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MOTION

PICTURE

REVIEWS

JUNE

19 3 8

INDEX

Alexander's Rag Time Band

Air Devils

Blind Alibi

Cocoanut Grove

Crime School

The Devil's Party

Dr. Rhythm

Gold Diggers in Paris

Hold That Kiss

Hunted Men

Kentucky Moonshine

Kidnapped

Little Miss Thoroughbred
The Lady in the Morgue
The Last Stand
One Wild Night
The Return of the Scarlet
Pimpernel
Sailing Along
The Saint in New York
Sinners in Paradise
Stolen Heaven
Swiss Miss
To The Victor
Three Comrades
Torchy Blane in Panama
Vivacious Lady
White Banners
Yellow Jack

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Vol. XII

JUNE, 1938

No. G

FEATURE FILMS

ALEXANDER'S RAG TIME BAND O O

Tyrone Power, Don Ameche, Alice Faye,
Ethel Merman, Jack Haley, John Carradine,
Paul Hurst. Screen play by Kathryn Scola
and Lamar Trotti. Music and lyrics by
Irving Berlin. Musical direction by Alfred
Newman. Direction by Henry King. Twen-
tieth Century-Fox. ~

Let us consider first, adverse criticisms of
“Alexander’s Rag Time Band” before our
enthusiasm clouds discernment, for there are
flaws when the production is considered ob-
jectively. In the first place, judicious cutting
would improve it, for it is overlong. To us
it would seem advisable to shorten the latter
swing songs, although these may be the high
light for modern youth. To another genera-
tion they seem more emphasized and less
interesting than the older music. Again,
while the production offers a panorama of
Irving Berlin’s song hits from about 1912 to
the present day, yet the cast shows no rav-
ages of time (and years do take their toll
even among the most glamorous ! ) . It is also
almost entirely a cabaret show which tires
at long last, and there are some anachronisms
in dialogue and costumes.

On the other hand, it is a typically Ameri-
can production, glorifying the man who con-
tributed so much to our national jazz his-
tory, and the music will bring back a slight

nostalgia for youthful care free days. Don
Ameche, Tyrone Power and Alice Faye give
performances which have a number of high
lights. Power plays a musician who believes
in the newer type of rhythm, then called jazz,
and who gives up the concert stage to organ-
ize a band. His opportunity comes in a cheap
Barbary Coast dive, and circumstances force
him to open with “Alexander’s Rag Time
Band,” a “new” song which becomes asso-
ciated with his success until the name clings
to the group. From then on he climbs to
the height of prominence in his chosen field,
progress only temporarily interrupted by the
Great War. The scene where the soldiers’
New York show is stopped by orders to em-
bark for France is an emotional thrill which
will be felt by many in the audience. To
our minds the writers might have found an-
other way to reunite the lovers rather than
through divorce. It seems unnecessary and
out of place but it provides a scene which
deserves commendation because of its re-
straint and taste. There are a number of
bits of good theatre and excellent acting,
notably the performance of John Carradine
as a taxi driver, and Paul Hurst in the role
of “Bill,” a bartender who becomes owner
of a speakeasy. On the whole, the picture
will possibly have more appeal for adults

Four

MOTION PICTURE REVIEWS

because of their familiarity with the older
music, the costumes and change in thought,
taste and customs during the past twenty

years. It is novel and very entertaining.
Adolescents, 12 to 16 Children, 8 to 12

Sophisticated Too long and too

mature

AIR DEVILS O O

Larry Blake, Dick Purcell, Beryl Wallace,
Mamo Clark, Charles Brokaw, Minerva

Urecal. Original story by Harold Buckley.
Screen play by Harold Buckley and George
Waggner. Direction by John Rawlins. Uni-

versal.

Rivalry between two wisecracking aviators
who vie with each other for promotion and
the affections of a girl, the life of the United
States Constabulary on an island in the South
Seas, and encounters with natives, are the
ingredients of this picture. It is only a fair
program filler.

Adolescents, 12 to 16 Children, 8 to 12

Passable No

BLIND ALIBI O O

Richard Dix, Whitney Bourne, Eduardo
Cionelli, Frances Mercer, Ace, the Wonder
Dog. Story by William Joyce Cowan. Screen
play by Lionel Houser, Harry Segall, Ron
Ferguson. Direction by Lew Landers. R.K.O.

The skill and intelligence of the Seeing Eye
dogs, who are used to lead the blind, are
exemplified in this story of Ace and his
master. Although the man, Paul Dover, is
merely simulating blindness in order to gain
possession of a packet of letters which are
the basis of a blackmail scheme against his
sister, the efficiency of these beautiful dogs
in caring for the afflicted is emphasized more
than would be possible in a purely educational
film. The mystery is not unusual but it is
well treated. Richard Dix is good; how-
ever, no human being in the cast can compete
with Ace for the sympathy of the audience.
Adolescents, 12 to 16 Children, 8 to 12

Good Somewhat mature.

Not for the
sensitive

COCOANUT GROVE O O

Fred MacMurray, Harriet Hilliard, the Yacht
Club Boys, Ben Blue, Eve Arden, Billy Lee,
Rufe Davis, Harry Owens. Original story
and screen play by Sy Bartlett and Olive
Cooper. Direction by Alfred Santell. Para-
mount.

There have been so many mediocre pictures
featuring orchestras that it is a pleasant sur-
prise to find one that is human and funny
and natural from beginning to end. Perhaps
it is because none of the characters are glori-
fied; they are just ordinary people having a
run of hard luck, able to laugh at their mis-
fortunes and yet smart enough and talented
enough to take advantage of opportunities
when they come. When the story begins, the

band, under the leadership of Jimmy Pren-
tice (Fred MacMurray), come into Chicago
on an excursion boat on which they have
been playing. Summarily dismissed by the
captain, they take the blow with shoulder
shrugs, decide by any means available to
reach Los Angeles for try-outs at the Cocoa-
nut Grove. Meanwhile they have added a
young girl to their company as governess for
the diminutive and adorable Half-Pint (Billy
Lee), who was left one day checked with the
hats and annexed by the good-hearted band.
The journey to California is a series of
absurd and entertaining adventures, and the
final scenes in the Cocoanut Grove have the
mellow atmosphere and the sophisticated ur-
banity of that world-renowned supper club.
The orchestra, with Harry Owens, is excel-
lent. Perhaps the floor show is rowdier than
is customary in the Grove, but the Yacht
Club Boys have been toned down, Rufe Davis
has been polished up and Ben Blue and Eve
Arden, in their awkward dance routine, will
seem funny to most people. Throughout the
film the specialty acts and the songs, some
of which are due to be favorites, are not
obvious interpolations but a natural phase of
the picture.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Probably mature

CRIME SCHOOL O O

Humphrey Bogart, Gale Page, Billy Halop,
Bobby Jordan, Huntz Hall, Leo Gorcey,
Barnard Punsley, Gabriel Dell, George Offer-
man, Jr. Screen play by Crane Wilbur and
Vincent Sherman. From a story by Crane
Wilbur. Direction by Lewis Seiler. Warner
Bros.

Since publicity for “Crime School” refers
to the boy actors as the “Dead End Kids,”
comparison between the two pictures seems to
be invited. In the opening scenes the likeness
is marked, for we see the gang of slum boys
in the same miserable surroundings, heading
for certain moral and spiritual destruction.
Here the similarity ends. The boys are sent
to a reform school, the evils of which are
presented in such extreme terms that the audi-
ence is neither entertained nor enlightened.
The plot is a composite of a number of prison
melodramas, using as motivating forces the
old devices of a romance between the head
of the school and the sister of one of the
boys, and the enmity of the former superin-
tendent for the new administration. If aimed
at existing abuses in reform schools, the pic-
ture so far overshoots the mark that it is
likely to be regarded as gross exaggeration
rather than as a well-considered effort to pre-
sent a social problem.

Adolescents, 12 to 16 Children, 8 to 12

No — too brutal and No

ethically confusing

MOTION PICTURE REVIEWS

Five

THE DEVIL S PARTY O O

Victor McLaglen, William Gargan, Paul
Kelley, Beatrice Roberts, Frank Jenks, John
Gallaudet, Samuel S. Hinds, Joseph Down-
ing, Arthur Hoyt. Screen play by Roy
Chanslor. Based on the novel "Hell's
Kitchen Has a Pantry," by Borden Chase.
Direction by Ray McCarey. Universal.

If gangster pictures must be, better this
one than some others, for it has a constructive
social betterment idea. To those who can
believe that juvenile delinquency may be
eliminated by the provision of more play-
grounds, the story carries a message. Open-
ing scenes show a gang of boys in the New
York slums, setting fire to a warehouse in
order to distract the attention of the police
while they commit a petty theft. One of the
boys is caught and, refusing to “squeal” on
his pals, takes the “rap” for them at reform
school. Later he is shown as head of a highly
lucrative night club and of a gang of crimi-
nals. His former pals have become, respec-
tively, police officers and a Catholic priest.
They hold a reunion at the night club (where,
of course, the usual feminine entertainer is
in evidence), and the others, unaware of
their host’s nefarious operations, become im-
plicated in trying to solve a murder which
he has engineered. It is a complicated plot,
and highly implausible, but none the less
absorbing for that. The gangster is finally
caught by one of his former pals and dies
in the arms of the priest to whom he recently
presented a check for the building of a gym-
nasium for poor children. In the end the
priest is shown in charge of a playground
where the children are being kept off the
streets. The picture gives food for thought
for the adult citizen, but is just another les-
son in the technique of crime for youth.
Adolescents, 12 to 16 Children, 8 to 12

No. No

DR. RHYTHM O O

Bing Crosby, Mary Carlisle, Beatrice Lillie,
Andy Devine, Rufe Davis, Laura Hope
Crews, Fred Keating, Sterling Holloway.
Based on novel by O. Henry. Screen play
by Joe Swerling and Richard Connell. Di-
rection by Frank Tuttle. Paramount.

When the fifteenth reunion of a grammar
school relay team occurs, there are likely to
be complications! The team’s interests are
now diversified. One has become a doctor;
the others are a policeman, a driver of an
ice cream truck, and a keeper of the zoo.
The celebration is convivial and proves too
much for the policeman who had an assign-
ment to be bodyguard at the home of Mrs.
Lorelei Dodge-Blodget (Beatrice Lillie),
whose niece is suspected of being in love
with a racketeer. The Doctor (Bing Crosby)
substitutes for his friend the policeman,
thereby becoming involved in hilarious situa-
tions. It is all nonsensical and has spots of

high comedy to which Miss Lillie, Laura
Hope Crews, and Andy Devine contribute.
Bing Crosby is pleasing, and several popular
song hits are featured. If one enjoys light
musical farce, this picture should please.
Adolescents, 12 to 16 Children, 8 to 1 2

Unobjectionable Mature

GOLD DIGGERS IN PARIS O O

Rudy Vallee, Rosemary Lane, Hugh Herbert,
Allen Jenkins, Gloria Dickson, Melville
Cooper, Mabel Todd, Fritz Feld, Ed Brophy,
Curt Bois. Writers credited with script:
Earl Baldwin, Warren Duff, Jerry Wald,
Richard Macaulay, Maurice Leo, Ray En-
right. Direction by Ray Enright. Musical
numbers directed by Busby Berkeley. War-
ner Bros.

Enjoyment of this production is entirely^
matter of taste. We found it noisy and repe-
titious, with an overabundance of the
“Schnicklefritz Band” whose original and
cleverly insane performances become tiresome
after too many appearances. The story is
slight and the dialogue conventional. Hugh
Herbert scores in the role of an eccentric and
slightly mad Frenchman who comes to Amer-
ica to contact the “American Academy of
Ballet” for an appearance at the Paris Ex-
position. He mistakenly engages the Ballet
Club, a troupe of bankrupt entertainers.
The fraud is discovered, and the ensuing
complications engage the efforts of a tempera-
mental ballet master, a tearful gunman, a
talking dog, the bankrupt manager of the
club dancers (Rudy Vallee), his lugubrious
assistant (Allen Jenkins), his ex-wife (Gloria
Dickson), and his newest heart interest
(Rosemary Lane). Rudy Vallee does two
impersonations: one of Maurice Chevalier
which is broadly amusing and makes one
wish the original were seen again, and an
excellent one of Franklin D. Roosevelt. His
singing is pleasing, as usual. The finale lacks
brilliancy and originality. It is only elaborate.
Adolescents, 12 to 16 Children, 8 to 12

Acceptable No value

HOLD THAT KISS O O

Maureen O'Sullivan, Dennis O'Keefe, Mickey
Rooney, George Barbier, Jessie Ralph, Ed-
ward S. Brophy, Fay Holden, Frank Albert-
son, Phillip Terry, Ruth Hussey, Barnett
Parker. Original story and screen play by
Stanley Rauh. Direction by Edwin L. Marin.
M-C-M.

Although the title must have come out of
the grab-bag, this picture is an unusually
pleasing light comedy with a vein of serious-
ness underneath the surface. Maureen O’Sul-
livan as June Evans is a stylishly dressed
mannequin, and Dennis O’Keefe as Tommy
Bradford is a fluent young salesman of world
tours. When the two happen to meet at a
fashionable wedding, each mistakes the other
for one of the smart set, and throughout a
budding romance, each tries to keep up the

Six

MOTION PICTURE REVIEWS

deception. The most amusing scene is June
at home trying to talk on the telephone to
her heau while the family shout suggestions
for her side of the conversation. Mickey
Rooney adds another feather to his cap as an
officious younger brother whose inspirations
are more ingenious than happy. As a whole,
the film is good family entertainment, but it
would be improved in tone without the older
brother who plays the races and pawns the
silverware which he steals from a friend’s
buffet.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Passable

HUNTED MEN O O

Lloyd Nolan, Mary Carlisle, Lynne Overman,
J. Carrol Naish, Delmar Watson, Larry
Crabbe, Dorothy Peterson. Screen play by
Horace McCoy and William R. Lipman.
Based on a play by Albert Duffy and Marian
Grant. Direction by Louis King. Paramount.

Joe Albany was a racketeer who had mur-
dered a man in cold blood. In escaping
from the scene of his crime he met slightly
intoxicated Peter Harris, went home with
him, posing as a business friend, and was
invited to spend the night. This was the
beginning of his spiritual regeneration, for
Mr. and Mrs. Harris were such kindly souls
that they allowed him to remain even after
he told them his identity, and their son and
daughter both learned to love him. “Hunted
Men” is so persuasively told that some movie
patrons may even sniffle a little when Joe is
shot by the police. Mr. Thomas Edmund
Dewey would probably remain dry-eyed, as
would other people who are able to retain
control of their reasoning powers.
Adolescents, 12 to IS Children, 8 to 1 2

No Muddled ethics Most unsuitable

KENTUCKY MOONSHINE O O

Ritz Brothers, Tony Martin, Marjorie
Weaver, Slim Summerville, John Carradine,
Wally Vernon, Berton Churchill. Screen play
by Art Arthur and M. M. Musselman. Orig-
inal story by M. M Musselman and Jack
Lait, Jr. Direction by David Butler. 20th
Century-Fox.

Movie goers who enjoy the exuberant
clowning of the Ritz brothers will find bits
of hilarious entertainment in this picture.
The plot concerns a radio star who con-
ceives the idea of bringing genuine hillbillies
from Kentucky to bolster up the weaken-
ing popularity of his program. The Ritz
brothers, cast as vaudeville actors out of
work, pose as a hillbilly family and so thor-
oughly out-herod Herod that they land the
radio contract without competition. Like
most pictures starring specialized entertain-
ers, this one has its dull moments and seems
too long for what it has to offer, but it re-
serves its cleverest sequence for the end, and

the audience comes away laughing at the
absurd take-off of “Snow White.”
Adolescents, 12 to 16 Children, 8 to 1 2

Entertaining Too noisy and

Confusing

KIDNAPPED O O

Warner Baxter, Freddie Batholomew, Ar-
leen Whelan, C. Aubery Smith, Reginald
Owen, John Carradine, Nigel Bruce, Ralph
Forbes, Miles Mander. From the story by
Robert Louis Stevenson. Screen play by
Sonya Levien, Eleanor Harris, Ernest Pascal,
Edwin Blum. Direction by Louis Silvers.
Twentieth Century-Fox.

Apparently Stevenson’s great story, “Kid-
napped,” offered difficulties in adapting it to
motion pictures, since four writers were given
the assignment. It has emerged, not the be-
loved, vigorous tale of masculine adventure
which it was, but more of a love story, con-
taining a number of the original plot inci-
dents, but lacking the fascinating flavor of
the book. With the background of Scottish
revolt against the exorbitant taxes imposed
by King George in the year 1751, we find
David Balfour an accidental witness of a
murder committed by one of Alan Breck’s
band of followers. Because David is a Loyal-
ist, Breck forces the boy to go with him. In
this escape Breck must also take with him
a girl who is the betrothed of James, the
killer. They travel through the Highlands
and separate to allow David to seek his
uncle’s castle, where the old miscreant tries
to kill him and finally has him kidnapped
on a ship. There he again meets Breck and
the girl, and their subsequent adventures are
lively and exciting. The fight in the round
house and the long flight across the heather
which play so important a part in the novel
are omitted in the screen version, and this
will disappoint those who remember the pic-
torially descriptive writing of Stevenson.
The film is not uninteresting, however, al-
though it is episodic and the romance lacks
genuine interest. It is novel in setting and
has historical flavor. The cast is good, and
excellent bits are given in the performances
of Ralph Forbes as Jetmes and Reginald Owen
as Captain H oseason.

Adolescents, 12 to 16 Children, 8 to 12

Yes Exciting and

LITTLE MISS THOROUGHBRED O O

Ann Sheridan, John Litel, Frank McHugh,
Janet Chapman. Original screen play by
Albert DeMond and George Bricker. Di-
rection by John Farrow. Warner Bros.

Janet Chapman comes into the scene as an
appealing wisp of humanity from an orphan-
age, who slips through an open gate into a
world of hustling people and dangerous traf-
fic in search of an imaginary Daddy. She
has an individuality quite different from

MOTION PICTURE REVIEWS

Seven

other children of the screen, a delicate charm
which lifts the film to a higher niche than
it would ordinarily occupy. The people she
encounters are hard and tough, frequenters
of the race-track, who accept her because she
brings them a phenomenal run of luck. Little
by little her childish faith leads them to a
better life. Despite this conclusion, gambling
is glamorous, and the picture of a child in
racing environment is not too pleasant to
contemplate.

Adolescents, 12 to 16 Children, 8 to 12

Bad example No

THE LADY IN THE MORGUE O O

Preston Foster, Patricia Ellis, Frank Jenks,
Thomas Jackson. From the story "The
Lady In the Morgue," by Jonathan Lati-
mer. Screen play by Eric Taylor and Robert-
son White. Direction by Otis Garrett. Uni-
versal.

A mechanically plotted murder mystery
which uses the device of successive murders
in order to keep alive audience interest. It
is complicated and confused and will enter-
tain only those who thrill to violent and be-
wildering situations.

Adolescents, 12 to 16 Children, 8 to 12

No. No

THE LAST STAND O O

Bob Baker, Fuzzy Knight, Constance Moore.
Original story by Harry O. Hoyt. Screen
play by Harry O. Hoyt and Norton S. Parker.
Direction by Joseph H. Lewis. Universal.

In this western, Bob Baker is a singing
cowboy who joins a band of cattle rustlers
in order to track down his father’s murderer.
Lovely scenery of mountainous country, beau-
tiful horses, and herds of cattle almost com-
pensate for a below average story.
Adolescents, 12 to 16 Children, 8 to 12

Passable Passable

ONE WILD NIGHT O O

June Lang, Dick Baldwin, Lyle Talbot, J.
Edw. Bromberg, Sidney Toler, Andrew
Tombes. Screen play by Charles Belden and
Jerry Cady. From an original idea by
Edwin Torgerson. Direction by Eugene
Forde. 20th Century-Fox.

“One Wild Night” is not so exciting as its
title. It is, in fact, a mediocre detective story.
The son of a chief of police, returning from
college with plenty of theory but no practice
in the art of solving crime, succeeds where
the father has failed in accounting for the
disappearance of three prominent business
men. He is aided by a girl reporter on the
local paper and, of course, falls in love with
her. The plot is confused and the production
values poor.

Adolescents, 12 to 16 Children, 8 to 12

Poor No

THE RETURN OF THE SCARLET

PIMPERNEL O O

Barry Barnes, Sophie Stewart, Francis Lister,
Anthony Bushnall. Screen story by Baroness
Orezy. Direction by Hans Schwartz. Lon-
don films. United Artists.

