving. It is a beautiful picture esting. The only question which might arise with a significant theme, important because is the practicability of constructing such it faithfully presents a trend in modern elaborate dwellings and park systems with thought. present-day wage scales. It is a goal, but Adolescents, 12 to 16 Children, 8 to 12 it looks slightly Utopian. War scenes very real- To mature Adolescents, 12 to 16 Children, 8 to 12 istic and emotional Interesting Yes

DRUMS ALONG THE MOHAWK O O DISPUTED PASSAGE O O Claudette Colbert, Henry Fonda, Edna May Dorothy Lamour, Akim Tamiroff, John How- Oliver, Eddie Collins, John Carradine, Dorris ard, Gordon Jones, Judith Barrett, William Bowdon, Jessie Ralph, Arthur Shields, Robert Collier, Sr., Elizabeth Risdon. Directed by Lowery, Roger Imhof, Ward Bond, Kay Lin- Frank Borzage. Screen play by Anthony aker, Russell Simpson. Directed by John Veiller, Sheridan Gibney. Based on the novel Ford. From the novel of the same title by of the same name by Lloyd C. Douglas. Walter D. Edmonds. 20th Century-Fox. Paramount. The Novel “Drums Along the Mohawk” Under the persuasive direction of Frank is a thrilling story of the American Revolu- Borzage, Lloyd C. Douglas’ latest best seller tion as told through the experiences of a makes excellent cinema material. The main young married couple who settled in the theme is the conflict between a humanized Mohawk Valley at a time when the scattered and a coldly scientific approach to healing, settlers had to clear the ground, build their but there is also the theme, to which the title log cabins, farm their land and defend them- alludes, that only by overcoming opposition selves periodically against savage Indian does a man achieve greatness. Dr. Forster, raids inspired by British leaders. The screen familiarly known to the interns as Tubby, is adaptation is exceedingly good, and though an expertly trained Viennese surgeon who numerous characters and incidents are neces- has no personal interest in his patients ex- sarily omitted it lacks none of the essential cept to give them the finest technical treat- material of the novel and is perhaps all the ment. Opposed to him is Dr. Cunningham more forceful because of its simplification. whose care includes a wider understanding The sustained menace of the Indian raids of the individual’s need for mental and runs throughout the film, and the plot reaches spiritual adjustment. Between the two, stands several sequences of intense drama when the the intern, John Bevan, whose admiration for terrific hardships and crushing disappoint- Dr. Forster causes him to mistake fanaticism ments of the young pioneers seem almost un- for the purely scientific spirit without tak- bearable. Technicolor records here a new ing into account the early frustration which achievement. The settings seem to have been has hardened the physician. The pressure chosen with great care, not only for photo- brought by Dr. Forster to hold the young in- graphic composition but for color harmony tern to untiring development of his own as well. The resulting pictures are so beau- ability demands his complete withdrawal tiful, they remain long in the mind’s eye from life, and his insistance upon pure sci- yet are not so obtrusive that they obscure ence precludes a belief in the soul. Finally the story. Interiors are authentic copies of Bevan’ love for a woman patient preci- early Americana which should be a joy to pitates a conflict with this unrelenting philo- historian, decorator and aesthete. As to sophy. casting, Henry Fonda as the lanky, drawling The picture is admirably written and beau- pioneer and Edna May Oliver as the sharp tifully directed. Some of the characters pre- tongued but soft hearted widow are perfect, sented are startlingly realistic, especially the and Claudette Colbert gives a fine perform- two doctors, played by Akim Tamiroff and ance of the gentle young wife who meets the John Howard, who are exceptionally fine. challenge of frontier life with courageous The hospital scenes are technically true and fortitude. The film is a sincere and honest deserving of special commendation. Miss portrayal of a significant chapter in our his- Lamour as the American girl reared in tory and a timely reminder of our heritage. China is not convincing, but the character Adolescents, 12 to 16 Children, 8 to 12 was none too realistic the in book. Dr. Inspiring but very No Cunningham’ role is not so important as tense and emotional MOTION PICTURE REVIEWS Sevan

ETERNALLY YOURS O O FIRST LOVE O O Loretta Young, David Niven, Hugh Herbert, Deanna Durbin, Robert Stack, Eugene Pal- lette, Helen Parrish, Lewis Howard, Leatrice Billie Burke, C. Aubrey Smith, Virginia Field, Joy, June Storey, Frank Jenks, Kathleen Broderick Crawford, Raymond Walburn, Howard, Marcia Mae Jones, Jack Mulhall, Mary Treen, Lucille Zazu Pitts, Eve Arden. Screen play by Gene Dorothy Vaughan, Ward. Screen play by Bruce Manning and Towne and Graham Baker. Musical score by Lionel Houser. Directed by Henry Koster Werner Jansson. Direction by Tay Garnett, and produced by Joe Pasternak. Universal. Walter Wagner. United Artists. The Grimm Brothers themselves would The spell of this diverting social drama delight in this modern tale of Cinderella. lies in the ability of an excellent cast, in The evil characters are just as selfish and the personal charm of Loretta Young and disagreeable as in the original version, and David Niven, and in smooth direction. It the good ones are as delightfully cooperative. has a delightful musical score and inter- The little outcast orphan even loses her slip- esting technical devices. The story itself is per at the ball and runs away at the stroke out of the ordinary in its characters but is, in of twelve. It is a light and glamorous the last analysis, the usual tawdry triangle. fantasy of the romantic age and first love. After recovering from the surprise of find- Deanna is a sweet girl graduate who leaves ing a bishop with a scatter-brained daugh- school to make her home with her uncle, ter and a granddaughter who elopes with a an amazing, hardboiled financier, absorbed traveling magician on the eve of her wed- in business. Her aunt and cousins are un- ding day, you expect the unusual. After believably silly and selfish. Her life would the first exciting lure of adventure palls on have been a grim affair had not the servants the girl and she finds her life uncongenial, in the luxurious house, the policeman who ate she divorces her husband and marries the in the kitchen, and an understanding spinster first suitor. Returning from a brief honey- school teacher come to her rescue and made moon she meets her fascinating prestidigita- it possible for her to ‘“live happily ever tor again and the divorce is conveniently after” with her “Prince Charming.” found invalid. It is to be hoped that the Deanna Durbin is the delightful expres- title of the picture indicates a settled attitude sion of unspoiled youth. Her lovely voice is for the heroine. heard in several selections which are natur- Adolescents, 12 to 16 Children, 8 to 12 ally interpolated into the plot. Eugene Pal- No No lette presents a clever portrait of the harassed uncle, and Kathleen Howard is unusually distinguished in the role of school FAST AND FURIOUS O O mistress. The entire cast, however, contrib- Franchot Tone, Ann Sothern, Ruth Hussey, utes to the success of the picture, and effec- Lee Bowman, Allyn Josyln, John Miljan, tive photographic touches enhance the spirit Bernard Nedell. Original screen play by of fantasy. It is fresh and light and thor- Harry Kurnitz. Direction by Busby Berke- oughly entertaining. Joe Pasternak and ley. M.-G.-M. Henry Koster are unique in their ability to This might be a cousin, once-removed, of catch the lively spirit of youth and, in this, to revive a delight in fairy tales. the “Thin Man” stories, containing as it Adolescents, 12 to 16 Children, 8 to 12 does sophisticated comedy verging on slap- Good: especially for Yes stick and a murder mystery. It is an inferior girls relative, somewhat disconnected and burden- ed with superfluous scenes; the best part is HEAVEN WITH A BARBED WIRE FENCE O Jean Rogers, Raymond Walburn, Marjorie the bright, swift-flowing dialogue. Ann Rambeau, Glenn Ford, Nicholas Conte, Eddie Sothern and Franchot Tone are a happy Collins, Ward Bond, Irving Bacon, Kay Lin- aker. Based on an original story by Dalton combination. Beguiled by his wife into a Trumbo. Screen play by Dalton Trumbo. Direction by Ricardo Cortez 20th Century- vacation at a sea-side resort, Joel Sloane is Fox. soon established as a judge of a beauty con- The heaven referred to in the title is a test, and because the scheme is well capital- shack on an Arizona desert where a young ized thieves sneak in by the side doors. Then couple find happiness through love. She is a girl hobo, an immigrant illegally in the follow several murders, with jealousy as a United States, and he is a gullible youth who motivating factor in one of them, and the gave up his job in New York to put all his final clean-up when the villain is packed off savings into a so-called ranch in Arizona. to jail. They meet in a box car and become ac- Adolescents, 12 to 16 Children, 8 to 12 quainted while sharing the sordid experiences Unsuitable No of hobo life. Only in a movie potboiler Eight MOTION PICTURE REVIEWS

would we be asked to believe in such senti- some effective acting, notably by Mr. Men- mental nonsense. jou, William Gargan and George Stone. It Adolescents, 12 to 16 Children, 8 to 12 may pass an idle hour but will be forgot- Poor No ten soon. Adolescents, 12 to 16 Children, 8 to 12 HOLLYWOOD CAVALCADE O O No No Alice Faye, Don Ameche, J. Edward Brom- berg, Alan Curtis,' Stuart Erwin, Jed Prouty, Donald Meek, Willie Fung. Based on an LITTLE ACCIDENT O O original idea by Lou Breslow. Screen play Hugh Herbert, Baby Sandy, Florence Rice, by Ernest Pascal. Direction by Irving Cum- Richard Carlson, Joy Hodges, Peggy Moran, mings. Silent screen sequences directed by Ernest Truex. Suggested by the stage play Malcolm St. Clair. 20th Century-Fox. by Floyd Dell and Thomas Mitchell. Direc- The picture of the technical and artistic tion by Charles Lamont. Universal. development in the field of motion pictures It is difficult to decide who deserves the is presented in a romantic story in which a most credit: the director who can guide a director pilots an actress through the dif- baby through scene after scene of a com- ferent stages from the era of silent slapstick plicated comedy or Baby Sandy herself who and drama to sound. It ranges in time from is amazingly responsive, good-tempered and about 1914 to 1928, when ‘‘The Jazz Singer” talented. At any rate Sandy is the center with A1 Jolson revolutionized the screen. of attention from beginning to end. The The film is in Technicolor, and contrast is story is one of those hilariously improbable effectively made by showing sequences of things about an harassed columnist (Hugh silent films in black and white. No more Herbert) who is about to lose his job. A startling method could have been chosen to foundling is left on his desk, and to win give an impression of the technical progress sympathy he conceives the idea of claiming

the industry has made, and to those who re- it for his grandchild, although his pretty member early pictures, it brings a sort of daughter is unmarried; before the flurry is nostalgia for other days. over a young millionaire has also stepped in Alice Faye photographs to great advan- as claimant for the child. There is a tumul- tage in color and gives a performance which tous sequence when Baby Sandy falls down evinces sincerity. Don Ameche, too, shows a laundry chute and is almost thrown in the maturity in his interpretation of the tem- washing machine with the dirty clothes. peramental director who, after his leading The cast as a whole is good. By-play on the lady marries, loses his grip on himself and question of paternity tends to place the film fails to adjust himself to the changing de- in a mature classification. mands of the picture business until he again Adolescents, 12 to 16 Children, 8 to 12 is inspired to fall in line. Questionable No Many familiar faces are seen again in the s'lent episodes: Buster Keaton, Chester THE LLANO KID O O Conklin, Jed Prouty, Ben Turpin, Hank Tito Guizar, Emma Dunn, Alan Mowbray, Mann, Snub Pollard, Mack Sennett, as well Gale Sondergaard, June Clayton. Based on the 0. Henry story, "The Double Dyed De- as stills of former stars and bathing beau- ceiver." Direction by Dan Venturini. Pro- ties. In the silent episodes the music is the duced by Harry Sherman. Paramount. old piano accompaniment, very funny today. A long missing heir to a great Mexican The reincarnation of the Keystone Cops is estate is impersonated by a young desperado hilarious, the high light of the film. The pro- at the instigation of two adventurers. Ar- duction is interesting and entertaining, a rived at the hacienda he is charmed by blending of comedy and sentimental romance the sweet old mother, falls in love with which should appeal to audiences. many her ward, helps defeat the conspirators and Adolescents, 12 to 16 Children, 8 to 12 is regenerated to the profit of his soul and Entertaining Yes pocket-book. Obviously the story is not of a high order, but the film has compensations. THE HOUSEKEEPER'S DAUGHTER O O The old Spanish settings, the music, the cos- Joan Bennett, Adolph Menjou, William Gar- tumes and the pageantry are all exceptional; gan, George E. Stone, Peggy Wood, Donald the beauty of the Christmas festival stands Meek. From the novel by Donald Hender- son Clarke. Screen play by Rian James and out in retrospect. Alan Mowbray’s acting is Gordon Douglas. Direction by Hal Roach. effective, and Gale Sondergaard plays her Producers, Hal Roach. part with color and vitality, but the remain- “The Housekeeper’s Daughter” is the type der of the cast is lacking either in ability or of movie one might expect from the title, a in training. This is more interesting as a bit heavy on melodrama. It is a satire on series of pictures than as a dramatic pro- gangster-newspaper films, a mixture of com- duction. edy, slapstick, murder-mystery, villainy, and Adolescents, 12 to 16 Children, 8 to 12 romance with some amusing moments and Confused values Too exciting MOTION PICTURE REVIEWS Nine