Those who saw “The Scarlet Pimpernel”
will recall the engaging character, his dilet-
tante mannerisms camouflaging a cunning
daring and courage which rescued many an
English refugee from the outrages of the
French Revolution. The picture was a stir-
ring tale of adventure which captivated
cinema audiences. If is natural to wish to
follow his return. But Leslie Howaj^ has
been replaced by Barry Barnes in the role,
and Mr. Barnes’ mannerisms are more arti-
ficial. Also, we are introduced to him in
character at once and the plot is thus out-
lined. The disguises, while rather clever, are
easily discernible and the suspense is lessened.
The action is at times confused and requires
concentrated attention to follow. The story
lacks the novelty and dash of the original
and falls into the category of a program film,
needing a double bill to cover its inade-
quacies.

Adolescents, 12 to 16 Children, 8 to 12

Acceptable Confusing and little

interest

SAILING ALONG O O

Jessie Mathews, Roland Young, Jack Whit-
ing. Direction by Sonnie Hale. Gaumont-
British.

Judged merely as a story, this picture is
stereotyped and lacking in thrills. But the plot
is a vehicle for pleasant acting, good photog-
raphy, and at least one striking dance number.
The heroine, raised on a Thames river barge
by a friend of her deceased father, has stage
ambitions and her impromptu dancing on the
deck of the river boat attracts the attention
of an English capitalist who is fishing nearby.
He persuades her foster parent to let him in-
troduce her to a movie director and tears her
away^from a lowering seaman lover. She
fails in her first audition, but finally succeeds
after a series of amusing scenes in which she
and the singing director provide various
song-and-dance numbers. In both situations
and dialogue, there is comedy of a distinctly
British brand, different from our own, but
none the less enjoyable. It is an unpreten-
tious musical farce which is fairly enter-
taining.

Adolescents, 12 to 16 Children, 8 to 12

Unobjectionable Little to interest

THE SAINT IN NEW YORK O O

Louis Hayward, Kay Sutton, Sig Rumann,
Paul Guilfoyle. From the novel by Leslie
Charteris. Screen play by Charles Kauf-
man and Mortimer Offner. Direction by
Ben Holmes. R. K. O.

There is just enough originality in the
conception of a modern Robin Hood who

Eight

MOTION PICTURE REVIEWS

travels from one country to another wiping
out enemies of society, and just enough brisk-
ness of treatment, to hold interest in this
film, although sequence of events is illogical
and the social values are preposterous. Kill-
ing is considered a pastime when the debo-
nair "Saint,” played by Louis Hayward, is
imported from South America to eliminate
six of New York’s most powerful gangsters.
The plot follows the well-established mystery
precedent of fastening the guilt on the person
least likely to be suspected.

Adolescents, 12 to 16 Children, 8 to 12

Stimulates imagination Definitely no

in wrong channels

SINNERS IN PARADISE O O

John Boles, Madge Evans, Bruce Cabot,
Marion Martin, Gene Lockhart, Nana Bryant,
Charlotte Wynter, Willie Fung. Original
story by Harold Buckley. Adapted by Buck-
ley, Louis Stevens and Lester Cole. Direc-
tion by James Whale. Universal.

The interest in this picture lies in the de-
lineation of the characters of a number of
persons taken from their regular routine and
marooned on an island amid the most primi-
tive surroundings — human nature stripped of
all the sophistication of civilization and
struggling selfishly for the survival of the
fittest. The story begins well but becomes
unconvincing and disappointing as it un-
folds. It is more a study of types than a
motivated plot.

Adolescents, 1 2 to 16 Children, 8 to 1 2

No value No

STOLEN HEAVEN O O

Cer.e Raymond, Olympe Bradna, Clenda
Farrell, Lewis Stone. Based on a story by
Andrew L. Stone. Screen play by Eve
Greene and Frederick Jackson. Paramount.
“Stolen Heaven" is like certain people,
quite charming if we can overlook certain
faults. The story starts with the very clever
maneuvers of Carl and Steffi, ostensibly band-
leader and singer in a Budapest beer garden,
actually jewel thieves of international repute.
They succeed in securing a fabulous pearl
necklace, only to find the police close on their
heels. A refuge opens for them in the sylvan
retreat of a kindly old musician who has
shunned the world from the time a failing
memory withheld him from the concert stage.
Day by day the quiet and peace and the
trusting friendship of Herr Langauer cast a
spell upon Steffi until she has pledged herself
to guide him back to his beloved audience,
and in the end both Carl and Steffi are re-
generated through his belief in them. The
use of music is unusually effective. Lewis
Stone is splendid. Olympe Bradna is a tal-
ented young actress, and Gene Raymond’s

work shows intelligence and growth. The
chief fault lies in the fact that the youthful
leads possess so many favorable qualities
that they are remarkably unconvincing as
criminals.

Adolescents, 1 2 to 16 Children, 8 to 1 2

Mixed standards No.

SWISS MISS O O

Stan Laurel, Oliver Hardy, Della Lind, Wal-
ter Woolf King, Eric Blore. Story by Jean
Negulesco and Charles Rogers. Screen play
by James Parrott, Charles Nelson and Felix
Adler. Direction by John G. Blystone. Hal
Roach- M. G. M.

Laurel and Hardy are the comedians in a
light opera with gay costumes, charming set-
tings of an Alpine village and hotel, and
tuneful music furnished by Walter Woolf
King and Della Lind, who take the parts of a
temperamental musician and his prima donna
wife. The Laurel and Hardy pranks and
antics are typical: Laurel inducing a St.
Bernard dog to part with his miniature cask
of brandy, the pair of them moving a piano
to a mountain eyrie over a breath-taking
chasm. It is all quite silly, but entertaining
if you like these comedians.

Adolescents, 12 to 16 Children, 8 to 12

Yes Would probably

enjoy it

TO THE VICTOR O O

Will Fyffe, John Loder, Margaret Lockwood.

Direction by Robert Stevenson. British-

Gaumont.

This is an unique cinema treat, a picture
photographed in its natural locale, the Scot-
tish Highlands, with a slight and homely plot
and an exceptional portrait of a selfish and
disreputable old man who wins audience
sympathy while actually deserving none.
Will Fyffe has given a remarkable characteri-
zation. It is a delight for those surfeited
by beautiful heroes arid heroines and villains
who repent at the eleventh hour. The action
concerns the big event of a small community
when the owners of expert sheep herding
dogs enter the animals in competition for a
silver cup and the prestige of winning the
event. The cleverness of the dogs of differ-
ent breeds, sent out to gather in six sheep
from their hiding places and to herd them
over and through obstacles, is very interest-
ing and entertaining, and the sequence is not
unduly prolonged. There is added suspense
in the development of the character of one of
the dogs, and the denouement is excitingly
presented. But the high light is the study of
McAdams, the consistent old reprobate who
cares for no one but his dog and who remains
true to his principles throughout. The coun-

MOTION PICTURE REVIEWS

Nine

tryside is lovely, and the natural atmosphere
of background and interesting types is a
joy for American audiences.

Adolescents, 12 to 16 Children, 8 to 1 2

Excellent Sad in connection

with just punish-
ment of a sheep
killing dog

THREE COMRADES O O

Robert Taylor, Margaret Sullavan, Franchot
Tone, Robert Young, Henry Hull. From the
novel by Erich Maria Remarque. Screen
play by F. Scott Fitzgerald and Edward E.
Paramore. Directed by Frank Borzage.
M. C. M.

The setting for this emotional and tragic
story is post-war Germany in the years im-
mediately following the demobilization of
three German officers of the flying squadron.
Their attempt to make an adjustment to civil
life, their bitter struggles against poverty,
their reaction to rioting and mob stupidity,
and their bewilderment and heart rending
experiences leave spectators depressed by
tragedy, by the indisputable loss of individual
right to happiness in such a setting. Fran-
chot Tone, Robert Young and Robert Taylor
are cast as the three officers. Tone is espe-
cially effective in his role. Margaret Sulla-
van gives depth and sincerity to her imper-
sonation of the young woman, dying of
tuberculosis, who marries her lover in order
to have a few last weeks of companionship
with him. It is an exceedingly well-done
production, well-directed and well-adapted to
the screen, and bringing to American adult
audiences the unhappy realization that youth
today, in any country, faces problems of un-
deniable bitterness which must be met with
sanity and above all with tolerance and faith.
Adolescents, 12 to 16 Children, 8 to 12

Too depressing No

TORCHY BLANE IN PANAMA O O

Lola Lane, Paul Kelly, Tom Kennedy. Screen
play by George Bricker. Based on a story
by Anthony Coldeway. Direction by Wil-
liam Clemens. Warner Bros.

In the latest chapter of Torchy Blane’s
adventures, action is the keynote with plenty
of thrills, and the plot is of minor concern.
Torchy’ s policeman friend, Steve, in search
of clues to a robbery and murder, sets out to
trail a group of convention delegates to Pan-
ama. Torchy pursues him by aeroplane, bails
out in a parachute and is picked up by an
ocean liner. The series is becoming rather
like a serial, but this film is fairly enter-
taining of its type.

Adolescents, 12 to 16 Children, 8 to 12

Sophisticated atmosphere No

VIVACIOUS LADY O O

Ginger Rogers, James Stewart, James Ellison,
Beulah Bondi, Charles Coburn, Frances Mer-
cer. From the story by I. A. R. Wylie.
Screen play by P. J. Wolson and Ernest
Pagano. Direction by George Stevens.
R. K. O.

Here is a rollicking, gay comedy presented
by an excellent cast and having few slow
moments. It is sophisticated, treading lightly
on forbidden ground but avoiding a breach
of taste with finesse and skill. Peter (James
Stewart), son and grandson of college presi-
dents, who is being groomed to hold that
position eventually himself, goes to New York
to bring back an erring cousin who loves
the bright lights too well. There he falls in
love, suddenly and irrevocably, with a night
club entertainer and returns with her as his
bride. The play concerns his efforts to break
the news to Father — pompous, dictatorial and
bigoted. The situations are ridiculously funny ;
the action for the most part swift and hilari-
ous. James Stewart is charming and believ-
able as the timid, studious professor who has
been swept off his feet by the lovely girl,
and Ginger Rogers again proves herself to
be an effective comedienne. Beulah Bondi
is delicious as the wife who rebels after years
of being the conventional echo of her hus-
band, and Charles Coburn is perfect in his
role. The usual physical battle, found in all
comedies today, adds little to the general
effect, but it does bring laughter. For those
who wish an hour of light, mirthful diver-
sion, “Vivacious Lady” should not disappoint.
Adolescents, 12 to 16 Children, 8 to 12

Sophisticated Mature

WHITE BANNERS O O

Claude Rains, Fay Bainter, Jackie Cooper,
Bonita Granville, Henry O'Neill, Kay John-
son, James Stephenson, J. Farrell Mc-
Donald. Screen play by Lenore Coffee,
Cameron Rogers and Abem Finkel. From
the novel by Lloyd C. Douglas. Direction
by Edmund Goulding. Assistant director,
Frank Heath. Warner Bros.

Whether through premonition or sad ex-
perience, few studios dare to make pictures
which frankly expound a philosophy of life,
and sentiment is rarely presented without
the apology of a wisecrack, or seriousness ex-
cept as a concomitant of sorrow. Being
neither frivolous nor tragic, “White Banners”
is an interesting departure from the rule. It
is a superbly cast, beautifully directed, and
absorbing story of the triumph of ideas. The
thrills are those of accomplishment: the mas-
tery of self and the mastery of science. It
has the idealism coupled with homely reali-
ties which we have learned to expect in
stories by Lloyd C. Douglas and should be
singularly appealing to those who believe that
there is satisfaction to be found in everyday
life. It is about people whom we should like

Ten

MOTION PICTURE REVIEWS

to know: Paul Ward, who teaches school
and spends his evenings striving to perfect
an invention; Marcia, his wife, tired mother,
ineffectual housekeeper, but a loving wife
who tries hard to share her husband’s dream
of success; Hannah, who comes uninvited
into their home and revolutionizes their lives
with her creed of hoisting the “white ban-
ners” of fresh endeavor, and her belief in
the power of each individual to shape his
own destiny. These three characters are
beautifully portrayed by Claude Rains, Kay
Johnson and Fay Bainter. To Miss Bainter
go thediighest honors for her flawless acting
in the most difficult role, but it is hard to see
how the others could have been better. Bo-
nita Granville and Jackie Cooper are delight-
fully natural and likable, and J. Farrell
McDonald is an ideal village doctor. The
plot is well-knit and has few extraneous in-
cidents, but the picture will be remembered
more for its spirit than for the story it tells.
Adolescents, 12 to 16 Children, 8 to 12

Excellent Mature

YELLOW JACK O O

Robert Montgomery, Virginia Bruce, Lewis
Stone, Andy Devine, Henry Hull, Charles
Coburn, Buddy Ebsen, Henry O'Neil, Jona-
than Hale. From the play by Sidney Howard
in collaboration with Paul de Kruif. Screen
play by Edward Chodorov. Direction by
George B. Seitz. M. G. M.

If the world were not already aware of the
generally accepted cause of yellow fever, this
picture would have all the emotional thrill
of the most fanciful and dramatic tale. And
yet to many the facts will be new and others
will renew their gratitude to the medical

profession and the laymen who made it pos-
sible to stamp out the dread disease.

“Yellow Jack” is an exceptionally interest-
ing film. It is the true story of Major Wal-
ter Reed’s famous scientific commission to
Cuba following the Spanish-American War.
The cost of this war in loss of life was not
in battle, but through the ravages of yellow
fever. We are shown the common soldiers
of the medical unit, sweating and swearing
at their long stay in Havana as troop after
troop embarks for the States. We realize
their terror, too, as men drop, suddenly and
mysteriously infected with the fever. The
physicians are unwilling to leave before they
have learned the cause of the disease, and
with the help of Dr. Carlos Finlay, who
had isolated the female “Stegomaya” mos-
quito, and with the assistance of five soldiers
who volunteered as human guinea pigs, the
cause of the infection is definitely proven and
yellow fever stamped out, thus opening the
way for the completion of the Panama Canal.

The story has been exceedingly well writ-
ten, and Paul de Kruif has seen that it holds
up under inspection from a physician’s point
of view. It has drama and well-balanced
humor due to sympathetic and dignified direc-
tion, and an excellent cast adds to the enjoy-
ment. Robert Montgomery comes near to ri-
valing his performance in “Night Must Fall.”
He gives a restrained and keen interpreta-
tion of an army sergeant who is rewarded
for his service to the work by winning the
one woman in the cast — an army nurse
(played by Virginia Bruce). But through-
out it is a story of men’s sacrifice in the
service of humanity, and it is based on actual
historical fact.

Adolescents, 12 to 16 Children, 8 to 12

Mature but informative Too mature

MOTION PICTURE REVIEWS

Eleven

INDEX JANUARY TO JUNE, 1938

FEATURE FILMS

Accidents Will Happen - - - April

Adventure's End - January

Adventures of Chico - April

Adventures of Marco Polo, The - March
Adventures of Robin Hood, The - - May

Adventures of Tom Sawyer, The - March

African Holiday April

Air Devils - June

Alexander's Rag Time Band - - June

Arsene Lupin Returns - March

Bad Man of Brimstone, The - - February

Baroness and The Butler, The - - March

Bar 20 Justice ------ May

Battle of Broadway ----- May

Beg, Borrow or Steal - - - - January

Beloved Brat, The ----- April

Big Broadcast of 1938, The - - - March

Black Doll, The March

Blind Alibi ------- June

Bluebeard's Eighth Wife - - - - April

Born to the West - February

Bringing Up Baby ----- March

Buccaneer, The ----- February

Bulldog Drummond's Peril - - - April

Cassidy of Bar 20 March

Change of Heart February

Checkers ------ January

City Girl ------ February

Cloistered - January

Cocoanut Grove ------ June

College Swing - May

Condemned Women - April

Crashing Hollywood » •» February

Crime of Dr. Hallet, The - - - April

Crime School ------ June

Dangerous to Know - April

Daughter of Shanghai - - - February

Devil's Party, The ----- June

Dinner at The Ritz - February

Divorce of Lady X, The - - - - May

Dr. Rhythm ------- June

Double Danger ----- March

Everybody's Doing It February

Everybody Sing ----- March
Every Day's a Holiday - - - February

First Hundred Years, The - - - April

Fools for Scandal ----- April
Forbidden Valley ----- March
Four Men and a Prayer - May

Girl of The Golden West - May

Go Chase Yourself ----- May
Gold Diggers In Paris - - - - June

Gold Is Where You Find It - - February

Goldwyn Follies, The - March

Good-bye, Broadway - May

Happy Landing - March

Harlem On the Prairie - - - February

Hawaii Calls ------ April

Heart of Arizona April

Her Jungle Love ------ May

Hitting a New High - - - - January

Hold That Kiss ------ June

Hollywood Hotel February

Hunted Men - June

I Met My Love Again

March

I'll Take Romance -

- March

In Old Chicago - - -

- February

International Settlement -

- March

Island In the Sky

- April

Jezebel -

Joy of Living - -

April

Judge Hardy's Children -

- April

Jury's Secret, The

- February

Kentucky Moonshine

June

Kidnapped -

- June

Lady In the Morgue, The

- June

Last Stand, The - - - -

- June

Law of The Underworld -

- May

Life and Loves of Beethoven,

The - April

Little Miss Thoroughbred

June

Love and Hisses - - - -

- February

Love, Honor and Behave -

- March

Love Is a Headache - - -

- February

Love On a Budget - - -

- February

Mad About Music -

- April

Maid's Night Out -

April

Mannequin -

February

Man-Proof -----

- February

Merrily We Live - - - -

- April

Midnight Intruder, The -

- March

Mr. Moto's Gamble - - -

- May

Night Spot ------ March

Nurse From Brooklyn - - - - May

Twelve

MOTION PICTURE REVIEWS

Of Human Hearts ----- March
One Wild Night ------ June

Paradise For Three - March

Partners of the Plains - - - - January

Penrod and His Twin Brother - February
Penrod's Double Trouble - May

Port of Seven Seas April

Quick h^pney January

Radio City Revels - March

Rascals - - April

Rawhide May

Rebecca of Sunnybrook Farm - - April

Reckless Living - May

Return of The Scarlet Pimpernell, The - June
River, The ------ February

Romance In The Dark - March

Rosalie ------- February

Sally, Irene and Mary - - - - April

Sailing Along - June

Saint In New York, The - - - - June

Scandal Street ----- March

Sergeant Murphy ----- January

She Married An Artist - - - - March

She's Got Everything - February

Sinners In Paradise - - - - June

Slight Case of Murder, A - - - March

Snow White ------ January

Spy Ring, The ----- February

State Police ------- May

Stolen Heaven June

Swing Your Lady - - - - February

Swiss Miss ------- June

Tarzan's Revenge - - - - February

Test Pilot May

This Marriage Business - April

Three Comrades ----- June
Thrill Of a Lifetime - - - - February

Tip-off Girls April

Torchy Blane In Panama ... June
To the Victor ------- June

Tovarich - - January

Trip to Paris, A ----- May
True Confession ----- January

Under Western Stars - May

Vivacious Lady June

Walking Down Broadway - March

Wells Fargo January

White Banners ------- June

Wise Girl February

Yank At Oxford, A - - - - March

Yellow Jack ------- June

You're a Sweetheart - - - - January

You're Only Young Once - - - January

SHORT SUBJECTS

The Face Behind The Mask - May

How to Figure Income Tax - - - May

The King Without a Crown - - May

The Man Without a Country - - January

Miracle Money - - - - - May

Out Where The Stars Begin - - May

Penny's Party ------ May

The Romance of Louisiana - - January

The Romance of Radium - - - January

What Price Safety ----- May

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MOTION

PICTURE

REVIEWS

JULY

19 3 8

CONTENTS

Algiers

The Amazing Dr. Clitterhouse

The Birth of a Baby-

Blockade

Blond Cheat

Border G-Man

Cowboy from Brooklyn

Crime Ring

Fast Company

Having Wonderful Time

Josette

Keep Smiling
Lord Jeff
My Bill

Mysterious Mr. Moto

Pride of the West

Prison Farm

The Rage of Paris

The Sheik

Speed to Burn

Three Blind Mice

Tropic Holiday

The Toy Wife

When Were You Born?

Wives Under Suspicion
Woman Against Woman
You and Me
Young Fugitives

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MOTION PICTURE REVIEWS

Three

MOTION • PICTURE • REVIEWS

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Vol. XII JULY. 1938 No. 7

FEATURE FILMS

ALGIERS O O

Charles Boyer, Sigrid Gurie, Hedy LaMarr,
Alan Hale, Joseph Calleia, Gene Lockhart,
Nina Koshetz, Johnny Downs. From the
French novel, "Pepe le Moto," by Detective
Ashelbe. American screen play by John
Howard Lawson. Cinematography by James
Wong Howe. Music by Vincent Scotto and
Mohammed Igorbouchen. Direction by John
Cromwell. A Walter Wanger production.
United Artists.

Atmosphere — exciting, sinister, and sensual,
is the particular quality of this production. It
tells the story of Pepe le Moto, a notorious
French criminal, exiled and living a precari-
ous and hunted existence in the Cabash, the
native quarter of Algiers. It is a keen and
penetrating study of a man for whom there
is no hope; warped in character, loved by
women, even admired for certain qualities by
men who know what the inevitable end must
be and who work deliberately toward that
end. This feeling of doom, certain and
dreadful, creates a thrilling and emotional
climax which, while anticipated, is none the
less dramatic. Charles Boyer is exception-
ally convincing as Pepe, cruel, exacting,
courageous, and fascinating, but bitterly un-
happy in his exile, for he is trapped in the Ca-
bash as certainly as if he were in jail. Sigrid
Gurie is very fine in the role of his Algerian
sweetheart. Hedy LaMarr is exquisitely
beautiful as the alluring Parisienne whose

arrival in Algiers leads to Pepe's ultimate
downfall. The men in the cast are very fine
also: Joseph Calleia in the role of the crafty
Provincial detective; Gene Lockhart as a na-
tive informer; Stanley Fields, a member of
the band; Alan Hale, the fence for stolen
jewels. The local color of the native quarter
is unusually interesting. The photography is
very beautiful and the musical accompani-
ment fascinating with its oriental influence.

The production is to be particularly com-
mended because it has used superb cinematic
technique to picture the psychological disinte-
gration of a man’s character. It is theatrical
and melodramatic, but it is exciting and en-
thralling entertainment.

Adolescents, 12 to 16 Children, 8 to 1 2

Very sopristicated. No

Not recommended.

THE AMAZING DR. CLITTERHOUSE O O

Edward G. Robinson, Claire Trevor, Hum-
phrey Bogart, Allen Jenkins, Donald Crisp,
Gale Page, Maxie Rosenbloom, John Litel,
Henry O'Neill. From the play by Barre Lyn-
don. Screen play by John Wexley and John
Huston. Direction by Anatole Litvak. First
National-Warner Bros.

We are always certain of an interesting
performance when Edward G. Robinson is in
a cast, and in “The Amazing Dr. Clitter-
house” he has a particularly good role. The

Four

MOTION PICTURE REVIEWS

plot is unusual, offering a very different
twist to the criminal angle, which amuses and
intrigues and leaves the audience with the
privilege of its own interpretation. Dr. Clit-
terhouse is a fashionable and reputable physi-
cian who becomes interested in the physical
reactions which he believes criminals must
have when committing a crime. After using
himself as a human guinea pig, he becomes
the leader of a real gang, testing out their
reactions and his theories with laboratory
precision. One thing he overlooks — the hu-
man equation, and circumstances become in-
volved. The climax is too sensational to spoil
by even suggesting it here. There is humor
and exciting suspense, with excellent support
given the star by the cast. It is adult enter-
tainment.

Adolescents, 12 to 16 Children, 8 to 1 2

No No

THE BIRTH OF A BABY O O

Eleanor King, Richard Gordon, Ruth Matte-
son, Josephine Dunn, Helen Hawley, Wil-
liam Post, Jr. American Committee on
Maternal Welfare.

That the subject matter of this film will
arouse controversy as to its suitability as
entertainment to be seen in public theatres
is certain, because individual attitudes on
the subject cannot avoid being relative. The
picture is, however, a sincere contribution to
public health, produced under the auspices
of the American Committee on Maternal Wel-
fare which has in its membership some of the
most distinguished medical and social serv-
ice groups in this country. It handles facts
frankly and honestly and in the best of taste.
It is not a spectacle. It presents the simple
facts about childbirth, taking a young wife
through her months of pregnancy to the birth
of her baby and its care after birth. The
family physician is not only her doctor but
also her teacher, for he explains by means
of charts and diagrams the processes of the
development of the baby before birth, and
this information, together with suggestions
for diet, clothes, and general rules for health-
ful living, is woven into a well-knit plot
which has interest and humor as well. Scrupu-
lous care for scientific accuracy has been
taken. The cast is professional, and the
direction and photography are excellent.
Were the picture restricted to selected audi-
ences its service would be lessened, for only
those least needing its message would see it.
America’s maternal death rate is relatively
high, and consequently a documentary film
such as this is, instructive, dignified, and
honest, is distinctly valuable. The American
medical profession is attempting to enlighten
the public on all matters of public health.

This is apparently another step to offset
ignorance and fear.

Adolescents, 12 to 16 Children, 8 to 1 2

When accompanied by Mature: depends

parents entirely on pa-

rental attitude

BLOCKADE O O

Madeline Carroll, Henry Fonda, Leo Carrillo,
John Hailiday, Vladimir Sokoloff, Reginald
Denny, Robert Warwick, Wm. B. Davidson,
Fred Kohler. Story and screen play by John
Howard Lawson. Direction by William Die-
terle. Walter Wanger-Unifed Artists.

Because it concentrates on the plight of
non-combatants in a warring country, “Block-
ade" is a picture of timely interest. Because
it too earnestly announces its theme, it loses
force. Under the guise of a spy story it
takes the audience to Spain and shows them
the horrors of disease, hunger and fear as
they react upon the helpless civilians. Through
the eyes of Norma (Madeleine Carroll), a
girl spy, and Marco (Henry Fonda), a young
farmer turned soldier by necessity, we are
shown the complete picture of war with the
abhorrent duty, imposed upon spies and sol-
diers, of conspiring to starve the entire popu-
lation of a town. The film ends with the
temporary thwarting of the besieging powers
and Marco’s impassioned plea against war.
Since the political issues are somewhat hazily
outlined, the story is sometimes hard to fol-
low, but there is enough action, realism and
emotion to sweep the average audience off
its feet.

Adolescents, 12 to 16 Children, 8 to 1 2

Mature and No

depressing

'©

BLOND CHEAT O O

Joan Fontaine, Derrick de Marney, Cecil
Kellaway, Cecil Cunningham, Lilian Bond.
Original story by Aladar Laszlo Screen play
by Chas. Kaufman, Paul Yawitz, Viola
Brothers Shore, Harry Segall. Direction by
Joseph Santley. RKO Radio.

Handicapped by an unpleasant title, this
proves to be a light and fairly amusing com-
edy about a mother with social ambition and
a father with yearnings for a more solid,
business-like son-in-law. A very pretty little
actress is employed by Papa Trent to act as
siren; the proffered reward is financial back-
ing for a play in which she is to star. Some
overacting by the main characters and a few
dull incidents are offset by clever dialogue
and good stage effects.

Adolescents, 12 to 16 Children, 8 to 12

Little appeal Too mature

MOTION PICTURE REVIEWS

Five

BORDER G-MAN O O

George O'Brien, Laraine Johnson, Ray Whit-
ley, John Miljan, Rita LaRoy, Edgar bearing.
Screen play by Oliver Drake. From the story
by Bernard McConville. Direction by David
Howard. RKO Radio.

In a western in which the hero is a G-man
instead of a cowboy, George O'Brien as Jim
Galloway poses as a ranch foreman and ap-
prehends smugglers who are plotting to ship
horses and ammunition over the Mexican
Border. Photography of horses being herded
through water, beautiful scenery, and excit-
ing action make the picture entertaining.
Adolescents, 12 to 16 Children, 8 to 1 2

Yes Questionable

COWBOY FROM BROOKLYN O O

Pat O'Brien, Dick Powell, Priscilla Lane,
Dick Foran, Ann Sheridan. From the play
"Howdy, Stranger," by Robert Sloane and
Louis Pelletier, Jr. Screen play by Earl Ba-
con. Direction by Lloyd Bacon. Warner
Bros.

This is a new departure for Dick Powell, a
musical semi-western with farcical situations
sometimes bordering on burlesque. Enjoyment
of the film depends on just how silly one feels
for the moment. As Elly Jordan, a modern
minstrel from Brooklyn with a morbid fear of
any beast or bird from a burro to a canary, he
is in a predicament when he lands on a dude
ranch and is later taken to New York as an
authentic rider of the range. Powell has little
or no glamor in the part, but he achieves a
good characterization and sings as well as
usual. The supply of cowboy songs is gener-
ous in quantity and unusually tuneful.
Adolescents, 1 2 to 1 6 Children, 8 to 1 2

Yes Not much interest

CRIME RING O O

Allan Lane, Frances Mercer, Clara Blandick,
Inez Courtney, Bradley Page, Ben Welden,
Walter Miller, Frank M. Thomas. Story by
Reginald Taviner. Direction by Leslie Good-
wins. RKO Radio.

‘‘Crime Ring” is entertaining of its type.
Its hero is a young reporter who assists the
district attorney’s office in exposing the crimi-
nal activities of a fortune-telling racket.
Such pictures, however, are of doubtful ethi-
cal value. While they may serve to warn
some potential victims they give altogether
too much instruction in the art of defrauding
the public.

Adolescents, 12 to 16 Children, 8 to 1 2

No No

FAST COMPANY O O

Melvyn Douglas, Florence Rice, Claire Dodd,
Shepperd Morgan, Louis Calhern. From the
book by Marco Page. Screen play by Marco
Page and Harold Tarshis. Direction by Ed-
ward Buzzell. M-G-M.

Comparison with “The Thin Man” is in-
evitable in commenting on a detective story

of this type. The sophisticated, happy rela-
tionship between husband and wife, the brit-
tle dialogue, and the light and cynical attitude
toward danger, murder, and sudden death are
the same, but less arresting now. In this
case Melvyn Douglas is a dealer in first
editions who discovers stolen volumes and
returns them to the insurance company. He
is, therefore, unpopular with the thieves, and
when he attempts to clear a young friend of
the charge of murdering one of the criminals,
he is in a particularly dangerous position.
The cast is good and the story entertaining
even if the treatment does not seem par-
ticularly novel.

Adolescents, 12 to 16 Children, 8 to 12

Sophisticated No

HAVING WONDERFUL TIME O O

Ginger Rogers, Douglas Fairbanks, Jr., Peggy
Conklin, Lucille Ball, Lee Bowman, Richard
Skelton. Adapted from stage play by Marc
Connelly. Screen play by Arthur Kober.
Direction by Alfred Santell. RKO.

With keen and often brutal clarity the
screen picks out and magnifies the human
frailties of summer vacationists from the
humbler walks of life who are gathered at
Kamp Kare Free to “have a wonderful time.”
Kamp Kare Free, advertised as a haven of
rest, is in reality a madhouse of feverish
activity. The characters seen there are fa-
miliar types: stenographers enjoying their
precious two weeks off from routine, students
working out their room and board, the ebul-
lient recreational director with his over-
stimulating efficiency, the smooth and oily
manager, the tired elderly couples looking
for youth again. The burlesque is broad — at
times funny, at others overdone. “Teddy”
(Ginger Roger) falls in love, finds her boy
friend unconventionally inclined, punishes
him by spending the night in another man’s
cabin. This sequence is the most amusing, as
Teddy keeps her would-be Lothario playing
backgammon until he collapses from ex-
haustion. The picture is uneven in quality
and does not give much opportunity for Miss
Rogers’ skill in comedy. Mr. Fairbanks seems
miscast in his role.

Adolescents, 12 to 16 Children, 8 to 12

No No

JOSETTE O O

Don Ameche, Simone Simon, Robert Young,
Bert Lahr, John Davis, Paul Hurst, William
Collier, Sr. Based on a play by Paul Frank
and George Fraser. Screen play by James
Edward Grant. Direction by Allan Dwan.
20th Century-Fox.

The efforts of two brothers to extricate
their slightly wayward father from his in-
fatuation for a dance hall singer lead them
pell-mell into a romantic rivalry for the hand

Six

MOTION PICTURE REVIEWS

of Josette’s little understudy. There is much
confusion as to identity, a few tears are shed,
but in the end it all works out to everyone’s
satisfaction. It is a flippantly gay musical
comedy of the “No, No, Nanette” type, embel-
lished by clever dialogue, diverting situations,
and delightful settings, marred by too much
drinking. Don Ameche and Robert Young
are excellent as the two brothers. Simone
Simon is charming and her voice is sweet, if
somewhat lacking in volume.

Adolescents, 12 to 16 Children, 8 to 12

Too sophisticated No

KEEP SMILING O O

Jane Withers, Gloria Stuart, Henry Wil-
coxon, Helen Westley, Jed Prouty. From an
original idea by Frank Fenton and Lynn
Root. Screen play by Frances Hyland and
Albert Ray. Direction by Herbert I. Leeds.
20th Century-Fox.

This is a more suitable film for Jane With-
ers than many she has played in recently, for
while she is the same irrepressible, quick-
witted child, her pranks are those of a girl
of her age, never worldly-wise or malicious.
When the story opens she is in the midst
of a rehearsal of “Julius Cssar” in a fashion-
able girls' school. Soon the scene shifts to
Hollywood where she discovers that her only
living relative, a famous director, has fallen
upon evil days through drink and extrava-
gance, and it becomes the mission of Jane and
his adoring secretary to reclaim him. Good
atmosphere pervades the episodes in the
“guest home” and behind the scenes in the
big studio. The most affecting part is that
of the veteran actor (Pedro de Cordoba),
whose opportunity comes too late.

Adolescents, 12 to 16 Children, 8 to 1 2

Amusing Yes

LORD JEFF O O

Freddie Bartholomew, Mickey Rooney, Chas.
Coburn, Herbert Mundin, Terry Kilburn,
Gale Sondergaard, Peter Ellis. Screen play
by James Kevin, McGuinness. From a story
by Bradford Ropes, Val Burton and Endre
Bohem. Direction by Sam Wood. M-G-M.

“Lord Jeff,” in addition to being good en-
tertainment, presents a social problem in a
constructive way. Freddie Bartholomew is
seen in the role of an English boy who has
been the willing accomplice of jewel thieves.
He is apprehended by the police, and the
Court sends him — not to a reform school — but
to the Russel-Cotes Nautical School, South-
ampton, England, which is one of the Bar-
nado Homes instituted for the care, training
and rehabilitation of destitute orphaned chil-
dren. The boy finds adjustment difficult, for
he is slow to adapt himself to discipline and
rules and to recognize the possibilities open
to him, until the humane and wise approach

of the faculty and the reactions of the boys
themselves arouse the latent fineness of his
character.

The story is excellent, with stimulating
and entertaining sequences, humor, and real
thrills. The boys, with their English and
Irish accents, are well cast, Mickey Rooney
and Freddie Bartholomew giving their usual
fine performances, and a newcomer to the
screen, Terry Kilburn, almost stealing the
picture with his fresh and delightful charm.
Herbert Mundin essays a new type of role
for him, and is splendid, as is Charles Co-
burn as Captain Briggs. The picture is
worth seeing for its entertaining qualities
and also because it treats a serious problem
sincerely and effectively.

Adolescents, 12 to 16 Children, 8 to 1 2

Yes; fine Yes

MY BILL O O

Kay Francis, Bonita Granville, Anita Louise,
Bobby Jordan, John Litel, Dickie Moore,
Maurice Murphy, Elisabeth Risdon. From
the play "Courage,'' by Tom Barry. Screen
play by Vincent Sherman and Robertson
White Direction by John Farrow. Warner
Bros.

Kay Francis in the role of the widowed and
impoverished mother of four children will
be a surprise to movie fans. In “My Bill”
she plays the part of Mary Colhrook, who,
with admirable but misguided courage, has
shielded her children from knowledge of
their dwindling finances until they happen
upon the facts and all but the youngest de-
sert her for a rich aunt. Bill, sympatheti-
cally played by Dickie Moore, stays by his
mother and is the instrument of her even-
tual good fortune. The plot includes a num-
ber of stock situations (such as a crochety
old woman whose heart is softened by Bill’s
engaging personality), and some of the action
seems overdrawn, particularly the odious be-
havior of the three selfish children. How-
ever, the picture is technically a nicely fin-
ished product and the story has considerable
appeal, although the allusions to the irregular
love affair of the mother and possibly doubt-
ful parentage of the small boy are unneces-
sary to the plot and out of place in this type
of entertainment.

Adolescents, 12 to 16 Children, 8 to 1 2

Perhaps Mature problem

MYSTERIOUS MR. MOTO O O

Peter Lorre, Mary Maguire, Henry Wilcoxon,
Erik Rhodes. Based on the J. P. Marquand
character. Screen play by Philip MacDon-
ald and Norman Foster. Direction by Nor-
man Foster. 20th Century-Fox.

In this story Mr. Moto endeavors to
thwart the grim League of Assassins which
is using every means in its power to obtain
a new and valuable formula for manufac-

MOTION PICTURE REVIEWS

Seven

turing steel. Many of the scenes are in the
Limehouse section of London where mystery
is enshrouded in the heavy fog. The story
is well-knit and plausible enough of its type;
the murders are committed with neatness and
dispatch. Peter Lorre continues his adept
characterization of Mr. Moto with a com-
mendable supporting cast. Good film of its
kind.

Adolescents, 12 to 16 Children, 8 to 1 2

Mature Exciting

PRIDE OF THE WEST O O

William Boyd, George Hayes, Russell Hay-
den, Earle Hodgins, Charlotte Field, Billy
King. Original by Clarence E. Mulford.
Screen play by Nate Watt. Direction by
Leslie Selander. Paramount.

A fast-moving Hopalong Cassidy western
with better than usual dialogue, some nice
incidental singing and typical scenic back-
grounds beautifully photographed. Hop-
along Cassidy, summoned by the sheriff’s
small son and daughter, aids in the recovery
of bags of gold which have been stolen from
a stage coach.

Adolescents, 12 to 16 Children, 8 to 1 2

Excellent Depends on the

individual

PRISON FARM C> O

Shirley Ross, Lloyd Nolan, John Howard, J.
Carroll Naish, Esther Dale, May Boley. Di-
rection by Louis King. Paramount.

To play upon the sympathies of audiences
and to shock them with scenes of amazing
brutality seems to be the purpose of this
prison melodrama. It tells the story of a
girl who is innocently involved in a payroll
robbery and is sent to a prison farm along
with her sweetheart who actually commit-
ted the crime. At the prison farm, all the
keepers are either villainous or unfit for their
jobs, and the prisoners are subjected to such
harsh brutality that sympathy is all on the
side of the lawbreaker. The difficulties of
the heroine are finally overcome when her
lover, dying from injuries received in a hor-
rible fight with a guard, confesses his crime
and clears her name. She is last seen happily
smiling as she drives away from the institu-
tion with the prison doctor whom she is soon
to marry. Though adequately produced the
film is by no means entertaining and offers
nothing constructive.

Adolescents, 12 to 16 Children, 8 to 12

Horrible Horrible

THE RAGE OF PARIS O O

Danielle Darrieux, Douglas Fairbanks, Jr.,
Mischa Auer, Louis Hayward, Helen Brod-
erick. Original story and screen play by
Bruce Manning and Felix Jackson. Direc-
tion by Henry Koster. Universal.

A treat is in store for audiences who have
not heretofore had the opportunity of seeing
Danielle Darrieux on the screen. Her Ameri-
can debut in “The Rage of Paris” is a fortu-
nate occasion for film patrons who enjoy
frothy, sophisticated comedy. Miss Darrieux
with her piquant accent and flair for wearing
modish gowns is charming in her role of the
little French model who comes to America to
hunt a job, finds herself stranded, and, under
the tutelage of an ex-chorus girl and financed
by a head waiter, essays to win a rich hus-
band. The story makes no claims to plausi-
bility but is handled by Director Henry Kos-
ter with an appropriately light touch. The
star is supported by an able cast who give
uniformly excellent performances.

Adolescents, 1 2 to 1 6 Children, 8 to 1 2

Sophisticated No

THE SHEIK O O

Rudolph Valentino, Agnes Ayres, Adolphe
Menjou. From the novel by Edith M. Hull.
Direction by George Melford. Jesse L.
Lasky.