THE MARSHAL OF MESA CITY O O MR. SMITH GOES TO WASHINGTON O George O'Brien, Virginia Vale, Leon Ames, Jean Arthur, James Stewart, Claude Rains, Henry Brandon. Screen play by Jack Lait, Edward Arnold, Guy Kibbee, Thomas Mitch-

Jr. Direction by David Howard. R. K. 0. ell, Eugene Pallette, Beulah Bondi, H. B. Radio. Warner, Harry Carey, Astrid Allwyn, Ruth Mitchell, Porter Hall, Baby Again the beautiful school marm in a Donnelly, Grant Dumpling, H. V. Kaltenborn. Screen play frontier town is annoyed by the unwelcome Story Lewis R. attentions of the sleek, dishonest sheriff; by Sidney Buchman. by Foster. Direction by Frank Capra. Colum- again she is saved by “our hero.” This is bia Pictures Corporation. a throw-back to an earlier type of Western. “Mr. Smith Goes to Washington” is an The brave marshal (George O'Brien) is exceptional production and its greatness lies boastful and so rash that he constantly poses in the superb way in which Mr. Capra has as a target for gun-fire. The dialogue is satirized contemporary social and political carelessly written, and the fine scenery we trends, provoked serious thought, and offered have come to expect in Westerns is almost toward practical idealism. entirely missing. The one original character encouragement The leading character, Jefferson Smith, is an is Duke Allison (Henry Brandon) who is idealist who sincerely believes that America neither all good nor all bad and who has a is today the inspiring product of the guid- dash and swagger all his own. ance of the great men who helped to found Adolescents, 12 to 16 Children, 8 to 1 2 Mediocre Too much shooting the democracy—Washington, Jefferson and Lincoln. He is picked by the toss of a coin to replace a Senator who died in office: to be the unwitting tool of men who are using MEET DR. CHRISTIAN O O their political positions for graft. He is so Jean Hersholt, Dorothy Lovett, Robert Bald- unsophisticated that he enters Washington win, Enid Bennett, Paul Harvey, Marcia Mae as he would a shrine, totally unaware of the Jones, Patsy Lee Parsons. Story by Harvey forces against which he must contend. When Gates. Screen play by Ian McLellan Hunter, he happens to oppose the plans of the ma- Ring Lardner, Jr., and Harve Gates. Direc- chine, every method is used to defeat and tion by Bernard Vorhaus. R. K. O. -Radio. dishonor him. The situations are exagger- Dr. Christian is a big-hearted if slightly ated and theatrical, but underneath is more muddle-headed small town practitioner who than a modicum of truth, for they portray neglects serious industrial accident cases for the power of a controlled press, the govern- mental intricacies which delay and confuse routine matters of mumps and stomach aches. issues, and the indifference and intolerance His main objective, however, is to arouse of men in high office. Smith, disillusioned public opinion to the need of a hospital for and aroused, becomes a modern David fight- the backward community, and for this goal ing Goliath and because he has faith in the ideals of Lincoln and has truth and he makes a sally into politics. His end is decency on his side, he wins over seemingly achieved not by the force of reason but by insurmountable handicaps. sheer luck when the mayor’s small daughter It is superbly directed with the finesse char- is critically injured in an automobile col- acteristic of Mr. Capra’s genius. The blending of reality and beauty, the shading of lision. Jean Hersholt is always capable and seemingly preposterous situations so that convincing in such homespun characteriza- they appear genuinely possible, create excit- tions, and whatever significance there is in ing and emotional effects which inspire a the film is due to his ability. There are a psychologically sound audience reaction. James Stewart gives his best performance number of minor characters whose foibles of his career showing a dramatic ability not and romances round out the picture; some- previously called upon. Miss Arthur is ex- times they are amusing and sometimes a little cellent although her role is very similar to dull. The small girl, Patsy Lee Parsons, that in “Mr. Deeds Goes to Town.” The rest of the cast are splendid, with Harry shows promise, but as her part is written Carey contributing an unforgettable bit. and directed, she is a good deal of a “brat.” The film is unique in that it deals with a The best comedy occurs when the loud vital, contemporary subject, offers criticism, speaker at the picnic goes out of commis- and then encourages faith in the ultimate power of altruism, a belief which must be sion and voices are thrown upon the air in accepted and acted upon or civilization in strange keys and timbres. its highest form of expression will founder. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Fairly interesting No value Uncommended Mature Ten MOTION PICTURE REVIEWS

NINOTCHKA O O PACK UP YOUR TROUBLES O O Greta Garbo Melvyn Douglas, Ina Claire, Jane Withers, the Ritz Brothers, Lynn Bari, Bela Lugosi, Sig Rumann, Felix Bressart, Joseph Schildraut, Stanley Fields, Fritz Lie- Alexander Granach, Gregory Gaye, Rolfe ber, Lionel Royce, George Renavent, Adri- Sedan, Edwin Maxwell, Richard Carle. Screen enne d'Ambricourt. Original screen play by play by Charles Brackett, Billy Wilder, Lou Breslow and Owen Francis. Direction Walter Reisch. Based on the original story by H. Bruce Humberstone. 20th Century- by Melchior Lengyel. Direction by Ernest Fox. Lubitsch. Produced by Ernest Lubitsch. The three Ritz Brothers as soldiers over- M.-G.-M. seas w'ith the American army befriend a If ever a Communist “comrade" laughs at young girl whose father proves to be a himself it will be because he has seen a French spy. She risks her life to get a mes- Lubitsch production called “Ninotchka,” a sage to him and both are rescued by the in- film which is hereby recommended for all sane but effective efforts of the brothers. It who are afflicted with loss of appetite for is slapstick comedy, well photographed and the movies. Directed in Mr. Lubitsch’s most amusing of its type. inspired manner, with a deliciously clever Adolescents, 12 to 16 Children, 8 to 12 script, and with Miss Garbo proving herself Matter of taste Probably most acceptable to a deft comedienne, the picture is the kind this age of entertainment we always hope for but % seldom have the good luck to see. It is set in Paris at its gayest before the present THE ROARING TWENTIES O O war and concerns the piquant adventures of James Cagney, Jean Sherman, Humphrey three ridiculous bewhiskered Soviet emis- Bogart, Gladys George, Jeffrey Lynn, Frank saries and an austere young woman who McHugh, Paul Kelly, Elizabeth Risdon. come to Paris to transact official business Original screen play by Mark Hellinger. for Moscow and remain to savor the frivo- Direction by Raoul Walsh. Warner Bros. lous delights of capitalistic society. None of Whenever the stock of scenarios runs low the humor inherent in the theme is lost and, or the subject matter seems anemic, there thanks to the director’s delicate touch, the is always the great reservoir of ganster ma- comedy never gets out of hand. The film is terial to draw from, and whatever may be a rarely expert piece of workmanship in said of other values, certainly the product which cast, director, and writers seem to is not dull. The “Roaring Twenties” begins have contributed equally to the perfection of two years before the boot-legging decade the whole. with a long sequence of carnage in the Adolescents, 12 to 16 Children, 8 to 12 front line trenches, to introduce the three Sophisticated Beyond their main characters and set the keynote for the appreciation violence which follows. George has no com- punctions about leading a life of crime; S1.000 A TOUCHDOWN O O Lloyd is naturally honest, but when Eddie Joe E. Brown, Martha Raye, Eric Blore, Su- finds it difficult to find a job on his return san Hayward, John Hartley. Original screen from France he follows the line of least play by Delmar Daves. Direction by James resistance and engages in the lucrative, illicit Hogan. Paramount. liquor racket. Throughout most of the story This is the poorest Joe E. Brown picture he “carries the torch” for a charming, ideal- in many a moon. The story is labored and istic young singer who appreciates him for far-fetched and as artificial as the average his better qualities but in the end gravitates comic strip. The goofy son of a famous to her own kind. Undoubtedly this is gang- Shakespearian actor assists a young lady ster cinema de luxe. Direction is skillful, owner of a mortgaged university to build up and the actors are very well chosen, Hum- a football team and save the institution. phrey Bogart, Gladge George, Jean Sherman, Even for wild-eyed farce comedy, paying Jeffrey Lynn, and above all James Cagney, the opposing eleven $1,000 a touchdown for who unfortunately plays his underworld losing the game constitutes pretty bad ethics roles with more enthusiasm and real bril- —and there are other questionable details. liance than anything else he does. The film Joe E. Brown true to his usual form is is offered with the premise that all the evils hilarious. Martha Raye though slightly more of the twenties were due to prohibition. This subdued than in some of her former pictures is open to argument, but even if true, the still injects a more sophisticated type of hu- picture has the fault common to most gang- mor into the film than seems appropriate in ster tales: it makes heroes of vicious leaders a Joe E. Brown picture. of the underworld. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Doubtful No Emotionally unhealthy Decidedly not MOTION PICTURE REVIEWS Eleven

REMEMBER? O O out the need of deductive reasoning, but as Robert Taylor, Greer Garson, Lew Ayers, a melodrama, it sacrifices few of the stand- Billie Burke, Reginald Owen, George Barbier, ard elements. Henry Tavers, Laura Hope Crews, Sara Ha- Adolescents, 12 to 16 Children, 8 to 12 den, Richard Carle. Original story by Corey No, plot too in- Directed by Perhaps Ford and Norman McLeod. volved and too by Milton Norman Z. McLeod. Produced mature Bren. M.-G.-M. . Milton Bren, who with Norman McLeod, TELEVISION SPY O was responsible for the unique and amus- William Henry, Judith Barrett, Wm. Col- ing “Topper” films, offers in “Remember?” lier, Sr., Richard Denning, Minor Watson, another sophisticated farce comedy with a Dorothy Tree, John Eldredge, Morgan Con- fantastic touch. Because the motivating pre- way, Byron Foulger, Ottola Nesmith, An- thony Quinn, Wolfgang A. Zilzar, Chester mise is not divulged until the middle the Clute, Hilds Plowright. Directed by Ed- picture drags a bit, but from then on it has ward Dmytryk. Based on an original story hilarious moments. by Andre Boehm. Screen play by Wm. Lip- man and Horace McCoy. Paramount. Engaged to Sky Ames (Lew Ayers) Linda The title is sufficient to describe this pic- (Greer Garson) falls in love at first sight ture. A spy ring from a foreign company with Jeff Holland (Robert Taylor). They attempts to steal the specifications for a tele- elope, are briefly happy, quarrel and are division invention but is thwarted by means vorced. Then Sky administers a potion to of the invention itself. The film is sufficiently the two which induces a form of amnesia. well acted but the story is rather far-fetched. They meet under the impression that they do On the whole it is a mediocre offering. not know each other and the cycle begins all Adolescents, 12 to 16 Children, 8 to 12 over again. Passable but not No recommended It is a beautifully mounted film in which photography and technical work are particularly fine and gloss over glaring defects in TOO BUSY TO WORK O O story structure. It is broad farce of the Jed Prouty, Spring Byington, Ken Howell, bedroom variety with a touch of slapstick George Ernest, June Carlson, Florence Rob- erts, Billy Mahan. Directed by Otto Brewer. and no attempt at character plausibility. Original screen play by Robert Ellis, Helen seeing as the lovely, After , Miss Garson Logan, Stanley Rauh. 20th Century-Fox. poised and gracious Mrs. Chips, the role Apparently acting on the theory that if which introduced her to American audiences, one comedy is funny two will be funnier, the it is a little difficult to accept her as a gay screen playwrites have combined two well- and flippant moderne although her charm known hits, “Torchbearers” and “Your Uncle modifies is the role. Lew Ayers good in a Dudley” the result goes overboard on the cheerful, sacrificing part and Billie Burke slapstick side but contains many hilarious has some of the best of the film. moments scenes and some healthy hints to people who Adolescents, 12 to 16 Children, 8 to 12 are so busy outside home and business that Not recommended No they have no time for really important duties. It ends with Mr. Jones refusing a third SUED FOR LIBEL O O term as mayor and Mrs. Jones giving up Kent Taylor, Linda Hayes, Lillian Bond, amateur theatricals. Morgan Conway, Richard Lane, Roger Pryor. Adolescents, 12 to 16 Children, 8 to 12 From a story by Wolfe Kaufman. Screen Yes Yos play by Jerry Cady. Direction by Leslie Goodwins. R. K. 0. 20,000 MEN A YEAR O O This is a saga of that modern swash- Randolph Scott, Preston Foster, Margaret buckler— a newspaper man—and his ubiqui- Lindsay, Mary Healy, Robert Shaw, George tous girl friend. The newspaper for which Ernest, Jane Darwell, Maxie Rosenbloom, Sen Yung. Screen play by Lou Breslow and Steve works is sued for libel because of an Owen Francis from an original story by inaccurate and slanderous dramatization of Frank Wead. Direction by Alfred Green. news over the radio. In order to quash the 20th Century-Fox. libel suit, Steve tries to unearth derogatory If this is propaganda to arouse interest information concerning the man who is suing in the Government plan to train young col- and finds two murders. As is customary with lege men in aviation it has unusual possi- most escape literature of the type from which bilities. The story is probable and thus con- this scenario was adapted, all the evidence vincing as well as informative and entertain- points to an innocent man, while the least ing. It stresses the necessity for thorough likely person is guilty. As a mystery story, training and implicit obedience to directions. it is feeble because a whole series of events The actors are well cast and the photography which clarify the mystery just happen with- excellent. The plot is slight and is concerned Twelve MOTION PICTURE REVIEWS