“The Sheik” of almost two decades ago has
been revived and has proved so popular that
the decision has been made to release it
throughout the nation. The film is worth see-
ing if only for the purpose of contrasting the
productions of that day with those of the
present year; one could not believe that such
crudities and imperfections existed in a picture
which was considered high-grade at the time
if one did not have this documentary evidence.
There is little attention to lighting effects
and compostion. The people move spasmod-
ically. Because the film predates the talkies
it is necessary to convey the meaning with
gestures and facial expressions which regis-
ter hate, love, fear, jealousy. “The Shiek” was
considered wicked in its day, but the un-
reality of the film in the light of present
standards renders it innocuous. The idea of
feminine pulchritude of the early 1920’s is
nothing short of remarkable; Agnes Ayres,
with her well-cushioned figure, long crimped
hair and dresses which would be difficult to
imitate for sheer ugliness, is the target for
many of the chortles of the audience. And
yet there are not as many laughs as one
might expect. There are certain qualities
which make for successful pictures at any
time: an exciting (if impossible) story, a
swiftness of movement and, above all, a

Eight

MOTION PICTURE REVIEWS

hero who remains vital to this day. Rudolph
Valentino, the first of the glamorous young
men of the screen, is still the spirit of roman-
tic youth.

Adolescents, 12 to 16 Children, 8 to 1 2

Amusing Unsuitable

,r.

SPEED TO BURN O O

Michael Whalen, Lynn Bari, Marvin Ste-
phens, Henry Armetta, Chick Chandler.
Screen play by Robert Ellis and Helen Lo-
gan. Based on an original story by Edwin
Dial Torquerson. Direction by Otto Brewer.
20th Century-Fox.

The scenario of this picture uses the fa-
miliar ingredients of a race track melodrama:
devious schemes to put the favorite out of
the running, all sorts of foul play at the
track, and, of course, a thrilling scene when
the hero and his mount make a victorious
finish. It departs from the usual routine in
that the motivating theme is the heart-warm-
ing devotion of a jockey to his horse. Pleas-
ing comedy is introduced in the person of
Henry Armetta, cast as the genial Italian
who befriends the young jockey.

Adolescents, 12 to 16 Children, 8 to 1 2

Entertaining Little interest

THE TOY WIFE O O

Luise Rainer, Melvyn Douglas, Robert
Young. Barbara O'Neil, H. B. Warner, Alma
Kruger, Libby Taylor, Theresa Harris. Screen
play by Zoe Atkins. Direction by Richard
Thorpe. M.G.M.

“Toy Wife" will be called a woman’s pic-
ture. It may also be called “dated,” picturing
a woman and a problem of another era.
True, it is set in the time of crinolines, slaves,
and huge plantations, when men fought duels
to salve their “honor,” but there are always
decorative and impractical women, and some
men will always seek them and marry them
to lighten the weight of serious living, and
believe themselves cheated when the “toy
wife’’ is incapable of meeting the issues in-
volved in home-making. Thus, the problem
is not entirely one of another day, although
women then were convention-bound and had
fewer outside resources on which to call for
help.

Luise Rainer plays the role of a childlike
beauty, raised in Paris, who returns to the
plantation near New Orleans with her elder
sister and her father, imbued with the desire
to marry as soon as possible, because “mar-
ried women have so much more fun.” She
unwittingly captivates the man her sister
loves, and, ignorant of Louise’s sentiments,
marries him when the latter urges it. Mar-
riage brings her supreme happiness. But
after a few years Louise comes into the
household to bring domestic order out of
chaos, and gradually, but relentlessly, she
usurps the place Frou-Frou should have

held. The child-wife realizes the situation
and makes the only sacrifice she thinks
she can.

It is a tragic and conventional story which
would have become maudlin with less re-
strained direction and less competent acting.
It is not Miss Rainer’s best role. Her man-
nerisms are apparent, but she is convincing
for the most part. The climax is her weakest
scene. Barbara O’Neil and Alma Kruger are
good. Libby Taylor and Theresa Harris are
outstanding among the colored supporters.
The men’s parts are unsympathetic and less
interesting. The production is exquisitely
costumed and lavishly set, with beautiful de-
tails of historic and romantic New Orleans
as it was in the middle of the 18th century.
Adolescents, 12 to 16 Children, 8 to 1 2

No: tragic No interest

THREE BLIND MICE O O

Loretta Young, Joel McCrea, David Niven,
Stuart Erwin, Marjorie Weaver, Pauline
Moore, Binnie Barnes. Based on a play by
Stephen Powys. Screen play by Brown
Holmes and Lynn Starling. Direction by
William A Seiter. 20th Century-Fox.

Three sisters from a midwestern chicken
farm decide to take a $5,000 legacy on the
quest for a millionaire husband. Registering
at the Santa Barbara Biltmore, the most beau-
tiful sister poses as an heiress with the other
two as maid and secretary, and many amusing
adventures befall the rural gold-diggers be-
fore they reach the goal of fortune and ro-
mance. To be sure, the motive is mercenary
and a bit sordid, but it is such an absurd plot
that it can be taken only as a modern fairy
tale. The cast is attractive, the dialogue is
sparkling, and farcical situations are cleverly
handled. There is more drinking than is nec-
essary for characterization. Those who object
to slap-stick will wish the latter part had been
subjected to the rigors of the cutting room,
but others will enjoy it.

Adolescents, 12 to 16 Children, 8 to 1 2

Rather sophisticated No

TROPIC HOLIDAY O O

Dorothy Lamour, Bob Burns, Martha Raye,
Ray Milland, Binnie Barnes, Tito Guizar,
Pepito. Original by Don Hartman and Frank
Butler. Screen play by Don Hartman and
Frank Butler, John C. Moffitt and Duke
Atteberry. Direction by Theodore Reed.
Paramount.

Anyone who likes the performers in this
picture will enjoy seeing them going through
their fun-making antics in the romantic set-
ting of a Mexican village. Highlights of the
picture are good songs, Martha Raye and Bob
Burns in the arena with a ferocious bull, a
Mexican wedding party, and a marimba
band.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Little interest

MOTION PICTURE REVIEWS

Nine

WHEN WERE YOU BORN? O O

Margaret Lindsay, Anna May Wong,, Lola
Lane, Anthony Averill, James Stevenson,
Leonard Mudie. Original story by Manly
Hall. Screen play by Anthony Coldeway.
Direction by William McGann. Warner
Bros.

In this film, an astrologer, played with im-
pressive seriousness by Anna May Wong,
demonstrates how a Leo in love with an
Aries, entering an apartment in conjunction
with a Cancer, can cause no end of havoc.
Settings and photography are pleasing, but
dialogue and the solution of the mystery are
rather elementary. A class B picture.
Adolescents. 12 to 16 Children, 8 to 1 2

Poor No

1 g

V/IVES UNDER SUSPICION O O

Warren Williams, Gail Patrick, Constance
Moore, William Lundigan, Ralph Morgan.
Suggested by a play by Ladislaus Fodor.
Original screen play by Myles Connolly.
Direction by James Whale. Universal.

A certain Los Angeles murder case which
recently has been given wide publicity seems
to have furnished the basic motif for this
picture. Here, however, the focus of interest
is not the prisoner but the District Attorney
who, following his profession with zest,
marks off his convictions on a macabre count-
ing board with ivory skulls. Through a
strange parallel of events he finds himself in
the same situation as the accused man whom
he has been trying to convict. Although he
himself does not commit murder he is roused
to a murderous frenzy by jealousy of his wife
and for the first time is able to realize and
understand the passions which actuated the
other man. He concludes that “There, but
for the grace of God, go I,” and the follow-
ing day in court he asks that the charge be
reduced to manslaughter. Acting and direc-
tion are unusually capable, but the plotting
is mechanical. Whether or not one is in
sympathy with the “unwritten law" the sub-
ject is an unpleasant one.

Adolescents, 12 to 16 Children, 8 to 12

Unsuitable No

WOMAN AGAINST WOMAN O O

Herbert Marshall, Virginia Bruce, Mary
Astor, Janet Beecher, Marjorie Rambeau,
Juanita Quigley. Screen play by Edward
Chodorov. From the story "Enemy Terri-
tory" by Margaret Culkin Banning. Direc-
tion by Robert B. Sinclair. Metro-Goldwyn-
Mayer.

Due to good casting and superior produc-
tion values this film appears less superficial

than it really is. It is a polite examination
of the difficulties that are likely to confront
a second wife when she has to live in the
same town with wife number one. In spite
of a great deal of talk the picture provides
no panacea for second wives, but may serve
as a warning to women who marry without
taking into account that a divorce does not
always cut a man loose from his first wife’s
apron strings.

Adolescents, 12 to 16 Children, 8 to 1 2

No No

YOU AND ME O C-

Sylvia Sidney, George Raft, Robert Cum-
mings, Barton MacLane, Harry Carey, Ros-
coe Karns, Warren Hymer. Screen play by
Virginia Van Upp. Direction by Fritz Lang.
Paramount.

An incredible story of paroled convicts who
reform when shown by a diagram on a
blackboard that crime does not pay dividends
in dollars and cents! The direction combines
realism, symbolism, and sentimentality into a
distasteful whole. Strangely, the acting of
Miss Sidney and Mr. Raft is sincere enough
to hold a measure of interest throughout.
Adolescents, 12 to 16 Children, 8 to 1 2

Impossible No

YOUNG FUGITIVES O O

Harry Davenport, Robert Wilcox, Dorotheo
Kent, Larry Blake, Clem Bevans. Screen
play by Ben Grauman Kohn and Charles
Grayson. Original story by Edward James.
Direction by John Rawlins. Universal.

Here is a slight variation of an over-
worked theme made acceptable by a good
character actor. Henry Davenport as Joel
Bentham receives an award of fifty thousand
dollars because he is the last surviving G. A.
R. veteran. Realizing that his erstwhile
friends are after his money, he leaves town
and goes to live on a farm. He gives shel-
ter to an itinerant girl who becomes his
housekeeper, and to the son of an old friend,
who accepts his hospitality in order to rob
him. The stage is then set for regeneration
of the young people and romance. The lov-
able character of the old soldier is the saving
grace in a mediocre film.

Adolescents, 12 to 16 Children, 8 to 12

Ethically confused No

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MOTION

PICTURE

REVIEWS

JULY

19 3 8

CONTENTS

Algiers

The Amazing Dr. Clitterhouse

The Birth of a Baby

Blockade

Blond Cheat

Border G-Man

Cowboy from Brooklyn

Crime Ring

Fast Company

Having Wonderful Time

Josette

Keep Smiling
Lord Jeff
My Bill

Mysterious Mr. Moto
Pride of the West
Prison Farm
The Rage of Paris
The Sheik
Speed to Burn
Three Blind Mice
Tropic Holiday
The Toy Wife
When Were You Born?

Wives Under Suspicion
Woman Against Woman
You and Me
Young Fugitives

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Vol. XII JULY, 1938 No. 7

FEATURE FILMS

ALGIERS O O

arrival in Algiers leads to Pepe’s ultimate
downfall. The men in the cast are very fine
also: Joseph Calleia in the role of the crafty
Provincial detective; Gene Lockhart as a na-
tive informer; Stanley Fields, a member of
the band ; Alan Hale, the fence for stolen
jewels. The local color of the native quarter
is unusually interesting. The photography is
very beautiful and the musical accompani-
ment fascinating with its oriental influence.

Adolescents, 12 to 16 Children, 8 to 12

Very sopristicated. No

Not recommended.

THE AMAZING DR. CLITTERHOUSE O O

We are always certain of an interesting
performance when Edward G. Robinson is in
a cast, and in “The Amazing Dr. Clitter-
house” he has a particularly good role. The

Four

MOTION PICTURE REVIEWS

Adolescents, 12 to 16 Children, 8 to 1 2

No No

THE BIRTH OF A BABY O O

Eleanor King, Richard Gordon, Ruth Matte-
son, Josephine Dunn, Helen Hawley, Wil-
liam Post, Jr. American Committee on
Maternal Welfare.

That the subject matter of this film will
arouse controversy as to its suitability as
entertainment to be seen in public theatres
is certain, because individual attitudes on
the subject cannot avoid being relative. The
picture is, however, a sincere contribution to
public health, produced under the auspices
of the American Committee on Maternal Wel-
fare which has in its membership some of the
most distinguished medical and social serv-
ice groups in this country. It handles facts
frankly and honestly and in the best of taste.
It is not a spectacle. It presents the simple
facts about childbirth, taking a young wife
through her months of pregnancy to the birth
of her baby and its care after birth. The
family physician is not only her doctor but
also her teacher, for he explains by means
of charts and diagrams the processes of the
development of the baby before birth, and
this information, together with suggestions
for diet, clothes, and general rules for health-
ful living, is woven into a well-knit plot
which has interest and humor as well. Scrupu-
lous care for scientific accuracy has been
taken. The cast is professional, and the
direction and photography are excellent.
Were the picture restricted to selected audi-
ences its service would be lessened, for only
those least needing its message would see'it.
America’s maternal death rate is relatively
high, and consequently a documentary film
such as this is, instructive, dignified, and
honest, is distinctly valuable. The American
medical profession is attempting to enlighten
the public on all matters of public health.

This is apparently another step to offset
ignorance and fear.

Adolescents, 12 to 16 Children, 8 to 1 2

When accompanied by Mature: depends

parents entirely on pa-

rental attitude

BLOCKADE O O

Madeline Carroll, Henry Fonda, Leo Carrillo,
John Halliday, Vladimir Sokoloff, Reginald
Denny, Robert Warwick, Wm B Davidson,
Fred Kohler. Story and screen play by John
Howard Lawson. Direction by William Die-
terle. Walter Wanger-United Artists.

Adolescents, 12 to 16 Children, 8 to 12

Mature and No

depressing

BLOND CHEAT O O

Joan Fontaine, Derrick de Marney, Cecil
Kellaway, Cecil Cunningham, Lilian Bond.
Original story by Aladar Laszlo. Screen play
by Chas. Kaufman, Paul Yawitz, Viola
Brothers Shore, Harry Segall. Direction by
Joseph Santley. RKO Radio.

Adolescents, 12 to 16 Children, 8 to 12

Little appeal Too mature

MOTION PICTURE REVIEWS

Five

BORDER G-MAN O 0

George O'Brien, Laraine Johnson, Ray Whit-
ley, John Miljan, Rita LaRoy, Edgar Dearing.
Screen play by Oliver Drake. From the story
by Bernard McConville. Direction by David
Howard. RKO Radio.

Yes Questionable

COWBOY FROM BROOKLYN O O

Yes Not much interest

CRIME RING O <Q

Allan Lane, Frances Mercer, Clara Blandick,
Inez Courtney, Bradley Page, Ben Welden,
Walter Miller, Frank M. Thomas. Story by
Reginald Taviner. Direction by Leslie Good-
wins. RKO Radio.

“Crime Ring” is entertaining of its type.
Its hero is a young reporter who assists the
district attorney’s office in exposing the crimi-
nal activities of a fortune-telling racket.
Such pictures, however, are of doubtful ethi-
cal value. While they may serve to warn
some potential victims they give altogether
too much instruction in the art of defrauding
the public.

Adolescents, 12 to 16 Children, 8 to 12

No No

FAST COMPANY O O

Melvyn Douglas, Florence Rice, Claire Dodd,
Shepperd Morgan, Louis Calhern. From the
book by Marco Page. Screen play by Marco
Page and Harold Tarshis. Direction by Ed-
ward Buzzell. M-G-M.

Comparison with “The Thin Man” is in-
evitable in commenting on a detective story

Adolescents, 12 to 16 Children, 8 to 12

Sophisticated No

HAVING WONDERFUL TIME O O

Adolescents, 12 to 16 Children, 8 to 12

No No

JOSETTE O O

The efforts of two brothers to extricate
their slightly wayward father from his in-
fatuation for a dance hall singer lead them
pell-mell into a romantic rivalry for the hand

Six

MOTION PICTURE REVIEWS

of Josette’s little understudy. There is much
confusion as to identity, a few tears are shed,
hut in the end it all works out to everyone’s
satisfaction. It is a flippantly gay musical
comedy of the “No, No, Nanette" type, embel-
lished by clever dialogue, diverting situations,
and delightful settings, marred by too much
drinking. Don Ameche and Robert Young
are excellent as the two brothers. Simone
Simon is charming and her voice is sweet, if
somewhat lacking in volume.

Adolescents, 12 to 16 Children. 8 to 12

Too sophisticated No

KEEP SMILING O O

This is a more suitable film for Jane With-
ers than many she has played in recently, for
while she is the same irrepressible, quick-
witted child, her pranks are those of a girl
of her age, never worldly-wise or malicious.
When the story opens she is in the midst
of a rehearsal of “Julius Ciesar" in a fashion-
able girls’ school. Soon the scene shifts to
Hollywood where she discovers that her only
living relative, a famous director, has fallen
upon evil days through drink and extrava-
gance, and it becomes the mission of Jane and
his adoring secretary to reclaim him. Good
atmosphere pervades the episodes in the
“guest home" and behind the scenes in the
big studio. The most affecting part is that
of the veteran actor (Pedro de Cordoba),
whose opportunity comes too late.

Adolescents, 1 2 to 16 Children, 8 to 1 2

Amusing Yes

LORD JEFF O O

of the faculty and the reactions of the boys
themselves arouse the latent fineness of his
character.

Adolescents, 12 to 16 Children, 8 to 12

Yes; fine Yes

MY BILL O O

Kay Francis, Bonita Granville, Anita Louise,
Bobby Jordan, John Litel, Dickie Moore,
Maurice Murphy, Elisabeth Risdon. From
the play "Courage," by Tom Barry. Screen
play by Vincent Sherman and Robertson
White. Direction by John Farrow. Warner
Bros.

Kay Francis in the role of the widowed and
impoverished mother of four children will
be a surprise to movie fans. In “My Bill”
she plays the part of Mary Colbrook, who,
with admirable but misguided courage, has
shielded her children from knowledge of
their dwindling finances until they happen
upon the facts and all but the youngest de-
sert her for a rich aunt. Bill, sympatheti-
cally played by Dickie Moore, stays by his
mother and is the instrument of her even-
tual good fortune. The plot includes a num-
ber of stock situations (such as a crochety
old woman whose heart is softened by Bill’s
engaging personality), and some of the action
seems overdrawn, particularly the odious be-
havior of the three selfish children. How-
ever, the picture is technically a nicely fin-
ished product and the story has considerable
appeal, although the allusions to the irregular
love affair of the mother and possibly doubt-
ful parentage of the small boy are unneces-
sary to the plot and out of place in this type
of entertainment.

Adolescents, 12 to 16 Children, 8 to 1 2

Perhaps Mature problem

MYSTERIOUS MR. MOTO O O

Peter Lorre, Mary Maguire, Henry Wilcoxon,
Erik Rhodes. Based on the J. P. Marquand
character Screen play by Philip MacDon-
ald and Norman Foster. Direction by Nor-
man Foster. 20th Century-Fox.

In this story Mr. Moto endeavors to
thwart the grim League of Assassins which
is using every means in its power to obtain
a new and valuable formula for manufac-

MOTION PICTURE REVIEWS

Seven

Adolescents, 12 to 16 Children, 8 to 1 2

Mature Exciting

PRIDE OF THE WEST O O

William Boyd, George Hayes, Russell Hay-
den, Earle Hodgins, Charlotte Field, Billy
King. Original by Clarence E. Mulford.
Screen play by Nate Watt. Direction by
Leslie Selander. Paramount.

Adolescents, 12 to 16 Children, 8 to 12

Excellent Depends on the

individual

PRISON FARM O O

Shirley Ross, Lloyd Nolan, John Howard, J.
Carroll Naish, Esther Dale, May Boley. Di-
rection by Louis King. Paramount.

Adolescents, 12 to 16 Children, 8 to 12

Horrible Horrible

THE RAGE OF PARIS O O

Danielle Darrieux, Douglas Fairbanks, Jr.,
Mischa Auer, Louis Hayward, Helen Brod-
erick. Original story and screen play by
Bruce Manning and Felix Jackson. Direc-
tion by Henry Koster. Universal.

Adolescents, 12 to 16 Children, 8 to 1 2

Sophisticated No

THE SHEIK O O

Rudolph Valentino, Agnes Ayres, Adolphe
Menjou. From the novel by Edith M. Hull.
Direction by George Melford. Jesse L.
Lasky.

Eight

MOTION PICTURE REVIEWS

hero who remains vital to this day. Rudolph
Valentino, the first of the glamorous young
men of the screen, is still the spirit of roman-
tic youth.