with the problems of two students of unequal wilder rather than warn young people ability. The one who has more natural apti- against war. tude cannot continue the course because of his Adolescents, 12 to 16 Children, 8 to 12 Very doubtful Positively sister’s fear of the hazards until a thrilling no experience removes her objections. It is a story which has fine ethical standards and WE ARE NOT ALONE O O should have special appeal for boys who are Paul Muni, Jane Bryan, Flora Robson, Ray- Severn, O'Connor, Henry Deniell, interested in flying. mond Una Montague Love, James Stephenson, Stanley to Adolescents, 12 to 16 Children, S 12 Logan, Cecil Kellaway, Alan Napier, Ely Rather noisy and Good Malyon, E. E. Clive, Douglas Scott, Crawford exciting Kent, May Beatty, Billy Bevan, Holmes Her- bert, John Powers, Colin Keeny, Ethel Grit- ties. Direction by Edmund Goulding. Screen play by James Hilton, Milton Krims. From U BOAT 29 O O the novel by James Hilton. Produced by Conrad Veidt, Sebastian Shaw, Valerie Hob- Hal B. Wallis, Henry Blanke. Warner Bros. son. Columbia. “We are not Alone” is an unusually in- “U Boat 29” might be called just another teresting film, notable not only for a number international spy story did it not definitely of fine characterizations, but particularly for label the two nations involved and unfold its thoughtful presentation of a study in dif- its plot in such a way that the audience sits ficult human relationships. The problem in the British cheering section. However, which it treats is that of a doctor and his Conrad Veidt, the dominant player on the family who live in an English village at the opposing side, invests his role with a great beginning of the World War. The wife is deal of strength and dignity and receives a a stern, uncompromising woman whose un- goodly share of audience sympathy. The wise handling of their sensitive little boy is story does not attempt to settle the issues of a source of constant worry to the doctor and the present European conflict but concerns a menace to the child’s emotional develop- itself chiefly with the fortunes of a German ment. The conflict between the father’s en- submarine commander who is maneuvered lightened understanding of the child’s vagar- into the fate of becoming the victim of a ies and the mother’s inability to put aside torpedo from his own U Boat. The in- her bigoted ideas of discipline creates a sit- volved plot is plausible enough for this type uation which eventually ends in a tragedy of picture, since the public is educated to involving also a young Austrian girl, a believe that in the case of the International former patient of the doctor, who has become Secret Service truth is even more strange a member of the household. An attempt is than fiction. made to lighten the final scenes by suggest- Adolescents. 12 to 16 Children, 8 to 12 ing a promise of happiness in life after Passable No death, but in spite of this the poignancy of the ending is an emotional ordeal. Paul Muni creates another of his remark- THE UNKNOWN SOLDIER SPEAKS O O able characterizations in the “Little Doctor" the gentle, idealistic, selfless physician who Narrative, Robert Rossen. Commentator, understands and sympathizes with all hu- Allan Bunce. Edited by Jack Goldberg. manity, who hates wrong but never con- Lincoln Productions, Inc. demns the wrong doer, and who goes to his The only continuity in this film is that of death pitying the young soldiers on their a succession of news-reel and official pic- way to France who, like him, are unjustly tures of the World War. The voice is sup- condemned to die. Flora Robson is outstand- posedly that of The Unknown Soldier whose ing as the wife, acting her role of a repellent commentary attempts the impossible task of character so expertly that she elicits both making the whole coherent. As anti-war sympathy and understanding. Una O’Con- propaganda it fails because the vivid and nor, always a finished actress, gives one of authentic scenes arouse excited interest which her most subtle performances. Raymond Se- is not counteracted by the inconsistent and vern, the little boy, is remarkably natural inadequate narration. It shows former kings, and intelligent. Though plausibly motivated, president and rulers in historic and stirring the plot occasionally seems rather obviously scenes; war lords and numberless marching designed to become the framework for cer- soldiers; brilliant naval and air encounters, tain philosophic theories. The film appeals the panoply of war, and the lighter side of both intellectually and emotionally and is life behind the lines. But none of the hor- worthwhile entertainment for audiences who rors of war, the dead, the dying, the maimed, enjoy serious drama. or the civilian sufferers. To those who knew Adolescents, 12 to 16 Children, 8 to 12 the great war it can only be a heartbreaking No. Too emotional Most unsuitable reminder of futility. It will excite and be- and tragic MOTION PICTURE REVIEWS Thirteen

SHORT SUBJECTS

ACRES OF PLENTY O O tions, musical instruments, animals and prize R. K. O.-Pathe Reelism. fight champions. Family. A short subject with good photography and interesting material depicts ideal labor conditions on one of the large corporation-type SPORTSCOPE O O California ranches and also shows one of R. K. O.-Pathe. the best government migrant camps. Re- The main part of this film on ice hockey leased at this time it cannot fail to have an is in slow motion, explaining the technique anti-social effect by attracting more workers and the fine points of the game. Enthusiasts to California at a time when the farm labor of the sport will enjoy it; others find it a bit market is deluged, and thousands are living dull. Family. in miserable conditions, while taxation to keep them alive has reached such proportions that in many rural communities the small THE MARCH OF TIME, Issue 1, Vol. VI O owners are being reduced to poverty them- SOLDIERS WITH WINGS -0 O selves. See reports of the California Legis- Producers: The Editors of Time. lature. Measuring up to March of Time standards of timeliness, dramatic interest and excellent BE YOUR AGE O O production values, this is a survey of the flying forces of the United States. It shows the An Edgar Kennedy Comedy. Produced by divisions of the Army and Navy air corps, Bert Gilroy. Direction by Charles Roberts. R. K. O. their duties and the types of ships used with emphasis on training methods for pilots This comedy is based on one of the cruel- and mechanics. Shots of air raid drills in est situations of modern life; the struggle London and Paris, the World War battle of a middle-aged man to keep young enough fields and U. S. bombers in formation have to hold his job. Naturally it does not click. sufficient emotional content to constitute prop- Most of the humor is broad, and while some aganda, but for the most part presentation bits are funny, on the whole it is a tiresome is objective. performance. Family, if at all. Adolescents, 12 to 16 Children, 8 to 12 Educational Yes

INFORMATION PLEASE No. 1 O O R. K. O.-Pathe. THE MARCH OF TIME, Issue 2, Vol. VI O A cinematic presentation of the popular THE BATTLE FLEETS OF ENGLAND O O radio quiz has high entertainment value, be- The importance of England’s navy in pro- cause it induces the audience to participate tecting the people of their island nation as in instruction as a game. The type of ques- well as holding together the distant lands of tion is often abstruse and may add little to the empire is shown in this film, which ac- one’s fundamental knowledge, but it is fas- quires a certain poignancy now that heavy cinating to watch the reactions of the men losses have been suffered. It is a fine descrip- who are questioned. Rex Stout is the guest tion of the classes of ships speaker in this one. Family. many from the largest battleships to the tiny units of the “suicide fleet” used to sweep mines from INFORMATION PLEASE No. 2 O O strategic areas. Through it runs the deep tradition R. K. O.-Pathe. of the British navy for gallantry and high courage to serve king and country. Gene Tunney joins Franklin P. Adams, Photography is outstanding, and the whole John Kieran and Oscar Levant on this pro- film is a contribution gram. His awkward manner to the files of contem- and winning pory history. smile add a very human note to the number. Adolescents, 12 to 16 The questions are Children, 8 to 12 on Shakespearian quota- Splendid Yes Story Parade A QUALITY MAGAZINE

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FEATURE FILMS —o Abe Lincoln in Illinois Amazing Mr. Williams, The The Big Guy The Cisco Kid and the Lady City in Darkness Day-Time Wife Destry Rides Again Flying Deuces, The Four Wives Geronimo The Great Victor Herbert The Honeymoon's Over Joe and Ethel Turp Call on the President Law of the Pampas Legion of the Lawless The Night of Nights Our Neighbors—The Carters Reno The Secret of Dr. Kildare That's Right, You're Wrong Tower of London SHORT SUBJECTS March of Time, Volume VI, Issue No. 3 Uncle Sam, the Farmer Peace on Earth INDEX July through December, 1939 THE WOMEN'S UNIVERSITY CLUB LOS ANGELES BRANCH. AMERICAN ASSOCIATION OF UNIVERSITY WOMEN ENDORSED BY A. A. U. W.. CALIFORNIA STATE DIVISION

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Because of its exceptional merit we are giving this short subject a place of honor. PEACE ON EARTH. Cartoon produced by Hugh Harmon. Script by Jack Cosgroff and Charles McGirl. Art Direction by John Mendorff. Color directed by Mary Blaire. Backgrounds by Don Schaeffer. Animation by Tony Pabian. Technical effects by Paul Sprunk. Musical score by Scott Bradley. M. G. M.