Adolescents, 12 to 16 Children. 8 to 12

Amusing Unsuitable

SPEED TO BURN O O

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Little interest

THE TOY WIFE O O

Luise Rainer, Melvyn Douglas, Robert
Young, Barbara O'Neil, H. B. Warner, Alma
Kruger, Libby Taylor, Theresa Harris. Screen
play by Zoe Atkins. Direction by Richard
Thorpe. M.G.M.

“Toy Wife’’ will be called a woman’s pic-
ture. It may also be called “dated,” picturing
a woman and a problem of another era.
True, it is set in the time of crinolines, slaves,
and huge plantations, when men fought duels
to salve their “honor," but there are always
decorative and impractical women, and some
men -will always seek them and marry them
to lighten the weight of serious living, and
believe themselves cheated when the “toy
wife” is incapable of meeting the issues in-
volved in home-making. Thus, the problem
is not entirely one of another day, although
women then were convention-bound and had
fewer outside resources on which to call for
help.

held. The child-wife realizes the situation
and makes the only sacrifice she thinks
she can.

No: tragic No interest

THREE BLIND MICE O O

Three sisters from a midwestern chicken
farm decide to take a $5,000 legacy on the
quest for a millionaire husband. Registering
at the Santa Barbara Biltmore. the most beau-
tiful sister poses as. an heiress with the other
two as maid and secretary, and many amusing
adventures befall the rural gold-diggers be-
fore they reach the goal of fortune and ro-
mance. To be sure, the motive is mercenary
and a bit sordid, but it is such an absurd plot
that it can be taken only as a modern fairy
tale. The cast is attractive, the dialogue is
sparkling, and farcical situations are cleverly
handled. There is more drinking than is nec-
essary for characterization. Those who object
to slap-stick will wish the latter part had been
subjected to the rigors of the cutting room,
but others will enjoy it.

Adolescents, 12 to 16 Children. 8 to 1 2

Rather sophisticated No

TROPIC HOLIDAY O O

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Little interest

MOTION PICTURE REVIEWS

Nine

WHEN WERE YOU BORN? O O

Margaret Lindsay, Anna May Wong,, Lola
Lane, Anthony Averill, James Stevenson,
Leonard Mudie. Original story by Manly
Hall. Screen play by Anthony Coldeway.
Direction by William McGann. Warner
Bros.

Poor No

WIVES UNDER SUSPICION O O

Warren Williams, Gail Patrick, Constance
Moore, William Lundigan, Ralph Morgan.
Suggested by a play by Ladislaus Fodor.
Original screen play by Myles Connolly.
Direction by James Whale. Universal.

Adolescents, 12 to 16 Children, 8 to 12

Unsuitable No

WOMAN AGAINST WOMAN O O

Due to good casting and superior produc-
tion values this film appears less superficial

Adolescents, 12 to 16 Children, 8 to 1 2

No No

YOU AND ME O O

Sylvia Sidney, George Raft, Robert Cum-
mings, Barton MacLane, Harry Carey, Ros-
coe Karns, Warren Hymer. Screen play by
Virginia Van Upp. Direction by Fritz Lang.
Paramount.

Impossible No

YOUNG FUGITIVES O O

Harry Davenport, Robert Wilcox, Dorotheo
Kent, Larry Blake, Clem Bevans. Screen
play by Ben Grauman Kohn and Charles
Grayson. Original story by Edward James.
Direction by John Rawlins. Universal.

Adolescents, 12 to 16 Children, 8 to 12

Ethically confused No

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PICTURE

REVIEWS

AUGUST
19 3 8

CONTENTS

The Affairs of Annabel
Always Goodbye
Booloo

Boy Meets Girl
Four's a Crowd
Garden of the Moon
I'll Give a Million
Little Miss Broadway
Love Finds Andy Hardy
Marie Antoinette
Meet the Girls
Mother Carey's Chickens
Passport Husband
Professor, Beware!

The Shopworn Angel
Sky Giant
The Texans
Time Out for Murder

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Vol. XII AUGUST, 1938 =_= No. 8

FEATURE FILMS

THE AFFAIRS OF ANNABEL O O

Jack Oakie, Lucille Ball, Ruth Donnelly,
Bradley Page, Fritz Feld, Thurston Hall,
Elizabeth Risdon, Granville Bates, Lee Van
Atta. Story by Charles Hoffman. Screen
play by Bert Granet and Paul Yawitz. Di-
rection by Ben Stoloff. R. K. 0.

Broadly kidding the publicity agents who
stop at nothing to get headlines for their
stars, this fast moving farce will please
many audiences. Because Morgan (Jack
Oakie) has a “BIG” idea about a prison
story, Annabel (Lucille Ball) is put in jail.
When she has lingered there, working in
the laundry, too long for her comfort, her
tolerance departs, and she emerges wrathful
and belligerent. Unfortunately her story is
scrapped and a new setting devised. By
clever scheming, Morgan again wins her sym-
pathy, and she agrees to take up general
housework to get local color and publicity
for the revised plot. Real gunmen get mixed
up in the situation, Annabel’s prison record
is a complication, and a boisterous finish pro-
vides all the excitement any thrill seeker will
desire. The film is not subtle but it is amus-
ing. Lucille Ball does not overplay, and thus
she stands out among the other more con-
ventional farceurs.

Adolescents, 12 to 16 Children, 8 to 12

Amusing No value

ALWAYS GOODBYE O O

Barbara Stanwyck, Herbert Marshall, Ian
Hunter, Cesar Romero, Lynn Bari, Binnie
Barnes, John Russell, Albert Conti, George
Davis, Eddy Conrad. Based on story by
Gilbert Emery and Douglas Doty. Screen
play by Kathryn Scola and Edith Skouras.
Direction by Sidney Lanfield. 20th Century-
Fox.

To like the story of “Always Goodbye,”
one must be willing to accept the traditional
Hollywood version of “Mother love first
and above all.” In real life it is not cus-
tomary for mothers who relinquish illegiti-
mate children to know where the babies are
placed, and only in movies can motives, in
reality complex, be made to seem as simple
and direct as this heroine’s. Margot Weston
decides to give up her child, born after her
lover is killed en route to marry her. Through
the help of a stranger who saves her from
suicide, she places her baby in a home for
adoption, obtains work in a dress shop and
in a few years becomes a buyer. She then
travels to Paris, putting on the sort of
miraculous fashion show we expect now of
“buyers” in the movies, accidentally meets her
child, and deliberately wins his love. Find-
ing the foster father, a wealthy widower,
about to marry a girl whom she deems un-
fit to become her son’s mother, she proceeds

Four

MOTION PICTURE REVIEWS

to eliminate the girl and marry the gentle-
man herself, although she admits that she
does not love him but is in love with the
man who has been her guardian angel
throughout the years. The several problems
of ethics and morals are somewhat involved,
but the production is cleverly done, smoothly
directed with humor and good dialogue, so
that audiences are swept overboard in an
orgy of sentiment. In acting, little John
Russell, Cesar Romero, and George Davis
in a bit part, take the honors from the stars.
Adolescents, 12 to 16 Children, 8 to 12

By no meant No

BOOLOO O O

Colin Tapley, Suratna Asmara, Arthur Lane,
Captain Stanley, Nah Laku, Lam Pak, Ah
Hoe, Rod DeSouza, Nah Pus, Ah Lee. Screen
play by Robert E. Welsh. Based on an
original by Clyde E. Elliott. Direction by
Clyde E. Elliott. Paramount.

Clyde E. Elliott, who directed “Bring ’Em
Back Alive’’ and “Devil Tiger,” brings
cinema audiences new thrills in his latest
jungle melodrama. The photographic record
of nine months spent in the northern Malay
Peninsula is the background for the blood-
curdling adventures of Robert Rogers, a
young English explorer. The young man’s
father had been discredited by the British
Exploration Society for his account of a
former expedition wherein he told of a white
tiger worshipped by the Sakai natives and
to which they sacrificed young maidens. At-
tempting to trap the white tiger, Rogers is
narrowly missed by the poisoned arrows of
infuriated natives, and all other members of
the expedition are killed. Fortunately he is
able to communicate by short-wave radio
with an army outpost and is rescued. The
film is entertaining because of the authentic
pictures of wild animals in their native sur-
roundings. It is also a tremendously thrilling
though somewhat incredible adventure story.
Adolescents, 12 to 16 Children, 8 to 12

Interesting but very Harrowing

exciting

BOY MEETS GIRL O O

James Cagney, Pat O'Brien, Marie Wilson,
Ralph Bellamy, Frank McHugh, Dick Foran,
Bruce Lester, Ronald Reagan, Paul Clark,
Penny Singleton, Dennie Moor, Harry Sey-
mour, Bert Hanlon, James Stephenson.
Adapted from a play by the same name
by Bella and Samuel Spewack. Direction by
Lloyd Bacon. Warner Bros.

This hilarious satire on Hollywood, so
popular on the stage, is literally translated
to the screen, and the laughs depend on the
dialogue which is fast and caustic. It pic-
tures studio life gone mad, and the insane
antics of a “half baked" personnel. Those

who remember “Once in a Life Time” will
see the resemblance, for Hollywood again
laughs at its own eccentricities. The treat-
ment is broad, even daring. It may offend
some, for the raucous comedy is far from
subtle. It is intended for laughter, and the
audience may for the most part respond. Per-
sonal reactions will be exactly what they
were to the stage version — entirely relative.
Marie Wilson is excellently cast and gives
an outstanding performance. Jimmy Cagney
has better opportunities than Pat O’Brien but
they are well paired.

Adolescents, 12 to 16 Children, 8 to 1 2

Not recommended No

FOUR’S A CROWD O O

Errol Flynn, Olivia de Havilland, Rosalind
Russell, Patric Knowles, Walter Connolly,
Hugh Herbert, Herman Bing. From a story
by Wallace Sullivan. Screen play by Casey
Robinson and Sig Herzig. Direction by
Michael Curtiz. Warner Bros.

For completely insane hilarity we recom-
mend “Four’s a Crowd.” Readers will be
spared our analysis of the plot for we are
still a bit hazy about it all, although there
is an impression left of four distinctly per-
sonable young people in love, but changing
the object of their affections so rapidly as
to make one dizzy; of an eccentric million-
aire who plays with toy trains, and of an ex-
citing race between two of the models. It
all makes little sense, and it doesn’t need to.
The cast is superlative. Each plays his lunatic
role with just the right amount of restraint,
and it is difficult to pick out one without
mentioning all. For highlights, possibly the
scene when “man bites dog” is one, or when
Errol Flynn is talking on the telephone to
two sweethearts and making each believe the
other call is business, or — but see it your-
self for relaxation without brain work.
Adolescents, 12 to 16 Children, 8 to 12

Good fun Confusing perhaps

but nothing ob-
jectionable

GARDEN OF THE MOON O O

Pat O'Brien, Margaret Lindsay, John Payne,
Johnnie Davis, Melville Cooper, Isabel Jeans,
Mable Todd, Curt Bois, Ray Mayer, Jerry
Colonna, Joe Venuti, Jimmie Fidler. Screen
play by Jerry Wald and Richard Macaulay.
From story by H. Bedford Jones and Barton
Browne. Direction by Busby Berkeley. War-
ner Bros.

John Quinn (Pat O'Brien) is the manager
of a California night club. His utter lack of
conscience involves him in many feuds — with
his orchestra leader, the hotel owners, the
union of hat checkers, and finally with Jimmy
Fidler (in person) who resents the release of
false news stories. Quinn is at last humbled,

MOTION PICTURE REVIEWS

Five

although not for long! The production is a
musical with a rather pretentious night club
setting. It glorifies swing music and “Joe
Venuti and His Swing Cats” who put in
some amusing moments. It is light, hilarious
at times, farcical always, and fairly enter-
taining.

Adolescents, 12 to 16 Children, 8 to 12

Passable No interest

I'LL GIVE A MILLION O O

Warner Baxter, Marjorie Weaver, Peter
Lorre, Jean Hersholt, John Carradine, J. Edw.
Bromberg, Lynn Bari. Based on a story by
Cesare Zavattini and Giaci Mondaini. Screen
play by Boris Ingster and Milton Sperling.
Direction by Walter Lang. 20th Century-
Fox.

Tony N ewlander, a young millionaire,
comes to the melancholy conclusion that all
who surround him are sycophants, caring
only for his wealth. He dives from his mov-
ing yacht, becomes a tramp, and finds the
one for whom he had been seeking, a girl
who can be his friend and love him for him-
self alone. It is a fanciful tale, pleasing be-
cause of a delightful vein of humor, good
acting, and a sound appraisal of the things
which are really worth while. It plays a new
variation on the theme that friendship and
happiness cannot be measured in dollars
and cents.

Adolescents, 12 to 16 Children, 8 to 12

Yes Too mature

LITTLE MISS BROADWAY O O

Shirley Temple, George Murphy, Jimmy Du-
rante, Edna Mae Oliver, George Barbier,
Edward Ellis, Phyllis Brooks, Donald Meek.
Original screen play by Harry Tugend and
Jack Yellen. Direction by Irving Cummings.
20th Century-Fox.

Apparently Shirley Temple must always
have a vaudeville, radio, or stage back-
ground to allow her to sing and dance, but
it does not seem to matter much, since it is
her winsome charm and her showmanship
which captivate. As Betsy Brown, the
adopted daughted of Pop who runs a cheap
hotel patronized chiefly by actors out of jobs,
she softens the heart of a wealthy and ec-
centric spinster and saves the day for Pop
and his roomers. The story is flimsy but
adequate. Shirley handles several emotional
scenes deftly and otherwise delights. George
Murphy’s dancing is pleasing, and the sup-
porting cast is good.

Adolescents, 12 to 16 Children, 8 to 12

Yes Yes

LOVE FINDS ANDY HARDY O O

Lewis Stone, Mickey Rooney, Cecilia Parker,
Fay Holden, Judy Garland, Lana Turner,
Ann Rutherford. From stories by Vivian R.
Bretherton. Screen play by William Ludwig.
Direction by George B. Seitz. M-G-M.

Here is a welcome addition to the series of
pictures about the Hardy family. When

young Andy falls in love with Polly and to
win her favor attempts to buy a car with-
out parental permission, he gets into many
difficulties and is saved from his trou-
bles by a sympathetic little girl next door.
(Judy Garland) She even goes to the dance
with him when Polly refuses to be present
and, when she is requested to sing by the
band leader, performs so well that she
captivates the audience. It is a wholesome
and humorous story of a normal family,
Lewis Stone being particularly good as the
sensible, far-seeing father, Mickey Rooney
most amusing as the boy Andy.

Adolescents, 12 to 16 Children, 8 to 12

Good Interesting

MARIE ANTOINETTE O O

Norma Shearer, Tyrone Power, John Barry-
more, Robert Morley, Anita Louise, Joseph
Schildkraut, Gladys George, Henry Stephen-
son. Screen play by Claudine West, Donald
Ogden Stewart and Ernest Vajda. Direction
by W. S. Van Dyke II. M-G-M.

In all the pageant of history there has
never been a court more glittering and more
extravagantly beautiful than that of Louis
XVI, and if one were to read stacks of dusty
volumes on the period one could not gain
the living impression of that court that one
obtains in viewing this production based on
the life of the pampered and hapless Marie
Antoinette. The story follows closely the
biography of Stefan Zweig, which is prob-
ably the fairest evaluation of the queen’s
character and which also brings to light
the influence in her life of the Swedish Count
Fersen who loved her deeply and strove to
avert the approaching doom. The first part
of the picture is all magnificence: the lofty
palace rooms at Versailles crowded with
richly garbed courtiers. The costumes, pre-
eminently those of Norma Shearer, set off
by elaborate wigs, are gorgeous beyond those
of any past production. Then faintly at first
comes the murmur of the suffering and un-
rest of the French people, ever recurring
like a motif in a symphony, growing in
volume and intensity till it breaks like a
roaring sea upon the aristocrats and the ill-
starred royalty. “After me the deluge”
Louis XV had prophesied. The latter part
of the picture is heart-rending: confinement
in the Tuileries, the desperate attempt at
escape, the squalid prison, the pitiless sep-
aration of husband and wife, mother and
son, the inexorable guillotine. Throughout
the film the acting is capable. Norma Shearer
in the title role develops from the careless,
heartfree girl to the tragic queen of the
closing scenes. Robert Morley as the king,
trapped by his inferiority complex, is out-
standing. John Barrymore gives one of his
finest performances as Louis XV ; Tyrone
Power lends the suitable romantic tone, and

Six

MOTION PICTURE REVIEWS

Joseph Schildkraut is the soul of Latin du-
plicity. So on down to the minor roles. The
direction is unusually fine, and the musical
score by Herbert Stothart increases the emo-
tional and aesthetic values.

Adolescents, 12 to 16 Children, 8 to 12

Good historical values Too harrowing

but rather mature

MEET THE GIRLS O O

June Lang, Lynn Bari, Robert Allen, Ruth
Donnelly, Gene Lockhart, Erik Rhodes, Wally
Vernon, Constantine Romanoff. Original
screen play by Marguerite Roberts. Direc-
tion by Eugene Forde. 20th Century-Fox.

This is thoroughly cheap, pointless picture
about two women night club entertainers who
lose their job after a brawl in a Honolulu
cafe and try to make their fare back to the
United States by gambling. Their adven-
tures are anything but edifying.

Adolescents, 12 to 16 Children, 8 to 12

No No

MOTHER CAREY'S CHICKENS O O

Anne Shirley, Ruby Keeler, James Ellison,
Fay Bainter, Walter Brennan, Donnie Duna-
gan, Frank Albertson, Alma Kruger, Mar-
garet Hamilton, Jackie Moran. From the
novel by Kate Douglas Wiggin and the play
by Kate Douglas Wiggin and Rachel Croth-
ers. Screen play by S. K. Lauren and Ger-
trude Purcell. Direction by Rowland V. Lee.
R. K. 0. Radio.

There is something reminiscent of “Little
Women” in this picture, although the period
depicted is a few decades later. It has the
same simplicity and charm and homespun
humor, and one becomes very fond of all the
members of the family from Mother Carey
(Fay Bainter) to three year old Peter who is
the most delightfully naughty small boy who
has appeared in the films for some time. The
four children call themselves Mother Carey’s
Chickens because they have wandered from
one place to another to be with their father,
an officer in the navy. How they find a haven
in a beautiful, old-fashioned home is the
theme of the story. The costumes are quaint
and charming, the humor is natural, and the
characterizations are unusually good.
Adolescents, 12 to 16 Children, 8 to 1 2

Excellent Yes

PASSPORT HUSBAND O O

Stuart Erwin, Pauline Moore, Douglas Fow-
ley, Joan Woodbury. Based on a story by
Hilda Stone. Screen play by Karen De Wolf
and Robert Chapin. Direction by James
Tinling. 20th Century-Fox.

This is a slapstick comedy with an involved
far-fetched plot concerning a simple-minded,
honest bus-boy in a cabaret, who is used as a
tool by gangsters and married to a rhumba
dancer to save her from deportation. In the
end he becomes their nemesis. Stuart Erwin’s

characterization is the one bright spot in a
tiresome film.

Adolescents, 12 to 16 Children, 8 to 12

Not recommended No

PROFESSOR, BEWARE 1 O O

Harold Lloyd, Phyllis Welch, Raymond Wal-
burn, Lionel Stander, William Frawley, Thurs-
ton Hall. From an original story by Cramp-
ton Harris, Francis M. and Marian B. Cock-
rell. Screen play by Delmar Daves. Direc-
tion by Elliott Nugent. Paramount.

Professor Lambert, Egyptologist, is bound
for the country of the Pharoahs to procure
missing tablets anent the ancient love affair
of Neferus and Anebi. By mischance he lands
in jail, escapes and rides the brakebeams
towards his destination, in his befuddled
mind identifying himself with the ancient
Neferus. Miraculously enough, the modern
edition of Anebi is endowed with a yacht.
Like most of Harold Lloyd's pictures, this one
abounds in slapstick and has many amusing
adventures. It is not up to his usual standard
as it drags at intervals and the comedy is
sometimes forced. Rating as a family picture,
it has enough hilarious episodes to keep the
children diverted, although some of the ref-
erences are beyond their understanding.
Adolescents, 12 to 16 Children, 8 to 12

Entertaining Yes

THE SHOPWORN ANGEL O O

Margaret Sullavan, James Stewart, Walter
Pidgeon, Hattie McDaniel, Alan Curtis, Sam
Levene. Based on a story by Dana Burnet.
Screen play by Waldo Salt. Direction by
H. C. Potter. M-G-M.