This is a Christmas offering which is so significant in subject matter and so beautifully executed that it should be shown throughout the world. In its short running time it presents concisely and more faithfully than longer films a realization of war's futility, its waste, and the possibility of utter oblivion for all that the world holds dear. It is done in a unique combination of realism and fantasy, in a flow of rhythmic action which with remarkable sound effects and exquisite musical score, produces an overwhelmingly emotional effect. It is not without endearing humor and it has charm and beauty, but above all, its message is one most needed to touch the hearts of mankind in a war mad world. Adolescents, 12 to 16 Children, 8 to 12 Splendid Mature MOTION PICTURE REVIEWS Three

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Vol. Xm DECEMBER, 1939 No. 12

ABE LINCOLN IN ILLINOIS O O Gordon is remarkable as Mary Todd, a Raymond Massey, Gene Lockhart, Ruth woman who loved her husband deeply but Gordon, Mary Howard, Dorothy Tree. Screen whose burning ambition made any real com- play by Robert E. Sherwood. Direction by John Cromwell. RKO-Radio. panionship impossible. The film is a significant and valuable contribution to an under- It is difficult for the present generation to standing of the man who rose from poverty visualize Abraham Lincoln, except as an surrounded by ignorance, supersition, and idolized hero. This study presents him as brutality, to receive the highest honor possi- a man with many faults but one who justly ble for the American people to bestow upon earned the reverence which we bestow upon him, who led the country through the dark- him. It clarifies his character, humanizes est period of its history, and whose life is him and gives an understanding of the real the ideal expression of the principles of Amer- reluctance he felt towards accepting the great ican Democracy. responsibility of the presidency of a nation Adolescents, 12 to 16 Children, 8 to 12 torn by civil strife. The film tells the story Very fine Beyond their of his life in Illinois, from the time he ar- interest rived in New Salem to do odd jobs and continue his elementary education, through the THE AMAZING MR. WILLIAMS O O election which made him President, and ends Melvyn Douglas, Joan Blondell, Clarence with his departure for the White House. Kolb, Ruth Donnelly, Edward S. Brophy, Lincoln, the simple, awkward young man Donald MacBride, Don Beddoe, Jonathan Hale, John Wray. Story by Sy Bartlett. with his endearing humor, his unfailing tact Screen play by Dwight Taylor, Sy Bartlett and his unswerving allegiance to honor, and Richard Maibaum. Direction by Alex- grows before our eyes in mental and spiritual ander Hall. Columbia. stature into a man of destiny. The film inter- This is a highly entertaining detective prets his unhappy romance with Ann Rutledge farce in which Melvyn Douglas plays the role and his marriage with Mary Todd, which of Mr. Williams, a policeman, who has a broadened his public life but brought him little knack of solving crimes and apprehending personal happiness. Raymond Massey brings criminals. His interest in his work causes his to the role a sympathetic understanding which fiance (Joan Blondell) to break their engage- is expressed in a masterful portrayal. Ruth ment and in order to win her back he re- Four MOTION PICTURE REVIEWS

sorts to all sorts of absurd schemes which CITY IN DARKNESS O O keep the audience in gales of laughter. The Sidney Toler, Lynn Bari, Richard Clark, dialogue is flippant and pert and in keeping Harold Huber, Pedro de Cordoba, Dorothy with the diverting situations. Tree, C. Henry Gordon, Douglas Dumbrille. Adolescents, 12 to 16 Children, 8 to 12 Based on Earl Derr Bigger's character of Entertaining Yes Charlie Chan. Screen play by Robert Ellis

and Helen Logan. Direction by Herbert I. Leeds. 20th Century-Fox. THE BIG GUY O O Even if one has a predeliction for news- Victor McLaglen, Jackie Cooper, Edward reel shots in general, those at the beginning Brophy, Peggy Moran, Ona Munson, Jona- of this film set the wrong tempo and pre- than Hale, Edward Pawley, George McKay. pare one for the present European war and Screen play by Lester Cole, based on a not the crisis with which the story by Wallace Sullivan and Richard K. pre-Munich Polimer. Direction by Arthur Lubin. Uni- picture deals. The action takes place dur- versal. ing a black-out which lends a certain de- Victor McLaglen adds another capable gree of atmosphere. Espionage, murder, mu- characterization to his record, and Jackie nitions-smuggling and passport-forging all Cooper shows unusual development for a have a part in this mystery of many charac- young actor just emerging from juvenile ters and many complications to the end that parts. Direction is good. Beyond that the the audience is baffled for at least two-thirds film is one of a long line of morbid, depress- of the performance. Sidney Toler is satis- ing prison pictures, highlighted by sensa- factory as Chan, although improvement is tional escapes and 'killings. An enterprising necessary before he reaches the proficiency of boy is tricked into a scheme for aiding the Warner Oland in the well-known part. escape of two criminals, and the temporary Adolescents, 1 2 to 16 Children, 8 to 12 Passable Too involved warden of the penitentiary, torn by his ambition for official advancement and his greed for money, conceals important evidence and almost brings about the boy’s execution. All DAY-TIME WIFE O O of this does little to engender confidence in Tyrone Power, Linda Darnell, Warren Will- public servants. iam, Binnie Barnes, Wendy Barrie, Joan Adolescents, 12 to 16 Children, 8 to 12 Davis, Joan Valerie, Leonid Kinskey, Mil- Undermines feeling of Decidedly not dred Gover, Renie Riano. Story by Rex security Taylor. Screen play by Art Arthur and Robert Harari. Direction by Gregory Ratoff. 20th Century-Fox. THE CISCO KID AND THE LADY O O Introducing a new slant on the old wife- Cesar Romero, Marjorie Weaver, Chris-Pin versus-secretary idea. “Day-Time Wife” Martin, George Montgomery, Gloria Ann tells its tale to the tune of a laugh a minute. White. Suggested by the O. Henry char- When Jane, (Linda Darnell) discovers that acter, "The Cisco Kid." Direction by Her- her husband, Ken, (Tyrone Power) is phil- bert I. Leeds. 20th Century-Fox.

The Cisco Kid is full of contradictions: andering with his secretary, she secures an sometimes he is the soul of generosity and office job for herself, hoping to be able to elevated purpose and again he is the har- determine what infallible charm secretaries binger of death and a tormentor of the in- have that wives apparently have not. The nocent. He is in his better mood when he rescues an orphaned baby from a covered situation becomes embarassing, but very wagon and devotes the ensuing months to the funny, when Ken and his secretary come task of securing a gold mine for its lawful face to face with Jane and her employer, owner, the self-same baby. The background who is a business acquaintance of Ken’s. is filled with unsavory frontier characters, and much of the film is poorly done. Marjorie The film is exceedingly well cast. The story Weaver as a young school marm and the moves along swiftly and is the result of infant Gloria Ann seem an oasis of sweet- clever, carefully planned direction. Dealing ness in a desert of iniquity. Romero’s Latin with real, yet somewhat dubious situations, heritage and his talent for singing make the part of The Cisco Kid spirited and halfway it is so presented as to offer lively, sophisti- plausible. cated entertainment. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Confused standards No No No MOTION PICTURE REVIEWS Five

DESTRY RIDES AGAIN O O against the unanticipated harshness of his precipitates a murderous raid by Marlene Dietrich, James Stewart, Mischa father and Auer, Charles Winninger, Brian Donlevy, the Apaches. Preston Foster is very able as Hymer, Irene Her- Allen Jenkins, Warren the General’s most trusted officer, Gene Lock- vey, Una Merkel, Billy Gilbert, Samuel S. villainous scoundrel and Hinds, Jack Carson, Tom Fadden, Virginia hart a particularly Brissac, Edmund MacDonald, Lillian Yarbo, Chief Thundercloud a remarkable figure of Joe King, Dickie Jones, Ann Todd. Story hatred and revenge. The only light note in by Felix Jackson. Suggested by Max Brand's picture is supplied by the homely phil- novel, "Destry Rides Again." Direction by the George Marshall. Paramount. osophy of the scout Sneezer played by Andy blood-curdling Anyone who likes a rip-roaring, gun- Devine. “Geronimo” is too while the action is thrilling, toting, undisguised Western will find ‘‘Destry for children, and them- Rides Again” as exhilarating as fireworks many adults will hesitate to subject nerve-racking experience of this and more fun than a barrel of monkeys. The selves to the super-Western. plot is the old one about an iron-nerved IS Children, 8 to 12 young sheriff who is called in to clean up Adolescents, 12 to No No a tough frontier town after the local bad men have instituted a reign of terror, but it is far from naively handled. Jimmy Stewart is THE FLYING DEUCES O O a sheriff, something new in the way of and Stan Laurel, Oliver Hardy, Jean Parker, Marlene Dietrich is a dance hall queen with Reginald Gardiner. Direction by A. Edward personality plus. Add to this setup the fact Sutherland. Boris Morros (R.K.O.) that, in the words of the preview program, Humorous continuity rather than a story the film was produced by the “renowned” describes this latest venture of Laurel and Mr. Joe Pasternak and directed by the “emi- Hardy. It is mildly amusing to follow the nent” Mr. George Marshall and you have pair from one predicament to another, each the secret of its success. As Destry, Jimmy more impossible than the last. As two Amer- Stewart has a chance to step out of the kind ican fish merchants vacationing in Paris, of role in which he so often has been cast they are spurned by two French girls; they and to show more definitely than ever be- join the Foreign Legion but refuse to work fore his ability to assume a new personality. for a niggardly three cents a day. Hardy The cool, slow spoken, humorously phil- commits suicide and returns as a horse in osophical Destry is a hero who bids fair to his next reincarnation, and there the picture eclipse even such a beloved character as The ends. Virginian. Miss Dietrich gives validity and Adolescents, 12 to 16 Children, 8 to 12 fun new interest to a type of role which might Probably enjoyable Good have been tawdry in the hands of a less skilful artist. The cast is an extremely competent one and plays throughout with FOUR WIVES O O Rosemary Lane, Lola Lane, unusual zest. Priscilla Lane, Gail Page, Jeffrey Lynn, Eddie Albert, Adolescents, 12 to 16 Children, 8 to 12 Claude Rains, May Robson, Frank McHugh, Sophisticated No Dick Foran, Henry O'Neill, Vera Lewis, John Quaien, John Garfield. Story by Fannie Hurst. Screen play by Julius J. and Phillip GERONIMO O O G. Epstein and Maurice Hanline. Musical director, Leo F. Forbstein. Direction by Ellen Preston Foster, Drew, Andy Devine, Michael Curtiz. Warner Bros. Gene Lockhart, William Henry, Ralph Mor- gan, Chief Thundercloud. Screen play and “Four Wives” sequel to “Four Daughters,” direction by Paul Sloane. Paramount. combines various elements of entertainment To all acquainted with the history of the which will undoubtedly win general approval Southwest the most blood-chilling name is for the picture as a whole. The humor, that of the Apache, Geronimo, the crudest though not at all subtle, is the kind that and most demoniacal of Indian chieftains. never fails to get a laugh. For audiences who It is believed that his family was wiped out like serious problems, there is a medical theme by white men and his sole desire in life was combining obsterics and psychiatry, and the to take revenge for his loss. There has been music loving public will enjoy the symphonic an effort to make the historical background composition adapted by Max Steiner from a seem authentic. Indian warfare was horrible theme bv Max Rabinowitsch which forms and the hardships of the pioneers almost un- the dramatic climax of the film. People who bearable, but when detail is heaped on de- like babies should be more than overjoyed tail as realistically as it is in this film the with the final scene in which no less than audience is left in a state of exhaustion and four infants occupy the center of the stage. depression. The story revolves around Gen- In spite of its many entertaining qualities eral Steele, a stern disciplinarian, and his the production does not rate unstinted praise. young son just out of West Point, who rebels The humor is too exaggerated to combine ;

Six MOTION PICTURE REVIEWS well with the seriousness of the theme, and THE HONEYMOON'S OVER O O the repeated conversations about approach- Stuart Erwin, Marjorie Weaver, Patric Knowles, Russell Hicks, Jack Carson, Ho- ing blessed events might well be scaled down bart Cavanaugh. Based on the play "Six in the interests of artistry as well as taste. Cylinder Love" by William Anthony Mc- The member of the cast who gives the out- Guire. Screen play by Hamilton MacFadden, Clay and Leonard Hoffman. Di- standing performance of this production is Adams rection by Eugene Ford. 20th Century-Fox. Eddie Albert. Donald and Betty start married life aus- Adolescents, 12 to 16 Children, 8 to 12 Mature No interest piciously with a new home and constructive ideas, but the serpent enters in the guise of a high-pressure salesman who persuades them THE GREAT VICTOR HERBERT O O to purchase an expensive car and introduces Allan Jones, Mary Martin, Walter Con- them to a gay country club set with para- nolly, Lee Bowman, Susanna Foster, Judith sitical tendencies. They become shackled with Barrett, Jerome Cowan, John Garrick, Pierre debts, and when Betty is involved in an ac- Watkin, Richard Tucker, Hal K. Dawson, cident damage suit, there is no money to pay Finlay- Emmett Vogan, Mary Currier, James the claim. Up to this point the story is well- son. Based on a story by Robert Lively and written and appealing. Stuart Erwin is real- Andrew L. Stone. Screen play by Russell istic as the harassed husband, Russell Hicks Crouse and Robert Lively. Direction by An- equally good as the adamantine employer- drew L. Stone. Paramount. and Marjorie Weaver is very pleasing. The Victor Herbert’s well-loved music hath picture contains good dialogue and a high charms to soothe the breast of many a mid- percentage of comedy. However, the final dle-aged movie patron who might otherwise part of the film unfolds an escape from their be inclined to sigh for the good old days difficulties which is far too simple and easy. when artists like Fritzi Scheff, Emma Tre- The end would be more satisfying if they intini and Alice Nielsen sang light opera had been forced to pay for their mistakes with classical perfection. More up-to-date in the coin of hard endeavor, and at least it audiences, conditioned to the modern popular would be true to life. technique, will be no less charmed by the Adolescents, 12 to 16 Children, 8 to 12 melodies, and will be pleased with the fresh Too mature A No voice and appealing personality of Mary Martin, with Allan Jones’ smooth tones, and JOE AND ETHEL TURP CALL ON little Susanna Foster’s clear B flat above high THE PRESIDENT O O rights C. Since Paramount owned the to the Ann Southern, Lewis Stone, Walter Brennan, music but not to the librettos, new sets had William Gargan, Marsha Hunt, James Bush. to be devised, as well as a scenario which Story by Damon Runyon. Screen play by Melville Baker. Direction by Robert B. would include a medley of Victor Herbert's Sinclair. M. G. M. music without using sequences from his When Joe and Ethel Turp, as representa- operas as they were wont to be produced. tives of the neighborhood served by Jim the The story is not a biography of Victor Her- mailman, fly to Jim’s defense in his hour of bert, as the title might lead one to believe, need, they demonstrate the fact that, to Mr. but a romance of two opera stars who were and Mrs. Average American, the loyal and his proteges. Allan Jones gives a clever devoted public servant is something more portrayal of a conceited matinee idol who than a mere cog in a great machine. Hasten- ing Washington, Joe and Ethel gain an in- rides roughshod over the feelings and rights to terview with the President in a manner, not of his leading lady to introduce a new prima only amusing and unexpected, but also con- donna with whom he has fallen in love. trary to all accepted practices. This incident, When the new star, who has become his and the Turp family’s interpretation to the President of Jim’s life, furnish the humor of wife, outshines him with her brilliance, he the picture. During the interview, Joe is of sulks in his tent and is coaxed out again real assistance to the sorely perplexed Pres- only to come to the assistance of his fourteen- ident who does not know what attitude to year-old daughter (Susanna Foster) when she assume toward the remarks made by the a foreign warring power. Although essays to substitute for her mother in an leader of the picture shows the violation of postal operatic performance. Walter Connolly is regulations by Jim, a trusted employee, the an excellent Victor Herbert his benign pres- reasons for the action more than offset the ence in many scenes gives the whole pro- offense. One is returned a trifle too often to Joe duction a warm tone of humanness. the amiable but heated arguments of and relate the life of Jim the mail- Adolescents, 12 to 16 Children, 8 to 12 Ethel as they Entertaining Mature in story man. These discussions, however, afford MOTION PICTURE REVIEWS Seven

Lewis Stone an opportunity to portray an ble, drinking themselves into such a state of amused and tolerantly understanding Pres- irresponsibility that they arrive drunk at the ident who steps down from his high posi- theatre and ruin the opening of the play, of tion to walk hand in hand with the average which Dan is author, and in which he and citizen. Walter Brennan, as Jim, gives a his wife are to play the leading roles. The convincing portrayal of idealistic and unself- next phase covers a period of twenty years, ish devotion to one great love. during which Dan, deserted by his wife, Adolescents, 12 to 16 Children, 8 to 12 lives the broken-hearted, lonely existence of Good No a down and out actor. When the audience •> is worn out with this mournful sequence and Dan has almost reached the end of his rope, LAW OF THE PAMPAS O O light appears in the person of Dan’s grown William Boyd, Russell Hayden, Steffi Duna, daughter. Though Olympe Bradna is a great Sidney Toler, Sidney Blackmer, Pedro de Cordoba. Screen play by Harrison Jacobs. relief to both Dan and the audience, the play Direction by Nate Watt. Harry Sherman soon returns to gloom with Dan dying from Productions (Paramountl. a heart attack, just when everybody is cele- In this new adventure of the popular brating the success of his play with his series the scene shifts to Chile, whither Hop- daughter cast in her mother’s part and him- along and Lucky betake themselves to uncover self in the role which he had originally in- the villainy which has resulted in the death tended to enact. The plot is pure hokum, of the daughter and son of fine old Senor using a variation of the “Laugh Clown Valdez. The mountain and range photog- Laugh” theme to moisten the eyes of suscepti- raphy is beautiful as in most of the Cassidy ble audiences. pictures, and the riding is first-rate, but the Adolescents, 12 to 16 Children, 8 to 12 story is obvious in its main course and devoid No No of original incidents. Steffi Duna adds a note of color by her dancing and flirtations. Adolescents, 12 to 16 Children, 8 to 12 OUR NEIGHBORS—THE CARTERS O O Mature Too much violence Fay Bainter, Frank Craven, Edmund Lowe, Genevieve Tobin, Mary Thomas, Gloria Carter, Scotty Beckett, Bennie Bartlett, LEGION OF THE LAWLESS O O Donald Brenan, Nana Bryant, Thurston Hall, Granville Bates, Edward McWade, Norman George O'Brien, Virginia Vale, Herbert Hey- Phillips, Richard Clayton, Frank Reicher, wood, Norman Willis, Hugh Sothern. Screen John Conte, Martha Mears, Olof Hytten. Di- play by Doris Schroeder. Story by Berne rected by Ralph Murphy. Paramount. Giler. Direction by David Howard. R.K.O.- Radio. “Our Neighbors—The Carters” does not have a distinct plot but rather is a series of Out on the frontier a band of vigilantes, the problems and joys that a family of fine organized to maintain order, gets into the lively children can present to their parents. hands of an unscrupulous plotter who uses The small town setting provides atmosphere the organization to bully and defraud the for these events, while the Carter’s old friends honest citizens of the part of town lying Bill and Mary Hastings add the old, old slant across the river. A young lawyer rides down that money cannot buy happiness. It is good Main Street and immediately finds himself wholesome entertainment, a bit inclined to in the struggle and carries it through to a drag in places, but good for a laugh here and successful conclusion. This is an average a tear there. Although Gloria Carter was Western with much melodrama, a little com- slated to steal show, edy, swaggering righteousness and unvar- the Mary Thomas as “Mattie” is the one you’ll remember. nished wickedness. George O’Brien is true to form as the hero. Adolescents, 12 to 16 Children, 8 to 12 Good Good Adolescents, 12 to 16 Children, 8 to 12 Not recommended Too much brutality and drinking RENO O O Richard Dix, Gail Patrick, Anita Louise, THE NIGHT OF NIGHTS O O Paul Cavanaugh, Laura Hope Crews, Hobart Cavanaugh, Louis Jean Heydt. Story Pat O'Brien, Olympe Bradna, Roland Young, by Ellis St. Joseph. Screen play by John Twist. Reginald Gardiner, George E. Stone, Frank Direction by John Farrow. R. K. 0. Sully, Russ Powell, D'Arcy Corrigan. Screen play by Donald Ogden Stewart. Direction The metamorphosis of Reno from a small by Lewis Milestone. Paramount. mining town of the early nineteen hundreds It is difficult to imagine how a competent to its present status as the center of the get- writer, a successful director, and a cast of divorced-quick industry is encompassed in the seasoned performers could have created such life history of one man. John Shane gains a completely dismal production as this one. success and honor as a lawyer by fighting the The story commences with the pitiful sight battles of independent miners against the of two actors, Dan O’Farrell and Barry Trim- ruthless corporations. When the silver lodes Eight MOTION PICTURE REVIEWS

peter out and he finds himself unable to THAT'S RIGHT. YOU'RE WRONG O O provide luxuries for his beloved wife and Kay Kyser, Adolphe Menjou, May Robson, daughter, be discovers a provision in the Lucille Ball, Dennis O'Keefe, Edward Everett Nevada residence laws which makes it possi- Horton, Roscoe Karns, Moroni Olsen, Hobart ble to obtain divorces for his clients in six Cavanaugh, Ginny Simms, Harry Babbitt, weeks’ time. He never counts the cost in Sully Mason, Ish Kabibble, Dorothy Lovell, broken homes and shattered lives until his Lillian West, Denis Tankard. Story by David own wife and his daughter come under the Butler and William Conselman. Screen play malevolent influence of the system he has by William Conselman and James Kern. created. Stories of Reno are usually either Direction by David Butler. R.K.O. -Radio. sordid or unduly glamorous; this film is This is gay, tuneful entertainment perfectly neither. It is a stirring drama of human suited to a holiday mood. Kay Kyser and lives with Richard Dix and Gail Patrick his troupe of entertainers are invited to giving consistent and realistic interpretations of the two leading parts. If it is melo- Hollywood to make a movie. In a screen

dramatic and sentimental at times, it is still test, Kay is given the role of a romantic typical of the place and the period portrayed. gondolier who has to climb a trellis to bring Adolescents, 12 to 16 Children, 8 to 12 Too mature No his lady love down from a tower. Of course he is absurd, and he goes on being absurd THE SECRET OF DR. KILDARE O O throughout the entire picture, while May Lew Ayers, Lionel Barrymore, Lionel At- Robson, as his grandma, Edward Everett will, Helen Gilbert, Nat Pendleton, Laraine Horton, Adolphe Menjou and others add to Day, Sara Haden, Samuel S. Hinds, Emma the fun. If this cast were not enough, the Dunn, Walter Kingsford, Grant Mitchell, music would insure the film's popularity. Alma Kruger. Story by Max Brand. Screen play by Willis Goldbeck and Harry Ruskin. The production is one of the best in which Direction by Harold S. Bucquet. M. G. M. radio favorites have starred. Those who enjoyed the exploits of Dr. Adolescents, 12 to 16 Children, 8 to 12 Kildare in former pictures will no doubt Very entertaining Excellent find his latest adventures equally entertaining. He is now firmly established as Dr. O O Gillespie’s brilliant young assistant in a large TOWER OF LONDON metropolitan hospital and he chalks up an- Basil Rathbone, Boris Karloff, Barbara other successful diagnosis of a batfling case. O'Neil, Ian Hunter, Nan Grey, Vincent This time a socially prominent debutante is Price, John Sutton, Leo G. Carroll, Miles troubled with alarming symptoms for which Mander, Lionel Belmore, Rose Hobart, no pathological explanation has been found Frances Robinson, Ralph Forbes, G. P. and Dr. Kildare jeopardizes his position in Huntley, Ernest Cossart, Ronald Sinclair, the hospital to discover the trouble and to John Herbert-Bond. Screen play by Robert try what he rightly believes is the cure. N. Lee. Direction by Rowland V. Lee. Meanwhile, the gruff but lovable Dr. Gillespie Universal. has had a heart attack which necessitates “Tower of London” is a somber horror postponing some experiments which he and film Dr. Kildare had hoped to conduct to de- about the dark historic period of the termine the efficacy of a new drug in the 15th Century when Richard III ascended to treatment of pneumonia. The public will the throne of England by means of murder glean from this film a smattering of in- and intrigue. It is a succession of torture formation on the subject of hysteria, some curious and erroneous impressions of what scenes, assassinations, and battles. Photo- sort of behavior is permissable for the staff graphed against the settings of medieval and nurses in a fine hospital, and a liking castles and dungeons, the sinister characters for the engaging personality of Lew Ayres. plot their horrible crimes while the shadow

However, if the Dr. Kildare series goes on of Mord, the deformed executioner, spreads diagnosing ailments, describing symptoms, like a symbol of evil over much of the ac-

and naming the medicines to be used in their tion. The fact that it gives a realistic im-

treatment, it might be well if each film in- pression of the worst characteristics of that

cluded a warning to the public that self- unhappy age is hardly enough to recommend

diagnosis is apt to be dangerous. it as entertainment. Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12 Probably entertaining No interest No Horrible MOTION PICTURE REVIEWS Nine SHORT SUBJECT

MARCH OF TIME. Issue No. 3. Vol. VI film smacks slightly of propaganda, as only UNCLE SAM. THE FARMER O O the favorable view of present day agriculture Producers: The Editors of Time. is given, but it is an intensely interesting picture, showing the importance of soil con- An excellent survey of agricultural condi- servation, pest control, seed improvement, tions in the United States contrasts the mis- food storage and other kindred subjects with takes of the war years 191+ to 1918 with emphasis on the importance of participation the controlled methods now in use under the in farm projects by each member of the farmer’s family. A. A. A. and warns the American farmer Adolescents, 12 to 16 Children, 8 to 12 not to be misled by indications of quick Educational Long and a little profits from the present war in Europe. The dull for them