There is depth and genuine interest in this
production. The story is one which has been
enacted successfully on the screen before,
but with the swift passage of time and pic-
tures, many will have forgotten it. This
version is a worthy successor. It reaches a
high emotional standard and is one of the
few recent productions which deserves whole-
hearted praise. It takes us back to the period
of the Great War when the first American
divisions were embarking for overseas, and
it faithfully pictures the tension and the subtle
war hysteria which colored American re-
actions at the time, making the most un-
conventional situations seem plausible and
even right. The story tells what happens to
a hard, sophisticated actress whose cynical
attitude toward life is completely altered
when she comes in contact with a genuine,
artless youth from a Western ranch, who is
en route to the front. Her sacrifice for his
happiness is believable, and the ending, while
melodramatic, is satisfying because in no
other way could his ideal have remained un-
tarnished. It is beautifully produced with

MOTION PICTURE REVIEWS

Seven

stellar performances by Miss Sullavan, James
Stewart, and Walter Pidgeon. The dialogue
and settings are unusually good.

Adolescents, 12 to 16 Children, 8 to 12

Too mature Unsuitable

SKY GIANT O O

Richard Dix, Chester Morris, Joan Fontaine,
Harry Carey. Story and screen play by
Lionel Houser. Photography by Nicholas
Musuraca. Direction by Lew Landers. R.K.O.

“Sky Giant” has a routine melodramatic
plot and a climax which is a decided let-
down. On the other hand it deals with the
training of transport pilots and has several
scenes of flying which are of real interest.
The cast includes Richard Dix whose per-
sonality registers pleasantly, Chester Morris
who has not been seen frequently of late and
who also is an agreeable choice, Harry

Carey who is given the unsympathetic role
of an ex-army instructor whose strict dis-
cipline in the aeronautical school seems too
high-handed and pointless, and Miss Fontaine
who is an attractive and unaffected heroine.
Rivalry between Dix and Morris is the

pivotal problem, and the “simple” device of
friendly divorce the panacea. Without di-
vorce, what would movie plotters do to get
a happy ending? The expedition over Alaska
to lay out a route for transport planes is the
weakest part of the picture.

Adolescents, 12 to 16 Children, 8 to 12

Flying incidents of Too exciting and

interest little value

THE TEXANS O O

Joan Bennett, Randolph Scott, May Robeson,
Walter Brennan, Robert Barrat, Harvey Ste-
phens, Francis Ford, Bill Roberts, Raymond
Hatton, Clarence Wilson. Based on a story
by Emerson Hough. Direction by James
Hogan. Paramount.

“The Texans” is a portrayal of conditions
in Texas following the Civil War, when

the Southerners suffered innumerable injus-
tices at the hands of carpet-baggers. Joan
Bennett as Ivy Presnail represents the re-
bellious spirit of the South. She defies the
authority of the Northern interlopers and
plans to drive a herd of 10,000 head of cat-
tle across the Rio Grande into Mexico to
escape the newly imposed tax on livestock.
Kirk, an admirer, tries to convince her of the
futility of such a plan, but she stubbornly
persists, and the long trek starts. A grass
fire, a stampede, an attack by Indians, and
a dust storm harass the travelers and make
a series of magnificent spectacles. But un-
fortunately these scenes are not enough to
make the production worth while. The con-
trast between the grandeur of the setting
and the triteness of the story is distressing,
and the harder the actors try to make their
parts effective, the more painful is the result.
Adolescents, 12 to 16 Children, 8 to 12

Passable No

TIME OUT FOR MURDER O O

Gloria Stuart, Michael Whalen, Douglas
Fowley, Robert Kellard, Chick Chandler,
Jane Darwell, Jean Rogers, June Gale.
Based on an original story by Irving Reis.
Direction by H. Bruce Humberstone. 20th
Century-Fox.

A telephone “time girl,” hears a shot over
the phone and thus is able to give evidence
to establish an alibi for her sweetheart,
Johnny Martin. Why Johnny was suspected
of committing a murder and who really did
commit it are eventually explained, and the
murderer is conveniently shot by a gangster.
The plot depends on an unusual number of
coincidences but it all moves .along smoothly
and rapidly enough to sustain interest.
Adolescents, 12 to 16 Children, 8 to 12

Too sophisticated and No

ethically unsound

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MOTION

PICTURE

REVIEWS

SEPTEMBER
19 3 8

CONTENTS

Always in Trouble

Army Girl

Blockheads

Broadway Musketeers

Bulldog Drummond in Africa

Carefree

The Chaser

The Crowd Roars

Four Daughters

Freshman Year

Fugitives for a Night

Gateway

Girls on Probation
Give Me a Sailor
I'm From the City
In Old Mexico
Letter of Introduction
Little Tough Guy
Mr. Moto's Last Warning
My Lucky Star
Rich Man, Poor Girl
Road Demon
Safety in Numbers
Sing You Sinners
Smashing the Rackets
Spawn of the North
Three Loves Has Nancy

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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

Long Beach: Mrs. H. A. Barr Whittier: Miss Jeanette Perdew

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EDITORS

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10c Per Copy - - $1.00 Per Year

Vol. XII SEPTEMBER, 1938 No. 9

FEATURE FILMS

ALWAYS IN TROUBLE O O

Jane Withers, Jean Rogers, Arthur Treacher,
Robert Kellard, Eddie Collins, Andrew Tom-
bes, Nana Bryant, Joan Woodbury. Screen
play by Karen De Wolf and Robert Chapin
from an original by Albert Treynor and
Jeff Moffitt. Direction by Joseph Santley.
20th Century-Fox

In a proposterous mixture of melodrama
and slapstick, Jane Withers plays the part
of a precocious hard-boiled child who in-
volves her entire family in a ship-wreck and
then extricates them by a series of impossible
tricks. For admirers of Miss Withers’ pic-
tures this may offer passable entertainment.
Adolescents, 12 to 16 Children, 8 to 12

Poor Undesirable

ARMY GIRL O O

Preston Foster, James Gleason, H. B. War-
ner, Madge Evans, Neil Hamilton, Ruth
Donnelly, Billy Gilbert, Guinn Williams.
Direction by George Nicholls, Jr. Republic.

“Army Girl” is less about a girl than
about a belligerent, hardy little tank that
cavorts over the desert to prove that a tank
corps is likely to be more efficient in war
maneuvers than a seasoned cavalry troup.
The girl is the Colonel’s daughter. When
an army engineer is sent to the cavalry post
to demonstrate the performance of his mini-
ature tank, she plans to make the newcomer
ridiculous, but falls in love with him in-

stead. As the story progresses, the bitter re-
sentment of the cavalrymen and the jealousy
of one officer lead to a tragedy and the court-
martial of an innocent man. The plot is not
the best part of the picture, but the setting is
new and the race between the tank and the
cavalry is thrilling. H. B. Warner gives
dignity and sympathy to the role of the
Colonel and Madge Evans is a pleasing
heroine. Others are capable and convincing
in sterotyped characterizations.

Adolescents, 12 to 16 Children, 8 to 12

Yes Little interest

BLOCKHEADS O O

Stan Laurel, Oliver Hardy, Patricia Ellis,
Billy Gilbert, Minna Gombell. Screen play
by Charles Rogers, Harry Langdon, Felix
Adler, James Parrott and Arnold Belgard.
Direction of John G. Blystone. Hal Roach-
M G. M.

Laurel remains in the trenches for twenty
years, awaiting the return of his buddies who
went “over the top.” He finally returns to
America, is rescued from a soldiers’ home
by his friend Hardy, and reciprocates by sub-
merging him in a series of domestic diffi-
culties. Characterized by the usual brand of
slap-stick, this would make an entertaining
short subject, but it contains scanty material
for a full length picture.

Adolescents, 12 to 16 Children, 8 to 12

If they like slap-stick Yes

Four

MOTION PICTURE REVIEWS

BROADV/AY MUSKETEERS O O

Margaret Lindsay, Ann Sheridan, Marie
Wilson, John Litel, Janet Chapman, Dick
Purcell. Original screen play by Don Ryan
and Kenneth Garnet. Direction by John Far-
row. Warner Bros. -First National.

Three young women, Isabel, Fay, and Con-
nie, agree to hold a birthday party once a
year to report the main events of their lives.
Isabel who is bored by too much good fortune,
lets the worth while things in life escape her
and ends in tragedy. Fay finds complete hap-
piness because she is able to appreciate home
and a good husband. Connie too finds her
heart’s desire. The passage of time is ar-
tistically handled. Repetition of the birthday
dinners, with the variations which each year
brings about, is a triumph of direction.
Utilizing as it does so many of the sure fire
elements of pathos, suspense, and humor, this
picture is destined to be popular. Morals are
obvious, but good acting and direction keep
the story from being banal and preachy.

Adolescents, 12 to 16 Children, 8 to 12

Too mature Unsuitable

BULLDOG DRUMMOND IN AFRICA O O

John Howard, Heather Angel, H. B. Warner,
Reginald Denny, E. E. Clive, J. Carrol Naish
Based on "Challenge" by H. C. McNeile.
Screen play by Garnett Weston. Direction
by Louis King. Paramount.

Captain Drummond is really going to
marry Phyllis this time. But hold everything!
When she calls for Colonel Neilson, she finds
that he has been abducted and whisked away
to Africa by an international spy, and the
wedding party becomes a crime hunt. The
first part of the film is pleasing with delight-
ful English dialogue and amusing situations,
but the second half is fantastic and almost
too horrible for endurance. One is held in
suspense for fear the kidnapped victim will
be eaten alive by a starving lion which
eventually claws its master to death. On the
credit side are placed the fine photographic
studies of Morocco and the efficient acting
of H. B. Warner and John Howard.

Adolescents, 12 to 16 Children, 8 to 12

Too brutal Too brutal

CAREFREE O O

Fred Astaire, Ginger Rogers, Ralph Bellamy,
Luella Gear, Clarence Kolb Screen play by
Allan Scott and Ernest Pagano. Based on
original idea by Marian Ainslee and Guy
Endore. Direction by Mark Sandrich. R.K.O.

Here is good news for all Astaire-Rogers
fans! This time Astaire is a psychiatrist
who is asked to treat his best friend’s off-
again-on-again fiancee, Ginger Rogers, in
an effort to make her more constant. Instead
of responding properly to the treatment, she

falls in love with the doctor and the fun is
on. The scenario is exceptionally clever.
There are several good tunes and un-
usually good dance routines. Most beautiful
of all is the dance done in slow motion which
occurs in Ginger Rogers’ dream.

Adolescents, 12 to 16 Children, 8 to 12

Good Good if interested

THE CHASER O O

Dennis O'Keefe, Ann Morriss, Lewis Stone,
Nat Pendleton, Henry O'Neill. Screen play
by Everett Freeman, Harry Ruskin and Bella
and Samuel Spewack. Based on an original
story by Chandler Sprague and Howard E.
Rogers Direction by Edwin L. Marin.
M. G. M.

Another racket is exposed in “The Chaser”
which protrays a shyster lawyer who hunts
up victims of accidents and persuades them
to sue for large sums on trumped up evidence
and inadequate grounds. The story concerns
a plot to trap the shyster through a girl
posing as an accident victim. The two fall
in love, and after various complications, we
are given to understand that the girl is
going to succeed in reforming her husband.
The film is in the pot-boiler class.

Adolescents, 12 to 16 Children, 8 to 12

Poor No

THE CROWD ROARS O O

Robert Taylor, Edward Arnold, Frank Mor-
gan, Maureen O'Sullivan, William Gargan,
Lionel Stander, Jane Wyman. From a story
by George Bruce. Screen play by Thomas
Lennon, George Bruce, George Oppen-
heimer. Direction by Richard Thorpe.
M. G. M

With the completion of this film Robert
Taylor should be established as a red-cor-
puscled, tough-skinned hero, popular with
sports-loving males as well as the feminine
contingent. As Tommy McCoy, born in the
slums, fathered by an exasperating drunkard,
he fights his way upward in the only way
open to him, the boxing arena. To offset
his father’s debts he is forced to fight under
the sponsorship of a big-time gambler and
racketeer, and he falls in love with the
gambler’s daughter. It is melodramatic to
be sure; the beginning and the ending drag
somewhat, and ethical values are not always
clear cut. However, the cast is unusually
good with praise due Robert Taylor, Frank
Morgan, Edward Arnold, Maureen O’Sulli-
van and others; there are pleasing comedy
bits, and for those who are interested in
prize-fighting the film is high in entertain-
ment values.

Adolescents, 12 to 16 Children, 8 to 12

Questionable Too much violence

MOTION PICTURE REVIEWS

Five

FOUR DAUGHTERS O O

Priscilla Lane, Rosemary Lane, Lola Lane,
Gale Page, Claude Rains, John Garfield,
Jeffrey Lynn, Dick Foran, Frank McHugh,
May Robson. Screen play by Julius J. Ep-
stein and Lenore Coffee, from the Cosmo-
politan story by Fannie Hurst. Direction by
Michael Curtiz. Warner Bros.

“Four Daughters” has a rare charm that
cannot be described by any of the stock ad-
jectives usually applied to outstanding pic-
tures, yet it tells a simple story so effectively
that the episodes and characters will long
delight the “inward eye” of cinema audi-
ences. Something of the endearing quality
of Little IV omen is to be found in the story
of the four Lemp sisters, their delightful
father and lovable old Aunt Etta. In the
opening scene they are all living at home.
Only one has a serious beau, and the youngest
has vowed never to marry because she is
so completely happy in the present that she
cannot imagine ever wanting to leave the
family circle. When the picture ends, love
has brought both happiness and tragedy to
the household but their idealism and deep
mutual affection has kept their home intact.
All the players are eminently satisfactory but
Priscilla Lane is the most vivid of the sis-
ters, and Jules Garfield, as the pathetically
cynical young orchestrator, makes an unfor-
gettable contribution to screen portraiture.
Claude Rains, as the father, and May Robson,
as Aunt Etta, are ideally cast.

Adolescents, 12 to 16 Children, 8 to 12

Yes, though mature Too mature

FRESHMAN YEAR O O

Constance Moore, William Lundigan, Dixie
Dunbar, Stanley Hughes, Ernest Truex,
Frank Melton, Tommy Wonder. Original
story by Thomas Ahearn and F. Murray
Grossman Direction by Frank McDonald.
Universal.

Amusing but negligible, “Freshman Year”
will please those who are seeking comedy of
the lightest type. The plot offers no innova-
tions in the formula-made college pictures.
Chief events pictured are the Freshman-
Sophomore rush and the appearance of the
Freshman edition of the college paper contain-
ing a diatribe against one of the professors,
fraternity pledging, and a light opera which
gives an opportunity for the use of swing
music. Lundigan gives a good performance
as Bob; even better is Truex as the absent-
minded professor.

Adolescents, 12 to 16 Children, 8 to 12

Light fun Not much interest

FUGITIVES FOR A NIGHT O O

Frank Albertson, Eleanor Lynn, Allan Lane,
Bradley Page, Adrianna Ames, Jonathan
Hale, Russell Hicks, Paul Guilfoyle. Screen
play by Dalton Trumble. R. K. O.

In the beginning this picture seems to be
about to develop the thesis that it is nobler
to run a hot-dog stand than to be the stooge
for a self-centered actor. However, it shifts
its course and becomes a mediocre murder
mystery with a desert gambling club as back-
ground. It is a waste of time.

Adolescents, 12 to 16 Children, 8 to 12

Poor No

GATEWAY O O

Don Ameche, Arleen Whelan, Gregory
Ratoff, Binnie Barnes, Gilbert Roland, Ray-
mond Walburn, John Carradine. Based on
a story by Walter Reisch. Screen play by
Trotti Lamar. Direction by Alfred Werker
20th Century-Fox.

The story relates the vicissitudes of an
Irish girl traveling second class on a large
liner to meet her fiance in the United States.
A reporter inadvertently involves her in a
ship scandal which jeopardizes her chances
for admission. He eventually evens the score
by falling in love with her, but meanwhile
there is excellent opportunity for a descrip-
tive account of Ellis Island and a colorful
if slightly overdrawn picture of the various
types of people knocking at the gates of
America. There is an interesting presenta-
tion of the difficulties met by immigration
officials in attempting to deal fairly and sym-
pathetically with the newcomers. Although
Don Ameche is agreeable as the reporter,
he is not so effective as in some of his former
roles. Arleen Whelan is suitably cast.
Adolescents, 12 to 16 Children, 8 to 12

Interesting Mature

GIRLS ON PROBATION O O

Jane Bryan, Ronald Reagan, Anthony Aver-
ill, Shelia Bromley, Henry O'Neill. Original
screen play by Crane Wilbur. Direction by
William McCann. Warner Bros.

“Girls on Probation” is a run-of-the-mill
social drama dealing with the tribulations of
a young girl who, through bad associations,
has come under the jurisdiction of the
Court. There is no new or interesting light
shed on the problem, but the personalities
of the leading players attract enough sym-
pathy to hold the interest of the average on-
looker.

Adolescents, 12 to 16 Children, 8 to 12

Not good enough to Unsuitable

compensate for sordid
atmosphere

Six

MOTION PICTURE REVIEWS

GIVE ME A SAILOR O O

Martha Raye, Bob Hope, Betty Grable, Jack
Whiting. Based on a play by Anne Nichols.
Screen play by Doris Anderson and Frank
Butler. Direction by Elliott Nugent Para-
mount.

Two sisters, one endowed with a beautiful
face and the other with perfect legs and the
ability to cook, are both in love with one
brother, while the other brother is in love
with the pretty face. It is all quite clear to
begin with, but by the time affections are
shifted from one to another in the quartet
with the speed of a gyroscope, it takes an
agile mind to follow the course of true love.
Most of the parts are stagey and there is
a good deal of slap-stick. Martha Raye is
not so rampantly comic as usual.

Adolescents, 12 to 16 Children, 8 to 12

Depends on taste Probably funny

I'M FROM THE CITY O O

Joe Penner, Richard Lane, Lorraine Krueger,
Paul Guilfoyle, Kay Sutton. Story by Ben
Holmes. Screen play by Nicholas T. Bar-
rows, Rob't St. Clair and John Grey. Di-
rection by Ben Holmes. R. K O. Radio.

Most children, a good many college stu-
dents, and a lot of older people enjoy Joe
Penner. For those the film is recommended;
all others should be forewarned. It contains
broad humor with grunts and grimaces and
the antics of a moron to keep the plot
rolling. Unfortunately a similar story has
been used in a recent film. Pete, hampered
by an unnatural horror of horses, is trans-
formed into a brilliant circus rider by the
hypnotic power of Ollie, who acts as his
agent. Ollie eventually sells the services of
this equestrian marvel to an old lady in order
that he may compete in a bareback obstacle
race in the wild and wooly west. The race at
the end of the film with Pete holding over
his head a flapping duck which emits sounds
to simulate human language is simply hilari-
ous whether one likes Joe Penner or not.
Adolescents, 12 to 16 Children, 8 to 12

Yes Very funny

IN OLD MEXICO O O

William Boyd, George Hayes, Russell Hay-
den, Paul Sutton, Betty Amann. Based on
story by Clarence E. Mulford. Screen play
by Harrison Jacobs. Direction by Edward D.
Venturini. Paramount.

Hopalong, the unfailing, avenges the death
of the son of a Mexican general, in whose
home he is an honored guest. The story uses
all the stock situations of the usual Western,
is not particularly well written or acted, but
is chiefly notable for the beautiful outdoor
scenes with great sweeps of country, the ex-
cellent riding and the interesting views of
Mexican life. The musical accompaniment
adds a certain charm.

Adolescents, 12 to 16 Children, 8 to 12

Yes Too exciting

LETTER OF INTRODUCTION O O

Adolphe Menjou, Andrea Leeds, Edgar Ber-
gen and Charlie McCarthy, George Murphy,
Rita Johnson, Ann Sheridan Screen play
by Sheridan Gibney and Leonard Spigelgass.
Based on an original story by Bernice Boone.
Direction by John M. Stahl. Universal.

Most people will find high entertainment
value in this story of the theatre. It is es-
pecially well cast and expertly combines the
hilarious comedy of Edgar Bergen and
Charlie McCarthy with a serious and affect-
ing story. Adolph Menjou plays the tragic
role of John Mannering , a former matinee
idol. Andrea Leeds as Kay Martin comes to
him with a letter to show that she is his
daughter whom he deserted as a child. Man-
nering wishes to help her gain an opening in
the theatre, but to reveal to the public his
cleverly concealed age and the existence of
a grown daughter proves too great a sacrifice.
Kay’s romance and promise of success, to-
gether with the comic sequences in the film,
remove it from the catagory of tragedy.