INDEX . . . JULY through DECEMBER, 1939

A F Abe Lincoln in Illinois December Fast and Furious November Abus de Confidence September Fifth Avenue Girl. My September Adventures of Sherlock Holmes September Five Came Back July All Quiet on the Western Front November Five Little Peppers Allegheny Uprising November and How They Grew September The Amazing Mr. Williams December Flying Deuces December Andy Hardy Gets Spring Fever August Forgotten Woman July Another Thin Man November Four Feathers August At the Circus November Four Wives December Frontier Marshal August B Full Confession October Babes in Arms November Bachelor Mother July G Bad Lands August Geronimo December Bad Little Angel November The Girl and the Gambler July Beau Geste August Golden Betrayal Boy September November Grand Jury Secrets The Big Guy July December The Great Victor Herbert Blackmail September December Blondie Brings Up Baby November Blondie Takes a Vacation September H Bulldog Drummond's Bride August Hawaiian Nights September

Heaven With a Barbed Wire Fence . November C Here I Am a Stranger October Hollywood Cavalcade Call a Messenger October November Career Honeymoon in Bali October August The Honeymoon’s Over The Cat and the Canary November December The Challenge Hotel For Women, Elsa Maxwell's August August Housekeeper's Daughter November Charlie Chan at Treasure Island September Chicken Wagon Family September A Chump at Oxford October I The Cisco Kid December I Stole a Million August The City November In Name Only August City in Darkness December Inside Information July Intermezzo: A Love Story October D Island of Lost Men September Dancing Co-ed October I The Day the Bookies Wept October Daytime Wife Jamaica Inn October December Joe and Ethel Turp Death of a Champion September Destry Rides Again December Call on the President December Disputed Passage November Drums Along the Mohawk November K Dust Be My Destiny September Kid Nightingale October

E L Each Dawn I Die August Land of Liberty July Elsa Maxwell's Hotel For Women August Law of the Pampas December Espionage Agent October Legion of the Lawless December Eternally Yours November Little Accident November Everything's on Ice September The Llano Kid November —

Ten MOTION PICTURE REVIEWS

M The Star Maker September Stop, Look and Love September The Magnificent Fraud August Stronger Than Desire Maisie July July Sued For Libel November Man About Town July Susannah of the Mounties July The Man in the Iron Mask July The Marshal of Mesa City November T Meet Dr. Christian November Television Spy November Million Dollar Legs August That's Right, You're Wrong December Miracles For Sale August These Glamour Girls September Mr. Smith Goes to Washington November They All Come Out July My Fifth Avenue Girl September They Shall Have Music July N $1000 a Touchdown November Timber Stampede July News Is Made at Night August Too Busy to Work November The Night of Nights December Tower of London Night Work September December Ninotchka November 20,000 Men a Year November Two Bright Nurse Edith Cavell. September Boys October O U The Old Maid August U-Boat 29 November Undercover Doctor On Borrowed Time July July The Underpup $1000 a Touchdown November September Unexpected Father Our Leading Citizen August August The Unknown Soldier Our Neighbors, the Carters December Speaks November P W Pack Up Your Troubles November Way Down South August We Are Not Alone The Private Lives of Elizabeth and Essex October November What a Life October R When Tomorrow Comes August Winter Carnival August October The Rains Came The Wizard of Oz September Range War September The Women September The Real Glory October Remember? November Reno December SHORT SUBJECTS Rio October Acres of Plenty November The Roaring Twenties November Be Your Age November Rulers of the Sea October Information Please No. 1 November Information Please No. 2 November S March of Time, Volume VI The Saint in London July Issue No. 1, Soldiers With Wings November Second Fiddle July Issue No. 2, Battle Fleets of England November The Secret of Dr. Kildare December Issue No. 3, Uncle Sam, the Farmer December The Spellbinder August March of Time No. 13 September Stanley and Livingstone September Peace on Earth December SUBSCRIPTION ORDER BLANK Please Detach and Mail in with Your Subscription

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UE ON MOTION PICTURES ' : 1734 North Fuller. Hollywood

Bulletin No. 3

U;1u a catch-word, but never-

1 tributes to the motion picture vocabulary a 1 designation for films on social themes, or films Lch use variations of the newsreel technique. - :

r definition the good Documentaries are more than tures with a purpose. Their essence is people

e, not actors. • Iu contrast to ordinary enter-

: icts ;i;tjre Documentaries are concerned not wi th is, but with the everyday lives of individuals,

; the public utilities which serve them, and the hfisurround them. * * ' -- - •- —ew*~h_ •T-fi. - t^rTU - >* * -

skill-

i the .accurate eyes, the slowly-pained )d mail clerk, a competent fisherman or £,5 ‘bkinp cra'fts necessary to the making -notable films English documentary issed upon- their public: (a) the effi- ?ral Dost Office ("Night Mail") reveal- in the practical business of transporting he importance to an island people of tries, ("North Sea"); (c) have given visual to the romantic history of transferring human thought oer, from prehistoric picture-writing days down -to

: dern production, books. ,e of ("Cover to Cover"-)'; v/i.b-.-V-

States have Biver" and releases- and Holly-. studio short sub jects are ,a£se documentary in feeling.

• - - • - n • , . t i Afl „ ^ C J- , . , the Documentary in this country is being given an unmistake- able "made in the U.S.A." treatment which changes it from the English models. So far, American films of this type have placed greater emphasis on natural forces than upon human relationships. "The Plough That Broke the Plains" shows how our mid-continent was turned into a dust bowl. "The River," with a hauntingly beautiful commentary, is a portrait of the Mississippi, its size, its terrifying power in flood and its usefulness when curbed and properly controlled.

As any selection from the appended bibliography will reveal, the Documentary movement has had unusually eloquent and literate apostles. Developed originally in England by an enthusiastic group of young people led by John Grierson and Paul Rotha some ten years ago, a growing number of producers and directors now contribute to its current wide importance. In the United States the outstanding name is that of Pare Lorentz, but there is every indication that he is but the first of many Americans who will use and expand this cinematic technique.

SOME DOCUMENTARY FILMS

And Their Directors

"Housing Problems," 1935; a document of slum-clearance in London, using the personal intervi ew method. Director: Edgar Anstey. Producer: John Grierson. "Nanook of the North," 1920; a film of Eskimo life around a trading post in the Hudson Bay 'Territory. Di rector: Robert Flaherty. Production: For Reveillon Freres, N.Y. "The Plough That Broke the Plains," 1936; a film of soil erosion and conservati on. Director: Pare Lorentz. Production: Resettlement Administration, U.S. Government. "The River," 1937-38; a film of the Mississippi River and TVA scheme. Director: Pare Lorentz. Production: Resettlement Administration, U.S. Government. "The City," 1939; a film of model suburban city planning. Production supervi sor: Oscar Serlin. - "The Face of Britain," 1934 35 ,' a film of the natural and scientific planning of Britain with reference to the power of coal and electricity. Director: Paul Rotha. Production: G.B. Instructional , London.

"Cover to Cover," 1936; a film about books , their history. 11

writing, and printing. Director: Alexander Shaw. Producer: Paul Rotha. "Air Outpost," 1937) a film of 24 hours at an air-port on the Persian Gulf. Director: John Taylor. Producer: Paul Rotha. - ^ "Smoke Menace," 1937) a film of the contribution being made by new forms of fuel to the probl em\of smoke abatement'. Director: John Taylor. Producer: John Grierson. "Night Mail," 1936; the nightly journey of the Postal Special

from London to Scotland. Director .: Harry Watt. Producer: John Grierson. "North Sea," 1938; a semi-story film of ship-to-shore radio service off the North-east coast of Scotland, with the townsfolk of Aberdeen and the radio-operators at Wick Radio Station. Director: Barry Watt. Producer: A. Cavalcanti.

"The Song of Ceylon," 1Q34-35) a, dialectic film of old and new Ceylon showing the influence of Western civilization on native life. Director: Basil Wright. Production: John Grierson with the Ceylon Tea Propaganda Board. "The Face of Scotland," 1938; a film of Scottish character and tradition. Director: Basil Wright. Producer: John Grierson.

Documentary films are seldom exhibited m commercial theaters m the United States, but information about prints for special showings may be secured from the following sources:

American Film Center, Rockefeller Center, New York. Museum of Modern Art, Rockefeller Center, New York. Academy of Motion Picture Arts & Sciences, 1201 Taft Building, Bollywood, California.

BIBLIOG RA PHY

Great Britain. Commission on Educational and Cultural Films. "The Film in National Life," (Documentary Film, p.113-125) London, Allen and Unwin, .1932.

Rotha, Paul. "The Film Till Now; a Survey of the Cinema." New York, Jonathan Cape & Harrison Smith, 1930.

Rotha, Paul. "Documentary Film." (Revised edition; preface by John Grierson) New York, W.W. Norton, 1939. : ' 12

,: rjp pottiswoode, Raymond. A Grammar of the Film; an Analysis " of Film Technique. i'Documentary Film, pf>. 88-g^, 2y6-2g6)

';- London, Paber and Faber, 1035. V .:

Tallents, Stephen G. "The Projection of England." London, Faber and Faber, 1932; 48 p.

Periodical references •

"Film Faces Facts." Richard Griffith. . Survey Graphic, December 1938,. p. .595-600.

"Films of Fact and Fiction." Paul Rotha. Theater Arts Monthly, March 1938, p. 186-197.

"Joris Ivens: Artist in Documentary," R. Stefcbins. Magazine of Art, -July 1938, p, 392-9.

"Pare Loren tz: Head Man of Government Motion Pictures." W. L. White. Scribner's, January 1939, p. 7-11.

"The Story of the Documentary Film." John Grierson. Fortnightly Review, August 1939.

# 1

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1 CALIFORNIA STATE DIVISION = A.A.U.W AMERICAN ASSOCIATION OF UNIVERSITY WOMEN SPECIAL COMMITTEE ON MOTION PICTURES

MRS. DONALD GLEDHILL, Chairman 1734 North Fuller, Hollywood

Bulletin No. 4

MAY 1 940

Convention Number

SUGGESTED REFERENCE MATERIAL FOR MOTION PICTURE STUDY IN A.A.U.W. PROGRAM PLANNING

How Many New Subscriptions This Month to ? "MOTION PICTURE REVIEWS" ?

SUGGESTED REFERENCE MATERIAL FOR MOTION PICTURE STUDY IN A.A.U.W. PROGRAM PLANNING

In the last few months before the outbreak of the war more well-written books about the movies appeared than during' the several previous years. This was to be expected from an apparent ten-year publication cycle. "The Great Train Robbery" in 1905 opened the screen to story-telling drama but it was 1915-1918 before the new medium became well enough established to develop a literature. After ten years the silent film had reached its height and a noteworthy collection of books analyzed its achievements and artistry. The coming of sound between 1929 and 1931 brought only technical treatises at first, but was followed by a flood of books re- evaluating motion picture art in the new terms. Publi- cation continued at the rate of about half a dcrzen titles a year, until in 1939, ten years after sound, it became apparent that both the publishers and the .public were receptive to another cyclic series based on the remarkable development of the talking screen.

From the resources of such specialized libraries as that of the Academy of Motion Picture Arts and Sciences in Hollywood, the Museum of Modern Art in New Ycu’k and the New York Public Library it is possible to compile exten- sive'bibliographies. But for either general readers or A.A.U.W. study groups outside the largest cities such lists are only tantalizing. The average public library will have on its shelves several times the amount of reference material on the game of chess, for instance, that it will have on motion pictures which are a major entertainment and cultural interest of three-quarters of the American public.

Of the six interest fields for which national committees have been set up by the Association, motion pictures may be related to four — Education, International Relations, Social Studies, and the Arts. i6

The California State Division is the first to initiate a Special Committee on Motion Pictures, largely as a result of the outstanding achievement of the Los Angeles Branch in its ten-year publication of "Motion Picture

1 Reviews, ' which a year ago received state sponsorship and support. This little monthly magazine has won the respect of teachers and librarians throughout the country for the scholarship and integrity with which it is edited.

Along with study groups devoted to the member interests in Art, International Relations, Book Reviewing, Social Welfare, Education, and Drama, the modern Motion Picture would seem to have a logical and important place in A.A.U.W. program planning.

From the observations of the special committee on the subject during its introductory year in California, the potential study interests of A.A.U.W. film-goers would seem to come under the following headings:

1 . GUIDANCE IN PERSONAL ENTERTAINMENT. 8.

2 . EVALUATION OF FILMS FOR YOUNG PEOPLE.

3 . VISUAL EDUCATION IN THE CLASSROOM.

4. SOCIAL AND MORAL INFLUENCE OF THE SCREEN.

5. THE MOTION PICTURE AS AN ART FORM.

6. BACKGROUND AND HISTORICAL STUDY.

7. THE MECHANICS OF PICTURE MAKING.

THE SCREEN AS "PLATFORM AND PULPIT. 17

i. GUIDANCE IN PERSONAL ENTERTAINMENT

Entertainment is too much an individual matter for absolutes in its definition, but a candid examination of the majority interests in any group may well serve as a starting point from which to undertake a study program. It is important, however, to make a clear distinction between one's personal preferences or enjoyment and the more objective values in any particular film.

"Motion Picture Reviews", our own A.A.U.W. magazine, heads the list of reliable evaluators of current releases. Other good reviews are found in "Time" magazine, "The New Yorker", the "Christian Science Monitor" and local dailies and columns available in every community.

Of decided help in personal choice is the 6o-page pamphlet COURSE IN MOTION PICTURE APPRECIATION by Sterner and Bowden. Although originally intended for classroom use, its outline form and unit headings direct attention to such important elements as acting, direction, sets, photography, sound and music, and provide a handy yard-stick for general reference. AMERICA AT THE MOVIES by Thorp, a recent book whicn should be available in most libraries, is another help. Chapters on "What Movie Tonight?", "Glamour", and "Cinema Fashions" will furnish clues as to why you like one film better than another.

2 . EVALUATION OF FILMS FOR YOUNG PEOPLE

Again our "Motion Picture Reviews" heads the list, this time because of its careful distinctions as to age-suitability. Starting from the premise that no child under 8 years of age should be taken to any movie, the reviews are graded for "Children 8 to 12 " i8

and for "Adolescents, 12 to 16". Specific comments point out which films require adult interpretation and which may be too exciting for small children. These welcome notations are in addition to the well-written critical summaries.

The most detailed analyses of the effects of films on young people are undoubtedly the ten books published as the "Payne Fund Studies" in 1033, the best-known being a journalistic popularization of the other nine under the title OUR MOVIE MADE CHILDREN by Foreman. The nearly 3,000 pages and distinguished list of authors responsible for these physical, psychological and sociological investigations would seem to give them major importance. However, it is well to remember that the studies are now more than seven years old and that charges of sensationalism and anti-motion picture bias have repeatedly been made against the entire project.

"Photoplay Appreciation Study Material for Schools, Clubs and Libraries", edited by Ryllis Hemington for the Public Relations Department of Fox West Coast Theatres, is a valuable source of information on current films. Frankly sponsored by the motion picture industry, these articles and reprints are intended as an aid to serious students and study groups of all ages. They include the work of such experts as Bruno

Ussher on Film Music and Laura 0 . Vruwink on Films for Children. FILM AND SCHOOL by Rand and Lewis is another help. Written for older boys and girls as well as for their parents and teachers, it includes chapters on "How Moving Pictures Interpret Life", "Rating Scales and Reviews", and "Moving Pictures, a Social and Economic Force". The whole book is meticulously done and can be used as a guide to evaluation.

3. VISUAL EDUCATION IN THE CLASS ROOM

This field is of particular interest to teachers, since 19

it considers the film as a teaching tool for such subjects as science, history, social studies and the arts. It is important to remember that nearly all school film is of a different width than theatrical film. The film used in commercial theatres is 35mm. whereas nearly all school and amateur film is 16mm. As the two sizes require entirely different projection equipment, the regular studio-made releases are available to schools only when they have been especially reprinted in the smaller size.

In the last two years, however, the motion picture industry has responded to requests to release to schools the wealth of instructional material in its vaults. Two long-term projects have been supervised by educational authorities of the highest standing. Five hundred short subjects were selected by reviewing panels as most useful in connection with art and music, literature and biography, the sciences, the social studies, history, sociology, religion, health and sports, hygiene and the vocations. Through the cooperation of the studios these may now be leased by schools from Teaching Film Custodians, Inc., 25 West 43rd Street, New York City, on terms noted in a "Catalog of Films for Classroom Use." Also limited to school use, but of great significance is the "Human Relations Series of Films" on which data may be secured from the Commission on Human Relations of the Progressive Education Association, 4 5 Rockefeller Plaza, New York City. About 40 films are described, each being a self-sufficient excerpt from such features as "Captains Courageous", "Story of Louis Pasteur", "Men in White", "Black Legion", etc., dramatically presenting some human problem which calls for thought and discussion. Every teacher will find the pamphlets stimulating, whether or not her school is equipped to use the films.

Two books of obvious usefulness and scholarship in their fields are Harvard's THE SOUND MOTION PICTURE IN SCIENCE TEACHING, by Rulon, and Yale's MOTION 20

PICTURES AS AN AID IN TEACHING AMERICAN HISTORY, by Wise. The University of Chicago press has published Brunsetter's HOW TO USE THE EDUCATIONAL SOUND FILM and Devereux' THE EDUCATIONAL TALKING PICTURE as manuals of general instruction. Dale, MOTION PICTURES IN EDUCATION (a source book for teachers and adminis- trators) and Hoban, VISUALIZING THE CURRICULUM are also excellent.

4 . SOCIAL AND MORAL INFLUENCE OF THE SCREEN

One of the best ways to begin a group study on the motion picture would be to write to the editor of one of the two Photoplay Study Guide series which have been such a valuable contribution to the screen's pamphlet literature. Harold Turney of the Drama Department of Los Angeles City College edits one of these series on the West Coast under the title "Film Guides". His pamphlet on "The Private Lives of Elizabeth and Essex", for instance, includes the complete cast and credits, an article on the manners and customs of the Elizabethan period, an article on the history of Elizabeth's reign, a discussion of the dramatic approach to the film, a review of the art, design and photographic problems, a detailed commentary on the music, notes on the make-ups used, production statistics, a discussion outline listing thirty analytical questions, a bibliography of books on the history, art and costumes of the period, and some 20 clearly reproduced illustrations. The similar series edited on the East Coast by William Lewin and Max Herzberg for the Department of Secondary Teachers of the National Education Association, includes "Photoplay Studies" on outstanding films and "Group Discussion Guides" from a more mature viewpoint. Both series have active cooperation from the studios, the articles being written by various teachers and coordinated by the editors. 21

THE MOVIES ON TRIAL by Perlman is a compilation of such essays as "Stories I'd Like to See Screened" by William Lyon Phelps, "The Movies and the Community" by John Haynes Holmes and "Chewing Gum Relaxation" by William Allen White. Margaret Throp's AMERICA AT THE MOVIES also belongs in this section as does THE RISE OF THE AMERICAN FILM. In this "critical history" Lewis Jacobs has related the changing content of America's films to the changing times of the nation. He begins with the "wonderfully real" motion pictures first shown at Foster and Bial's Music Hall in April 1896, and ends with a discussion of the significance to our public of such films as "Blockade" and "Confessions of a Nazi Spy". Davy's FOOTNOTES TO THE FILM will be useful here as in #7.

Vreeland's FOREMOST FILMS OF 1938, while intended only to be a collection of condensed scripts and a yearbook, contains much critical and analytical material about the films mentioned and deserves a place in any list of this kind.

Another current summary is included in the annual report of Will H. Hays under the title "The Motion Picture in a Changing World".

Hollywood's self-censorship is described in Martin's HOLLYWOOD'S MOVIE COMMANDMENTS and Quigley's DECENCY IN MOTION PICTURES. Magazine articles on this subject are also available in most public libraries.

Much writing on the social influence of the movies has centered around such national legislative proposals as the Brookhart Bill, 1928, the Petten- gill Bill, 1936, and the Neely Bill, 1939-40, all intended to prohibit the block booking of motion picture product. Pamphlet material in support of the Neely Bill may be obtained from the A.A.U.W. National Headquarters and from the Motion Picture Research Council in San Francisco. ,

The opposing viewpoint of the motion picture industry may be secured from the Hollywood offices of the Motion Picture Producers and Distributors of America, or from Mr. C.C. Pettijohn, General Counsel for the M.P.P.D.A. in New York City. As so much of this argument has been printed in the Congressional Record, congressmen and senators are also another source of up-to-date printed material.

A new magazine called "Films" has undertaken to serve as a "quarterly of discussion and analysis". The first two issues indicate value in both the social and artistic fields.

5. THE MOTION PICTURE AS AN ART FORM

Sometimes referred to as "the only new art of the twentieth century" or less flatteringly as a "vam- pire art" taking whatever graces it may from painting, music and the legitimate stage, the film has steadily developed its own techniques and talents. Vachel Lindsay was an early champion of the movies, and his ART OF THE MOVING PICTURE, first published in 1915, boldly compares the flexibility of plays-on- film with the limitations of plays-on- the-stage suggesting that sculpture-in-motion, and painting-in- motion will help make the motion picture a truly great art. Gilbert Seldes has contributed many articles and three books — THE SEVEN LIVELY ARTS, 1Q24, with two sections devoted to the movies, including a chapter on Charlie Chaplin, AN HOUR WITH THE MOVIES AND THE TALKIES, 1929, and THE MOVIES COME FROM AMERICA, 1937, with an introduction by Mr. Chaplin.

Part four of Adler's ART AND PRUDENCE examines motion pictures as an art directly related to human behavior. Arnheim's FILM is entirely devoted to aesthetic conceptions of the cinema. Spottiswoode in a

A GRAMMAR OF THE FILM analyzes the effective use of various techniques developed in England, France, Russia and Germany. Paul Rotha's THE FILM TILL NOW, A SURVEY OF THE CINEMA is usefully divided into two parts, "the actual" and "the theoretical", and con- sequently is an excellent basis for study. His MOVIE PARADE is a remarkable collection of illustrative "stills" with connecting text. Rotha's two other books, both called DOCUMENTARY FILM but published by different houses three years apart, should be mentioned in this section for their comments on general art in motion pictures as well as the more specialized documentary form. FILM AND THEATRE, by Allardyce Nicoll, Professor of the History of Drama, Yale University, is a good reference which may be found in many public libraries. Jacobs' THE RISE OF THE AMERICAN FILM, the Sterner and Bowden COURSE IN MOTION PICTURE APPRECIATION, and William Lewin's PHOTOPLAY APPRECIATION IN AMERICAN HIGH SCHOOLS are useful also in a study of motion picture art.

Anderson's THE AMERICAN THEATRE includes Fulop- Miller's "The Motion Picture in America" — pictorial history. FICTION AND THE SCREEN by Ort- man is a unique contribution to film literature in that the author contrasts "westerns" and "musicals" with Greek and Roman drama, showing that no matter how widely separated in time, the audience interests and many of the dramatic forms are analo- gous. Two books on writing for the screen, both by women active in Hollywood production, are HOW TO WRITE AND SELL FILM STORIES by Frances Marion and FOUR STAR SCRIPTS by Lorraine Noble. Much has been written about music in motion pictures, the best books being FILM MUSIC by Kurt London, MUSIC FOR THE FILMS by Sabaneev (a translation from the Russian) and the recent A SMATTERING OF IGNORANCE by Oscar Levant which includes an informal but informative account of how several well-known 24

musical scores for motion pictures were composed. Most of the books on cinematography are very technical, but THE CINEMA AS A GRAPHIC ART by Vladimir Nilsen is also interesting from the viewpoint of theory.