Adolescents, 12 to 16 Children, 8 to 1 2

Very mature — sophis- No

ticated background

LITTLE TOUGH GUY O O

Robert Wilcox, Helen Parrish, Marjorie
Main, Jackie Searl, Peggy Stewart, Ed Paw-
ley, Billy Halop, Huntz Hall, Gabriel Dell,
Bernard Punsley, Hally Chester, David
Gorcey. Screen play by Gilson Brown and
Brenda Weisberg. Original story by Brenda
Weisberg. Direction by Harold Young.
Universal

Here is another picture in the boy gang
cycle using the “Dead End" Kids. This
time one of the boys, Johnny Boylan, is leader
of a group of lower New York High School
boys whose interests are aviation and whit-
tling. Sensitive and intelligent, he is deeply
touched when his father is taken to jail for
the unintentional murder of a strike-break-
ing policeman. His querulous shrew of a
mother thinks only of her own disgrace, not
of the family tragedy. Kay Boylan, pretty
and pert, is the inevitable older sister who
works as a clerk to support the others. Due
to the notoriety, she loses her job and breaks
her engagement, the Boylans are asked to
move, and Johnny is snubbed by his friends.
Within a short time after the trial which
sends Jim Boylan to the death house, his fam-
ily is living in poverty of a typical slum dis-
trict. Johnny is selling papers, having beaten
up “Pig!’ the former leader of the gang.
Between editions, he learns to enjoy the
gang’s tricks (swiping fruit, etc.) and grad-
ually becomes thoroughly tough. With a
touch of propaganda against police strike-
breaking methods and court injustice, the
story shows Johnny’s moral downfall due to

MOTION PICTURE REVIEWS

Seven

poor environment. In the end, understand-
ing and inherent fineness bring regeneration.
The social problem is the old one of poverty
and crime and their inevitable character
warping. The film is necessarily sombre,
though somewhat lightened by comedy
touches. Due to the realistic portrayal of the
boys it holds attention throughout despite
its fairly obvious denouement and the fact
that the solution seems too easy and simple to
be entirely convincing.

Adolescents, 12 to 16 Children, 8 to 12

No. Needs adult Unsuitable

evaluation

MR. MOTO'S LAST WARNING O O

Peter Lorre, Ricardo Cortez, Virginia Field,
John Carradine. Screen play by Phillip
Macdonald and Norman Foster. Based on
the character created by J. P. Marquand.
Direction by Norman Foster. 20th Century-
Fox.

A war between England and France, that
is to be precipitated by a third nation, is
prevented by almost superhuman efforts on
the part of Mr. Moto, a Japanese special
agent. The cast is good and the suspense
well sustained throughout a complicated plot.

Adolescents, 12 to 16 Children, 8 to 12

Emotional and No, too mature

involved

MY LUCKY STAR O O

Sonja Henie, Cesar Romero, Joan Davis,
Buddy Ebsen. Screen play by Harry Tugend
and Jack Yellen. Direction by Roy Del
Ruth. 2Cth Century-Fox.

The story, built to display Sonja Heine’s
exquisite talent, has some unpleasant features.
Far from amusing are the opening scenes
into which Sonia Heine is innocently thrust
in the role of wrapping clerk in a specialty
shop. To get her out of the way of being
a correspondent in the divorce trial, she is
sent by the firm to a small college to enter
as a co-ed but pay her way by displaying
sport clothes. These costumes provide a real
fashion show, and the student’s reactions to
her apparent lack of taste in changing her
costumes so often and showing off her
“wealth” are normal and funny. With the
exception of the opening reel we may en-
thuse properly over the picture with its lovely
skating scenes, catchy songs, and the beau-
tiful, novel and lavish Alice in Wonder-
land ice ballet which has never been equalled.
Joan Davis and Buddy Ebsen provide broad
humor, and as a whole the picture is good
family entertainment.

Adolescents, 12 to 16 Children, 8 to 12

Good Good

RICH MAN. POOR GIRL O O

Robert Young, Lew Ayres, Ruth Hussey,
Lana Turner, Rita Johnson, Don Castle,
Guy Kibbee, Sarah Padden, Gordon Jones,
Virginia Grey, Marie Blake. Screen play by
Jos. A. Fields and Jerome Chodorov. Based
on the play "White Collars" by Edith Ellis.
Adapted from the story by Edgar Franklin.
Direction by Rheinhold Schunzel. M. G. M

Audiences who enjoyed “White Collars”
on the stage will be equally entertained by
“Rich Man, Poor Girl.” The screen version
is sufficiently different in treatment to seem
new while it preserves the clever lines of the
original and has more variety in its action.
When young, good-looking Bill Harrison
proposes to his pretty secretary, the set-up
seems rather trite, but the amusing complica-
tions come from her family who are too in-
dependent to be considered objects of charity
by a rich son-in-law. Only Ma, of sturdy,
sea-going New England ancestry, sees Bill
for what he is worth; Pa is the typical, eld-
erly parent, affectionate but inarticulate;
younger brother Frank, a fellow clerk in the
hardware store, has aeronautical ambitions;
and little sister Helen, lighthearted, ’teen-age
student, is impressed by bright lights and
swing music. The main complication arises
from Cousin Henry, who never holds a job
over three weeks, thinks he invented the
middle class and is kept busy defending it
loudly and often. At Ma’s suggestion Bill
moves into the Thayer apartment and views
the family at close range. It takes a good
deal of forbearance on the part of Bill to
win the family’s confidence, but he eventually
does so and in the interim learns as much
from them as they do from him.

Adolescents, 12 to 16 Children, 8 to 12

Amusing Harmless, though

perhaps mature

ROAD DEMON O O

Henry Arthur, Joan Valerie, Henry Arm-
etta, Tom Beck, Bill Robinson, Jonathan
Hale. Screen play by Robert Ellis and Helen
Logan. Direction by Otto Brewer. 20th
Century-Fox.

Two young automobile racers are beset
with almost insuperable difficulties when
matched against three unscrupulous drivers
on the course. The film is mediocre because
of an obvious plot and stilted dialogue. The
cast is rather colorless with the exception of
Henry Armetta as Gamhini, the good-hearted
Italian, who raises the money to rebuild a
wrecked car for the two young friends. There
is interest for sport fans in the racing se-
quences with their attendant thrills.

Adolescents, 12 to 16 Children, 8 to 12

Fair Unsuitable

Eight

MOTION PICTURE REVIEWS

SAFETY IN NUMBERS O O

Jed Prouty, Shirley Deane, Spring Bying-
ton, Russell Gleason, Ken Howell, George
Ernest, June Carlson, Florence Roberts,
Billy Mahan, Marvin Stephens. Screen play
by Joseph Hoffman, Karen DeWolf and
Robert Chapin. From the original story by
Dorothy Manney and Zena George Direc-
tion by Malcolm St. Clair. 20th Century-
Fox.

The members of the Jones family once
more work out their private problems to a
satisfactory conclusion and in addition save
their fellow citizens from becoming the prey
of a wildcat scheme to promote a mineral
springs health resort in a swamp. When the
swindle is accidentally discovered by Roger
and Lucy, the crooks try to get away with
ninety thousand dollars of the people’s
money, but after a wild chase in which chil-
dren and grownups aid the police, the
thieves are caught and the funds recovered.
The film is pleasant light entertainment.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Yes

SING YOU SINNERS O O

Bing Crosby, Fred MacMurray, Donald
O'Connor, Elizabeth Patterson. Original
story and screen play by Claude Binyon.
Direction by Wesley Ruggles. Paramount.

Given the task of writing a screen story to
fit a crooner who is also a race track pro-
moter, Mr. Claude Binyon has done a clever
job. The story hangs together. The crooner
croons, the horses race, and the total effect
serves to build up a bigger public for Bing
Crosby and the Del Mar Track, and inci-
dentally to introduce a new screen family,
the Beebes. Audiences will like the Beebe
family consisting of Joe, the easy-going op-
portunist, David, the hardworking steady
brother, little Mike, and Ma, who just can’t
help loving Joe best. The humorous small
incidents of family life are entertainingly
pictured, and the Beebe family fortunes be-
come a matter of immediate concern to the
sympathetic onlooker.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining, but ques- Mature

tionable ethically be-
cause of race track
atmosphere

SMASHING THE RACKETS O O

Chester Morris, Frances Mercer, Rita John-
ston, Bruce Cabot, Edward Pawley. Sug-
gested by the Saturday Evening Post ar-
ticles by Forrest Davis. Screen play by
Lionel Houser Direction by Lew Landers.
R. K. 0. Radio.

While presumably this picture is suggested
by the Saturday Evening Post articles, it soon
wanders far afield, and the prosecutor of
filmdom has scant resemblance to the Thomas
Dewey of reality. It is an interesting, fast-
moving production, however. Chester Morris
plays a convincing District Attorney, and
the advice is straight from the shoulder, that
the public must be aroused before rackets
will be cast out. The story loses value be-
cause of tricky, theatrical methods employed
to elicit testimony, and because of the co-
incidence of two sisters becoming respectively
the prosecutor’s fiance and the chief gang-
ster’s love. Also the closing scene lacks dig-
nity and good taste.

Adolescents, 12 to 16 Children, 8 to 12

No Too brutal

SPAWN OF THE NORTH O O

George Raft, Henry Fonda, Dorothy La-
mour, Akim Tamiroff, John Barrymore,
Louise Platt, Lynne Overman. Based on a
story by Barrett Willoughby. Screen play
by Jules Furthman. Direction by Henry
Hathaway. Paramount.

Virile as the Alaskan narratives of Rex
Beach or Robert Service, this picture of the
far North provides strong melodrama with
the elemental conflict between outlaws and
those who proceed under the rules ordained
by civilization. Marked by brutal encounters,
it is not for the squeamish, but nevertheless
is the best of its class which has appeared for
some time. The spectacular scenery of the
Alaskan coast with its mighty icebergs and
far-flung forest land makes a splendid back-
ground, the operation of the salmon fisheries
an interesting foundation for a plot. Jim and
Tyler have been devoted friends from child-
hood till ambition leads one to ownership and
greed, and a sort of gay perversity spurs
the other to join the poachers. Henry Fonda
and George Raft are excellent in these parts.
Dorothy Lamour is well cast as the woman
who adores Tyler. John Barrymore gives a
vital performance, and Akim Tamiroff is a
born villain. No account would be complete
without mention of Slicker, the sleek and
personable seal who adds many a touch of
humor and pathos to the film.

Adolescents, 12 to 16 Children, 8 to 12

Not recommended Too much violence

Strong fare

MOTION PICTURE REVIEWS

Nine

THREE LOVES HAS NANCY O O

Janet Gaynor, Robert Montgomery, Fran-
chot Tone, Guy Kibbee, Claire Dodd, Reg-
inald Owen, Cora Witherspoon From the
story by Lee Loeb and Mort Braus. Screen
play by Bella and Sam Spewack, George
Oppenheimer and David Hertz. Direction
by Richard Thorpe. M. G. M.

Built upon a stock movie situation, this
frothy comedy is good fun because of amus-
ing dialogue and felicitous casting. Nancy,
a naive Southern girl, goes to New York to

find her run-away fiance and unceremoni-
ously moves into an apartment with two
chance acquaintances, a conceited, blase au-
thor and his publisher. Future developments
are funny though not unexpected as Nancy
makes herself indispensable to the comfort of
her skeptical hosts and, with the homespun
simplicity of her nature and her good cook-
ing, wins a husband.

Adolescents, 12 to 16 Children, 8 to 12

Too sophisticated and No

unconventional

SHORT SUBJECTS

FARMYARD SYMPHONY O O

Walt Disney. One reel in color.

With the delightful drawing and color
work for which Disney is noted, all the
denizens of the farm present themselves to
view: pigs, ducks, chickens, little colt and
calf. A black chanticleer courts a coquettish
white hen by singing grand opera. Like
some of the earlier shorts it contains details
which are a shade on the vulgar side. Family.

DONALD'S LUCKY DAY O O

Walt Disney. One reel in color.

Donald Duck is a messenger boy sent to
deliver a time bomb quite unawares. As the
hour of explosion approaches, he becomes in-
volved with a rare and racy looking black
cat, and their altercation takes place on a
see-sawing plank over the ocean’s edge, all
very precarious and almost nerve-racking.
Family.

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MOTION

PICTURE

REVIEWS

OCTOBER
19 3 8

CONTENTS

Boy's Town
Breaking the Ice
Campus Confessions
Drums

Grand Illusion

Hold That Co-ed

If I Were King

A Man To Remember

The Missing Guest

Mr. Doodle Kicks Off

Personal Secretary

The Mysterious Rider

The Road to Reno

Room Service

That Certain Age

Too Hot to Handle

The Sisters

Sharpshooters

Sons of the Legion

Straight, Place and Show

You Can't Take It With You

Youth Takes a Fling

Valley of the Giants

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MOTION PICTURE REVIEWS

Three

MOTION • PICTURE • REVIEWS

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10c Per Copy - - $ 1 .00 Per Year

Vol. XII OCTOBER, 1938 No. 10

FEATURE FILMS

BOY'S TOWN O O

Spencer Tracy, Mickey Rooney, Henry Hull,
Gene Reynolds, Bobs Watson, Donald Barry,
Frankie Thomas, Sidney Miller. From an
original story by Dore Schary and Eleanor
Griffin. Screen play by John Meehan and
Dore Schary. Direction by Norman Taurog.
M.-G.-M.

Here is an exciting and heart-warming
social drama, a story of the regeneration of
homeless, derelict boys who are on their way
to reformatories or worse. Unlike “Dead
End” it does not limit its field of enquiry to the
causes of delinquency, leaving the spectator
depressed by an apparently hopeless outlook,
but rather suggests positive steps toward
crime prevention. The picture is based on
the work of Father Flanagan, a Catholic
priest who twenty-five years ago dreamed a
vision and brought it to reality. “Boy’s
Town” is an incorporated city near Omaha,
Nebraska, where about three hundred boys
from broken homes and city streets learn to
live together and perfect themselves in
trades. They have their own laws and gov-
ernment, and proof of the value of the project
lies in the fact that four thousand boys have
found adjustment and happiness and are

recognized as worthy citizens in their own
communities after leaving the Town.

The picture has taken a fictional boy whose
criminal brother begs that he be given a
chance under Father Flanagan’s influence.
The boy almost persuades the priest that he is
incorrigible, but Father Flanagan’s faith in
him and association with the other boys
effect a transformation in JVhitey. It is an
emotional story, excellently played, especially
by Mickey Rooney who gives a stellar per-
formance. In cutting to average film length
many scenes of the work done at the farm
have been omitted, a loss to those interested
in the constructive influences which have so
much to do with strengthening character.
The source of public support is only sug-
gested, but the film is convincing and is a
real contribution to American ideals of serv-
ice to humanity. Norman Taurog’s direction
deserves special mention. Spencer Tracy is
as usual dependable and fine.

Adolescents, 12 to 16 Children, 8 to 12

Fine Emotional but

constructive

Four

MOTION PICTURE REVIEWS

BREAKING THE ICE O O

Bobby Breen, Charles Ruggles, Dolores Cos-
tello, Irene Dare, Robert Barrat, Dorothy
Peterson, John King, Billy Gilbert. Original
story by Fritz Falkenstein and N. Brewster
Moore. Screen play by Mary C. McCall, Jr.,
Manuel Seff Bernard Schubert. Direction by
Edward F. Cline. Principal Productions-
R. K. O.

Bobby Breen beams and warbles his way
from a stern Mennonite household into the
limelight of an ice-skating rink where he
shares honors with a very young and bril-
liant skater, petite Irene Dare. His ad-
ventures begin when he leaves home with a
rascally but amusing antique dealer to earn
enough money to rescue his widowed mother
from her unhappy existence in the household
of a narrow, religious brother-in-law. The
plot is sketchily developed, and the picture
is chiefly for those who enjoy Bobby Breen.

Adolescents, 12 to 16 Children, 8 to 12

Yes Yes

CAMPUS CONFESSIONS O O

"Hank" Luisetti, Betty Gilmore, Eleanore
Whitney, William Henry, John Arledge.
Original screen play by Lloyd Corrigan and
Erwin Gelsey. Direction by George Archain-
baud. Paramount.

Hank Luisetti, while not the hero, is the
chief asset of this picture. A novice in act-
ing, he is the world’s best performer on the
basketball floor, and when he raises the score
twenty-one points in six minutes to win the
game for the home team, there is little or no
exaggeration of his amazing skill. The col-
lege atmosphere is not authentic but is no
worse than that of the usual campus comedy.
The picture is bright and chatty, and the
transformation of the Freshman misfit into
the popular athlete is accomplished so nat-
urally by William Henry that many people
will wish him success in other roles.

Adolescents, 12 to 16 Children, 8 to 12

Yes Probably not

much interest

DRUMS O O

Sabu, Raymond Massey, Roger Livesey,
Valerie Hobson. Screen play by Arthur
Wimperis, Patrick Kirwin and Hugh Gray.
Based on an original story by A. E. W.
Mason. Direction by Zoltan Korda. London
Films-U. A.

“Drums" is a romantic and thrilling tale
of life and death at an English outpost in
India. Interest is centered in the little Indian
boy, Sabu, whose graceful charm should win
him many laurels. As youthful Prince Azim,
he is a most appealing figure heroically aid-
ing his British friends to overthrow a mur-
derous usurper. International hook-ups, can-

did cameras, and the uncompromising pens
of first-hand-information venders, such as
Vincent Sheean, Webb Miller, and Negley
Farson, have painted quite a different picture
of Anglo-Indian relations, but “Drums” is
exceedingly vivid fiction and carries the
spectator along at a high pitch of excitement.
In one scene the suspense is truly appalling.
Color photography greatly enhances the mag-
nificence of scenery and costumes.

Adolescents, 12 to 16 Children, 8 to 12

Very exciting Too violent and

tense

GRAND ILLUSION O O

Eric von Stroheim, Pierre Fresnay, Jean
Gabin, Dita Parlo. Screen play by M. Renoir
and Charles Spaak. French and German
dialogue, English titles. Direction by Jean
Renoir. World Pictures.

Art has been defined as “a true exponent
of the human spirit.” In the light of this
definition, “Grand Illusion” is art in its
highest form. It is a motion picture about
war which is concerned not with the physical
but with the spiritual aspects of war. Search-
ingly it analyzes the individual reactions to-
wards war and towards one another of
various prisoners in a German fortress.
Among them are two French officers, Captain
de Boeldieu, a sensitive aristocrat who has
always hated war, and Marechal, his me-
chanic, a professional soldier. Von Rauffen-
stcin, commandant in charge of the prison,
is an intellectual with cosmopolitan tastes
and an intimate knowledge of France and
England. After many months, the prisoners
learn to know their guards as human beings
and are made sorrowful by the sight of Ger-
man school boys drilling. Von Rauffenstein
and de Boeldieu find that were it not for the
war they might have been congenial friends,
and others find companionship not because of
nationality but because of similarity of tastes.
Yet all of them try endlessly to escape, to go
back to fighting. When at last two of them
succeed, they are given shelter by a young
German woman on a remote farm. One
falls in love with her, promises to return
when the war is over, but driven by what
he has been taught to believe is his duty,
leaves her and goes on to the Swiss border.
Thus, war is portrayed as a sort of uni-
versal madness impossible to reconcile with
human inclinations, too horribly unreason-
able ever to be understood by rational minds.
The entire cast performs with almost in-
spired conviction. The picture gives the im-
pression that it is a beautifully photographed
record of actual events.

Adolescents, 12 to 16 Children, 8 to 12

Mature but Too mature

worthwhile

MOTION PICTURE REVIEWS

Five

HOLD THAT CO-ED O O

John Barrymore, George Murphy, Marjory
Weaver, Joan Davis, Jack Haley, George
Barbier, Donald Meek. Original story by
Karl Tunberg and Don Ettlinger. Screen
play by Karl Tunberg, Don Ettlinger and
Jack Yellen. Direction by George Marshall.
Twentieth Century-Fox.

Always with the Fall season comes foot-
ball in college stadiums and on motion pic-
ture screens, but the novelty is to see John
Barrymore waving a pennant and even dash-
ing onto the field. We almost expect to have
him don the conventional garb and carry the
ball, but he is forcefully restrained from the
latter gestures. The picture is an amusing
satire on crooked politics and college games,
in which a run-down state university is re-
vamped to compete with a rival private in-
stitution, the alma mater of the opposing
candidate for the Senate. John Barrymore,
as the absurdly unethical Governor running
for the United States Senate, is hilariously
disreputable. George Murphy coaches, and
the co-eds follow his lead in a new tap swing
step called the "Limpy Dimp.” When Lizzie
Olsen (Joan Davis) carries the ball in a
wind storm, the scene is guaranteed to leave
the audience hysterical.