6. BACKGROUND AND HISTORICAL STUDY

The standard and most comprehensive history of the movies continues to be Terry Ramsaye's two-volume MILLION AND ONE NIGHTS, published in 1926, and fortunately widely available in public libraries. Hampton's A HISTORY OF THE MOVIES is a single volume covering the same period. THE HISTORY OF MOTION PICTURES by Bardesche and Brasillach explains the early European developments, and carries the story of foreign films through the years covered for America by Mr. Ramsaye. The two can be used together to good advantage. Jacobs' RISE OF THE AMERICAN FILM, the most up-to-date history, and Rotha—THE FILM TILL NOW should also be featured in this list. Lewis— THE MOTION PICTURE INDUSTRY is one of the best analyses of the industry from a commercial viewpoint. It was done for the Harvard School of Business Administration. Much historical material is to be found in biographies, among these being William C. deMille's recent HOLLYWOOD SAGA, Fowler's FATHER GOOSE, the story of Mack Sennett, Sinclair's WILLIAM FOX, Drinkwater's THE LIFE AND ADVENTURES OF CARL LAEMMLE , Goldwyn's BEHIND THE SCREEN, Griffith's WHEN THE MOVIES WERE YOUNG, and Irwin 's THE HOUSE THAT SHADOWS BUILT. THE AMERICAN FILM by Rideout reviews a wide selection of outstanding sound films, and Davy's FOOTNOTES TO THE FILM is one of the most inclusive surveys of the motion picture industry from the British viewpoint. Colorful accounts of motion picture history in Russia, Germany, France, India and Japan have been published in English but are ordinarily avail- 25

able only in the largest libraries and in such special collections as that of the Academy of Motion Picture Arts and Sciences.

7. THE MECHANICS OF PICTURE MAKING

There is more readily accessible study material in this section than in any of the others. Kiesline's TALKING PICTURES, HOW THEY ARE MADE heads the list since the author is a studio authority and it is one of the most complete. Floherty's MOVIEMAKERS is a good picture-analysis of the various studio depart- ments. Naumberg-WE MAKE THE MOVIES is made up of chapters written by leaders in studio creative branches. Pryor's LET'S GO TO THE MOVIES is also divided into chapter-sections on story, direction, players, costumes, etc. MOVIE WORKERS, edited by Alice V. Keliher (A Picture Fact Book) is particularly good for use with children but will be interesting to older students as well. It contains photographs of early projection machines and a dia- gram of a large studio set showing placement of lights, cameras, etc. Even children can be taught with a book like this one to be interested in more than just the story of the pictures they see. HOW THEY MAKE A MOTION PICTURE by Hoadley and Freulich is another good "how it is done" book, profusely illustrated. Davy's FOOTNOTES TO THE FILM has a section devoted to studio work. The only really good general explanation of cartoon production is the 1940 FILM GUIDE'S HANDBOOK, CARTOON PRODUCTION, edited by Harold Turney. MOTION PICTURE SOUND ENGINEERING edited by the Academy of Motion Picture Arts & Sciences is the authoritative although highly technical reference in its field and Klein's COLOR CINEMATOGRAPHY is similarly the advanced manual for that subject. 2 6

FILM FACTS, 1940, compiled by the industry, is the most readily available and up-to-date collection of general statistics.

Many titles listed in this Bulletin are British publications, but they are finding their way into American libraries. Two particularly good titles are FILM TECHNIQUE by Pudovkin and THE ART OF FILM PRODUCTION by Buchanan. Their value lies in their discussion added to a description of motion picture mechanics.

8. THE SCREEN AS "PLATFORM AND PULPIT"

During the past few years the Hollywood studios have challenged public interest with so many productions of marked and often controversial social significance that a study program could be developed from films of this period. These would include such pictures as "Grapes of Wrath", "Dr. Ehrlich's Magic Bullet", "Of Mice and Men", "Juarez", "Confessions of a Nazi Spy", "Blockade", "One Third of a Nation", "The Life of

Emile Zola", "Nurse Edith Cavell" , "Abe Lincoln in Illinois", "Mr. Smith Goes to Washington" and the remarkable series of historical short subjects produced by Warner Bros, and Metro-Goldwyn-Mayer.

Mentioned under several previous classifications but equally valuable here are Jacobs—THE RISE OF THE AMERICAN FILM, Thorp—AMERICA AT THE MOVIES, Davy— FOOTNOTES TO THE FILM, Kiesling—TALKING PICTURES, Rot ha—THE FILM TILL NOW, and Seldes— THE MOVIES COME FROM AMERICA.

The pattern of topical films, on the present war is yet to be established, but in this connection the pamphlet "Memo on the Movies, War Propaganda, 1914-1939" by Winifred Johnston is interesting if . —

argumentative reading. The April 17, 1940, issue of the theatrical weekly "Variety" featured a comparable review. The general subject of "Propaganda and Motion Pictures" was discussed in some detail in the November, 1939, issue of this Bulletin (No. 2).

Development of the documentary film movement has also been traced in a previous issue of this Bulletin December, 1939 (No. 3). The two books by Paul Potha titled DOCUMENTARY FILM are the basic texts in this field. Magazine articles are also available on the new American documentaries "The City" and "The Fight for Life" produced by Pare Lorenz who made "The River"

How far the screen will go toward becoming a "platform" for national debate will depend largely upon public reactions during the next few months. And the progress of this development may well provide a basis for a most stimulating group-study in the field of motion pictures. BIBLIOGRAPHY OF TITLES MENTIONED IN THIS BULLETIN

Books

Academy of Motion Picture Arts and Sciences Motion picture sound engineering Van Nostrand IQ38

Adler, Mortimer Art and prudence Longman's 1037

Anderson, John The American theatre, and The Motion picture in America by Rene Fulop-Miller Dial Press 1038

Arnheim, Rudolf Film London, Faber 1933

Bardeche, Maurice and Brasillach, Robert The History of motion pictures tr. by Iris Barry Norton 1938

Brunstetter, M.R. How to use the educational sound film University of Chicago Press 1937

Buchanan, Andrew The Art of film production London, Pitman 1936

Dale, Edgar comp. Motion pictures in education H.W. Wilson 1937

Davy, Charles Footnotes to the film Oxford University Press 1937

DeMille, William C. Hollywood Saga Dutton 1939

Devereux, Frederick L. The Educational talking Picture University of Chicago Press 1933

Floherty, John J. Moviemakers Doubleday 1935

Foreman, Henry James Our movie made children Macmillan 1933 )

Fowler, Gene Father Goose the story of Mack Sennett Covici, Friede 1934

Goldwyn, Samuel Behind the screen Doran 1923

Griffith, Linda Arvidson (Mrs. D.W. When the movies mere young Dutton 1925

Hampton, Benjamin B. A History of the movies Covici Friede 1931

Hoodley, Ray and Freulich, Roman How they make a motion picture Crowell 1939

Hoban, Charles F. Visualizing the curriculum N.Y. Cordon Co. 193V

Irwin, Will 7 he House that shadows built Doubleday 1928

Jacobs, Lewis The Rise of the American film Parcourt 19 ?Q

Keliher, Alice V. ed. Movie workers (A Picture Fact Book) Harper's 193Q

Riesling, Barrett C.

Talking pictures , how they are made Johnson Publishing Co, 1937

Klein, Adrian B. Colour cinematography London, Chapman and Hall, Ltd. 1939

Levant, Oscar A Smattering of ignorance Doubleday 1940

Lewin, William Photoplay appreciation m American high schools Appleton 1934 ,

Lewis, Howard T. The Motion picture industry Van Nostrand 1933

Lindsay, Vachel The Art of the moving -picture Macmillan 1915

London, Kurt Film Music London, Faber 1931

Marion, Frances Bow to write and sell film stories Covici Friede 1937

Martin, Olga Bollywood's movie commandments H.W. Wilson Co, 1937

Motion Picture Producers and Distributors of America, Hollywood Boulevard at Western Ave. Hollywood, California, or: 28 West 44th Street, New York City.

Naumberp, Nancy ed.

file make the movies Norton 1937

Neely Bill Anti "Block-booking" and "Blind selling" in the leasing of motion-picture films. Hearings. .. 76th Congress first session on S.280 April 3 to 17, 1939. U.S. Gov't printing office, Washington 1939

Nicoll, Allardyce Film and theatre Crowell 1936

Nilsen, Vladimir The Cinema as a graphic art London Newnes (1934?)

Noble, Lorraine Four star scripts Doubleday 1936

Ortman, Marguerite Fiction and the screen Boston, Marshall Jones Co. 1935 31

PAYNE FUND STUDIES (Macmillan 1933) W.W. Charters Chairman

1. Motion pictures and youth - Charters bound with Getting ideas from the movies - Holaday

2 . Motion pictures and the social attitudes of children - Peterson bound with 7 he Social conduct and attitudes of movie fans - Shuttleworth

3. The Emotional responses of children to the motion picture situation - Dysinger bound with Motion pictures and standards of morality ~ Peters

4. Children's sleep - Renshaw

5 . Movies and conduct - Plumer

6. The Content of motion pictures ~ Dale bound with Children's attendance at motion pictures ~ Dale

7 « Movies, delinquency and crime - Blumer

8. Boys, movies and city streets - Cressey

9 . How to appreciate motion pictures - Dale

(10. Our movie made children - Foreman)

Perlman, William J. The Movies on trial Macmillan 1936

Pryor, William C. and Helen S. Let's go to the movies Harcourt 1939 32

Pudovkin, U.I. Film technique London, Newnes 1929

Quigley, Martin Decency in motion pictures Macmillan 1937

Ramsaye, Terry A Million and one nights 2 Vols. Simon and Schuster 1926

Rand, Helen and Lewis, Richard Film and school Appleton 1937

Rotha, Paul The Film till noio Cape and Smith 1930

Movie parade N.Y. Studio Publications 1936

Documentary film London, Faber 1936

Documentary film New York, Norton 1939

Rulon, Philip Justin The Sound motion picture in science teaching Harvard University Press 1933

Sabaneev, Leonid Music for the films tr. by S.W. Pring London, Pitman 1935

Seldes, Gilbert The 7 lively arts Harper's 1924

The Movies come from America Scribner's 1937

An Hour with the movies and the talkies Lippincott 1929

Sinclair, Upton Upton Sinclair presents William Fox Los Angeles, The Author 1933 33

Spottiswoode, Raymond A Grammar of the film London, Faber 1Q35

Thorp, Margaret Farrand America at the movies Yale University Press 1039

Vreeland, Frank Foremost films of 1938 Pitman 1939

Wise, Harry A. Motion -pictures as an aid. in teaching American history Yale University Press 1939

Pamphlets and Periodicals

Film Facts of 1940 Motion Picture Producers and Distributors of America, 28 West 44th Street, N.Y. 42 p. mimeographed Free

Films Quarterly, $2 yearly. 15 West 56th Street, New York City.

Hays, Will H. (Annual Report March 1940) The Motion picture in a changing world 28 West 44th Street, New York 28 p. Free

Hemington, Ryllis ed. Photoplay appreciation study materials for schools, clubs and libraries Public Relations Dept., Fox West Coast Theatres, Los Angeles, California

(Note: This serially issued study material is available free to the groups designated above, but on account of the expense involved cannot be sent to individuals)

Johnston, Winifred Memo on the Movies, War Propaganda 1914-1939 Cooperative Books Series 1, No. 5. Norman, Oklahoma 68 p. 5o

Lewin, William and Herzberg, Max eds. Photoplay studies Room 1418, 1501 Broadway, N.Y. Single copies i5

' Subscription (15 guides) $1.00.

Motion Picture Reviews Monthly $1.00 per year, io

Progressive Education Assn. Commission on Human Relations Keliher, Alice V. ed. The human relations series of films 1939 Commission on Human Relations 45 Rockefeller Plaza, N.Y. 87 p. 25

Sterner, Alice P. and Bowden, W. Paul Course in motion picture appreciation Educa- tional & Recreational Guides Inc. 138 Washing- ton Street, Newark, N.J. 1037 61 p. so

Teaching Film Custodians Inc. Catalog of films for classroom use 25 West

43rd Street, New York City 319 p. 50 <£.

Turney, Harold ed (for Dept, of Drama Los An- geles City College) Film Guides - Taft Building, Hollywood, Calif. $2.00 for 20 different issues

Turney, Harold Film Guide's handbook, Cartoon productions 1940. Film Guide, Taft Bldg., Hollywood, Calif. 96 p. 40

Variety (weekly) V.138 No. April 17, 1940 "Films Meticulously Neutral Today..."

Scanned from the collection of Margaret Herrick Library Academy of Motion Picture Arts and Sciences

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