Adolescents, 12 to 16 Children, 8 to 12

Highly entertaining Yes

IF I WERE KING O O

Ronald Colman, Basil Rathbone, Frances
Dee, Ellen Drew, C. V. France, Alma Lloyd,
Heather Thatcher, Henry Wilcoxon. From
the play by Justin Huntly McCarthy. Screen
play by William Tummel and Henry Scott.
Musical score by Richard Hageman. Direc-
tion by Frank Lloyd. Paramount.

Hilaire Belloc has said that Francois Vil-
lon’s verse is “the living voice of a man
right out of 15th century Paris,” and this
awareness makes his legend a provocative
subject for stories of romantic adventure.
“If I Were King” idealizes Villon and Kath-
erine de Vaucelles: Villon — University stu-
dent and poet but a rascal consorting with
thieves and blackguards, is led to assist
Louis XI in the defence of Paris against the
Burgundians; and Katherine, metamorphosed
into a lovely lady-in-waiting to the Queen,
follows him into exile. In settings and ac-
tion we are thrust into the fascinating Paris
of the Middle Ages with all its beauty and
its social insecurity. While it is an enter-
taining enough picture, full of action and ex-
citement, the skilfully etched portrait of the
crafty, amusing Louis, given by Basil Rath-
bone will remain long in our memory. Among
the women Ellen Drew as Hugette is by far
the best.

Adolescents, 12 to 16 Children, 8 to 1 2

Good Exciting, perhaps

mature for most

A MAN TO REMEMBER O O

Anne Shirley, Edward Ellis, Lee Bowman,
William Henry, John Wray, Granville Bates,
Harlan Briggs, Frank M. Thomas, Dickie
Jones, Carole Leets, Gilbert Emery, Charles
Halton. Screen play by Dalton Trumbo.
From the story "Failure" by Katharine
Haviland-Taylor. Direction by Garson Kanin.
R. K. 0. -Radio.

Doctor Abbott was a man who walked
alone — misunderstood both by business men
and the members of his own profession. His
life was dedicated to caring for the sick.
The picture opens with his funeral procession
through the main street of the small town
where he practiced medicine. With only a
few exceptions, the whole town looks on with
grief and respect. Three of the leading busi-
ness men, however, sit in an office overlook-
ing the scene. They have hastened to demand
payment from Doctor Abbott's estate. The
impressive tribute to his memory is incom-
prehensible to them because they value every-
thing in money. In his box of valuables are
found receipted bills, promissory notes, and
other papers, and as these are examined one
by one, flash-backs on the screen reveal the
incidents that made up the highlights of his
life. The story is a simple, moving one of
altruism and perseverance, and it is told with
a genuine depth of feeling. Edward Ellis as
Doctor Abbott is very fine.

Adolescents, 12 to 16 Children, 8 to 12

Depressing in parts No, too mature

THE MISSING GUEST O O

Paul Kelly, Constance Moore, William Lun-
digan, Edwin Stanley. Based on a story by
Erich Philippi. Screen play by Charles Mar-
tin and Paul Perez. Direction by John
Rawlins. Universal.

Commonplace murder mystery in which a
reporter goes to a haunted house to investi-
gate a crime committed twenty years before.
Old devices are used, such as secret passages
and a room from which people mysteriously
disappear. The photography is unusually
good.

Adolescents, 12 to 16 Children, 8 to 12

Passable No

MR. DOODLE KICKS OFF O O

Joe Penner, June Travis, Richard Lane, Ben
Alexander, Billy Gilbert. Story by Mark
Kelly. Screen paly by Bert Granet. Direc-
tion by Leslie Goodwins. R. K. 0. -Radio.

There are those who think a full length
picture is too long for Joe Penner; certainly
there is enough Penner in this one to satisfy
his most ebullient fans. The plot is stale, all

Six

MOTION PICTURE REVIEWS

about a vacant-minded college student who
rises to sudden glory and wins the most
important football game of the season. Of
course, it is all broad farce, and those who
like Penner's brand of humor will enjoy it
without a doubt.

Adolescents, 12 to 16 Children, 8 to 1 2

Matter of taste Would probably enjoy it

PERSONAL SECRETARY O O

Story by Betty Laidlow and Robert Lively.
Screen play by Betty Laidlaw, Robert Live-
ly and Charles Grayson. Direction by Otis
Garrett. Universal. Cast: William Gargan,
Joy Hodges, Andy Devine, Ruth Donnelly.

In the movies, when a man meets a lady
rival in the newspaper field, he is bound to
marry her no matter how much she irritates
him at the start. So it happens in this story,
the chief variation from the set formula be-
ing the fact that the lady is a dabbler in
astrology who writes under the name of The
Comet and is convinced that a darkly tragic
female did not murder her husband, although
all the evidence reviewed by Mark Farrell
indicates that she did. The picture has en-
tertainment value because the characters are
individuals, clearly drawn; the dialogue is
fitting, and the direction is lively.

Adolescents, 12 to 16 Children, 8 to 12

Only fair Too mature

THE MYSTERIOUS RIDER O O

Douglas Dumbrille, Sidney Toler, Russel
Hayden, Charlotte Fields, Monte Blue.
Original story by Zane Grey. Screen play
by Maurice Geraghty. Direction by Lesley
Selander. Paramount.

Pecos Bill, who takes from the rich to give
to the poor, an outlaw for the reason that
twenty years earlier he was unjustly accused
of the murder of his partner, returns to his
former domains to thwart the dark charac-
ters who are robbing his long-lost daughter.
There is high action, with shooting and vil-
lainy. Beautiful camera views of fine West-
ern country, a pleasing musical score, and
the good characterization by Douglas Dum-
brille as the Rider are the best points of the
film. Gun battles are prolonged and the fist
fights between the hero and villain grow
tiresome.

Adolescents, 12 to 16 Children, 8 to 12

Above average Too much killing

Western

THE ROAD TO RENO O O N

Randolph Scott, Hope Hampton, Helen
Broderick, Alan Marshall, Glenda Farrell.
Story by Charles Kenyon and F. Hugh Her-
bert. Screen play by Roy Chanslor and
Adele Comandini. Direction by S. Sylvan
Simon. Universal.

Low in ethical value is the story of a thrice
married opera singer who hies herself to
Reno to divorce her rancher husband for an
aviator, and then cannot decide which one
she loves. Hope Hampton has a beautiful
voice, but her acting lacks conviction. Ran-
dolph Scott is good as the rancher, Glenda
Farrell amusing as the singer’s rival. Fine
photography of the range country with ex-
citing views of a round-up of horses by
aeroplane adds color to the film and com-
pensates somewhat for the dull and tawdry
scenes of the divorce court.

Adolescents, 12 to 16 Children, 8 to 12

Objectionable theme Impossible

ROOM SERVICE O O

Groucho Marx, Chico Marx, Lucille Ball,
Ann Miller, Frank Albertson. Screen play
by Morrie Ryskind. From the play by John
Murray and Allan Boretz. Direction by
William A. Seiter. R. K. O. -Radio.

The Marx Brothers, with their grotesque
make-up, are often very funny, but not in
“Room Service.” This is probably the fault
of the vehicle. It is no subject for the sort
of travesty in which such comedians might
shine, but a broad farce dependent for
laughs upon the predicament of a theatrical
producer continually thinking up new ruses
to keep himself and several companions from
being evicted from a hotel bedroom. There
are a few bright spots, but only the fans who
love the Marxes right or wrong are likely to
be pleased by this silly, monotonous picture.
Adolescents, 12 to 16 Children. 8 to 12

Waste of time No

THAT CERTAIN AGE O O

Deanna Durbin, Melvyn Douglas , Jackie
Cooper, Irene Rich, Nancy Carroll, John
Halliday, Jackie Searl, Juanita Quigley.
Original story by F. Hugh Herbert. Screen
play by Bruce Manning. Direction by Ed-
ward Ludwig. Universal.

Deanna Durbin feels the first heartbeats
of romance in this delightful story of a sub-
deb who finds a hero in a newspaper re-
porter wounded in the Spanish war. Her
entries in her beloved diary are typical of
a sixteen-year-old, things written in all seri-
ousness which seem very funny in the light
of mature years. When she attempts to attract
Vincent Bullit (Melvyn Douglas) by wearing
her mother’s sophisticated, strapless evening
gown, the grown-ups, including the object of
her affections, decide the matter has gone
too far. They are aided by Ken (Jackie
Cooper), her Boy Scout admirer, who is only
too glad to welcome her back to her regular
activities and associations of her own age.
Miss Durbin's singing adds a large measure
of charm to the picture. The supporting
cast is very pleasing.

Adolescents, 12 to 16 Children, 8 to 1 2

Excellent Yes

MOTION PICTURE REVIEWS

Seven

TOO HOT TO HANDLE O O

Clark Gable, Myrna Loy, Walter Pidgeon,
Walter Connolly, Leo Carillo. Screen play
by Lawrence Stallings and John Lee Mahin.
Based on story by Len Hammond. Direction
by Jack Conway. M. G. M.

“To Hot To Handle” is certainly enter-
taining if you like thrill upon thrill. It is
not a significant contribution. It does not fall
into the class with “Test Pilot” in which
Clark Gable and Myrna Loy recently ap-
peared, but interest never lags. The picture
is melodrama from first to last. It is like an
old-fashioned serial, chapter after chapter,
each more exciting than the last. It purports
to picture the adventures of news-reel re-
porters in China amidst bombing warfare,
airplane crashes and blazing rescues; in
America, flying over an exploding munitions
ship; in Dutch Guiana among savage tribes
from whom they miraculously escape. But
film technique is employed to perfection, giv-
ing us our money’s worth of vicarious ad-
venture, and no one can call it dull! The
cast is excellent, with special praise for
Clark Gable, Myrna Loy, Walter Pidgeon,
and Walter Connolly.

Adolescents, 12 to 16 Children, 8 to 12

Thrilling as fictional Very exciting

adventure

(£•

THE SISTERS O O

Errol Flynn, Bette Davis, Anita Louise, Ian
Hunter, Donald Crisp, Beulah Bondi, Jane
Bryan, Alan Hale, Lea Patrick, Laura Hope
Crews, Janet Shaw. From the novel by
Myron Brinig. Screen play by Milton Krims.
Direction by Anatole Litvak. Warner Bros.
Warner Bros.

In a time when family solidarity is ap-
parently the one great security on which to
pin one’s faith, motion pictures have given
us a number of worthwhile illustrations. The
theme of “Sisters” attempts to show the tie
which bound three girls, different in their
characteristics and ambitions but intimately
close in their affection and in their under-
standing of each other. Unfortunately the pic-
ture becomes simply the love story of one.
Most footage is given Louise, the eldest, whose
belief in herself and faith in another’s
powers of accomplishment find tragic disap-
pointment in her marriage to a lovable
wastrel. Errol Flynn is cast as a moody
newspaper reporter whose indolence, love of
wandering and taste for liquor cause heart-
break and defeat. Mr. Flynn is palpably
miscast, and Miss Davis rarely rises to the
dramatic heights with which we connect her
name because of past performances, al-
though she is always competent. The story
has been popular with the reading pub-

lic, and yet to many the book lacked the
unity and strength which would indicate
greatness. In the cinema version the inci-
dents which mould the lives of the other two
sisters are too casually sketched to seem in
any way significant or real, and the ending,
differing from the novel, leaves the spectator
in no way convinced that happiness is as-
sured to any of the girls. Credit is due to
Laura Hope Crews, for her short role stands
out as a brilliant achievement.

Adolescents, 12 to 16 Children, 8 to 12

Little interest No interest

SHARPSHOOTERS O O

Brian Donlevy, Lynn Bari, Wally Vernon,
John King, Douglas Dumbrille, C. Henry
Gordon, Martin Joseph Spellman, Jr. Story
by Maurice Rapf and Lester Ziffren. Screen
play by Robert Ellis and Helen Logan. Di-
rection by James Tinling. 20th Century-
Fox.

American news-reel photographers find in-
trigue and revolution in the Balkans. Bullets
fall like hail, assassinations are the order of
the day, but the camera grinds on, and while
Steve Mitchell, the newsman, keeps faith
with his employer, he also finds time to res-
cue the boy-king, dabble in romance with the
royal governess and restore peace and pros-
perity to the realm. Such a noisy, frantic
picture with the leading parts overplayed,
often lacking in dignity and a sense of fitness,
has little to offer. One receives the impression
that it has been hastily thrown together.
Adolescents, 12 to 16 Children, 8 to 1 2

No No

SONS OF THE LEGION O O

Donald O'Connor, Billy Lee, Billy Cook,
Evelyn Keyes, Elizabeth Patterson, Tim
Holt, Lynne Overman, William Frawley.
Original story and screen play by Lillie
Hayward, Lewis Foster and Robert F. Mc-
Gowan. Direction by James Hogan. Para-
mount.

The appeal of this film lies in the group
of clean-faced, shining-eyed youngsters such
as Billy Lee and Billy Cook. Equally en-
gaging, if unkempt, is Donald O’Connor as
a guttersnipe who reforms. His slang version
of the story of David and Goliath is a gem.
The picture contains a good deal of propa-
ganda for an organization of sons of Ameri-
can Legion members, showing their patriotism,
comradeship and assistance to the less for-
tunate in life. There is a less pleasant side
of the story when we see these mere babes
parading around in uniform just as they do
in Mussolini’s Italy, and when we see them
careening over the roads in an automobile
at breakneck speed in pursuit of a murderous
convict.

Adolescents, 12 to 16 Children, 8 to 12

Passable Bad ideas as

well as good

Eight

MOTION PICTURE REVIEWS

STRAIGHT, PLACE AND SHOW O O

Ritz Brothers, Richard Arlen, Ethel Mer-
nan, Phyllis Brooks. Based on a play by
Damon Runyan and Irving Caesar. Screen
play by M. M. Musselman and Allen Riv-
kin. Direction by David Butler. 20th Cen-
tury-Fox.

This is a noisy affair, crammed with the
crazy antics of the Ritz Brothers, who sing
shout, gesticulate, grimace, roll in the mud
and keep up a perpetual jamboree. Their
fans will find them excruciatingly funny, and
others will laugh sometimes in spite of them-
selves. The steeple-chase at the end is a
perfect riot. In the film they are three itin-
erant owners of a Shetland pony outfit who
fall heirs to a spirited racehorse because of
a wager between the owner and her fiance.
Adolescents, 12 to 16 Children, 8 to 12

If they like the Would probably

Ritz Brothers enjoy the

clowning

YOU CAN'T TAKE IT WITH YOU O O

Lionel Barrymore, Spring Byington, Jean
Arthur, Jimmy Stewart, Edward Arnold,
Miscna Auer, Ann Miller. From the stage
play by George Kaufman and Moss Hart.
Screen play by Robert Riskin. Direction by
Frank Capra. Columbia.

So much has been said and written of this
popular comedy that further comment seems
almost redundant. However, in our opinion,
the picture is even better than the stage play,
for it enlarges on the action, further ex-
plains Grandpa’s endearing personality, and
amplifies the principles which influence those
who come in contact with him and his unique
and positive philosophy. The production is
perfectly cast throughout, and direction of
its mad pace is faultless, bringing to the
whole a reality and an honesty which strike
a spiritual significance. Lionel Barrymore
needs no additional laurels for his crown,
but his performance is possibly the finest in
his career. The choice of Jimmy Stewart is
ideal, and the love scene in the park between
him and Jean Arthur leaves a memory to
be treasured for its exquisite simplicity. Each
spectator will find in the picture something
different perhaps, but to all it will surely
bring a realization that the world can be a

beautiful place to live in when greed and
cruelty are superseded by the simple rule of
charity to all.

Adolescents, 12 to 16 Children, 8 to 12

Excellent Yes

YOUTH TAKES A FLING O O

Andrea Leeds, Joel McCrea, Frank Jenks,
Dorothea Kent, Isabel Jeans. Screen play
by Myles Connelly. Direction by Archie
Mayo. Universal.

No matter how strongly a country boy
desires to spend his life on the bounding sea,
he cannot elude a girl who has burned a
candle to St. Joseph and prayed to find the
man of her dreams. Joe Meadows struggles
valiantly and tries every method he knows
from indifference to downright rudeness, but
in the end he is not equal to determined
little Helen. The way it is all worked out
furnishes good comedy, and the cast is pleas-
ing. It is a simple story of everyday people
whose reactions to various situations are
true to life.

Adolescents, 12 to 16 Children, 8 to 12

Yes Little interest

VALLEY OF THE GIANTS O O

Wayne Morris, Claire Trevor, Charles Bick-
ford, Alan Hale, John Litel. From the
story by Peter B. Kyne. Direction by
William Keighley. Warner Bros.

Here is a rousing frontier melodrama dis-
tinguished by spectacular color photography
of giant redwood forests and picturesque
scenes of tree felling and log rolling. The
scenario follows a traditional formula: es-
tablished settlers battle for their homesteads
against the invasion of land grabbing lumber
barons; when an appeal to the law proves
futile, dams are blown up, trains are wrecked,
and men are shot and hurled from cliffs —
which is all very thrilling and realistic even
though the outcome is obviously foreordained.
The film contains a distinct plea for forest
conservation and gives a clear idea of the
problem that confronted the pioneer lumber-
men. It is good entertainment of its type.
Adolescents, 12 to 16 Children, 8 to 12

Entertaining Exciting and

violent

SHORT SUBJECTS

New releases from the Walt Disney Studio which we recommend to your attention for

the entire family.

THE UGLY DUCKLING O O
Running time 9 minutes.

For almost a hundred years this Hans
Christian Anderson fairy tale has been a
favorite. The story concerns the plight of a
homely little fowl, hatched in the midst of a

brood of ducklings. Lonely and unloved, he
finds life bitter until he is at last enfolded
under the wing of a motherly and beautiful
swan and he discovers that he is really a
cygnet. This Disney production is exquisite
in execution and in sentiment. It is a musical
gem also and a beautiful presentation of the
original.

MOTION PICTURE REVIEWS

Nine

GOOFY AND WILBUR ❖

Running time 8 minutes.

Wilbur is a delightful, new character and
as much of an individual as any of the be-
loved Disney creations. Wilbur is a grass-
hopper, a pal of Goofy, whom he helps in
his fishing activities. But danger lurks!!
H is adventures are hilariously funny.

THE FARMYARD SYMPHONY O O

Running time 8 minutes.

This deals with a day in the lives of
typical barnyard animals, and the picture
catches their individual characteristics with
fascinating fidelity to nature. “Even cultural
die-hards who consider grand opera prac-
tically sacred” will have to admit that this
musical burlesque is uniquely and delight-
fully entertaining.

DONALD'S LUCKY DAY O <>

Running time 8 minutes.

Friday the 13th catches up with Donald,
who plays the role of messenger boy trying
to deliver a time bomb before it explodes.
Typical of the usual difficulties into which
the beloved Donald always seems to get
himself, this is hysterically funny.

THE PRACTICAL PIG O O

Running time 8 Vi minutes.

The demand to continue the adventures of
the popular Three Little Pigs has been so
great that another sequel has been devised.
The one wise pig evolves a lie detector
which manages to save his less practical
brothers from the wicked wolf, but in pun-
ishing them for their naughtiness it also
proves a boomerang to the inventor. Very
amusing.

THE BRAVE LITTLE TAILOR O O

Running time 8 minutes.

Grimm Brothers again furnish a tale for
the magic of the Disney paint pots. In the
role of the tailor, Mickey's usual bravado
gets him into a dangerous situation when his
innocent boasting indicates that he must be
the choice to kill the wicked giant. The set-
ting for this story is a novel departure with
elaborate backgrounds and milling “extras.”
Minnie also returns to the screen. It is an
enjoyable and exciting short, sure to thrill
young and old alike.

MOTHER GOOSE GOES HOLLYWOOD O

Running time 8 minutes.

“Although you will probably see many a
face that might seem vaguely familiar, we
must insist that any resemblance to charac-
ters living or dead is purely accidental.” So
runs the caption which sets the style for this
delicious burlesque. The well-known Holly-
wood stars come to life as nursery characters.
Bo Peep’ s resemblance to Katherine Hepburn
is a masterpiece. The picture is of greatest
appeal to audiences who can recognize the
characters.

FERDINAND THE BULL O O

Running time 8 minutes.

Here the Disney artists give their version
of the Munro Leaf-Robert Lawson “best
seller.” The studio’s purchase of the screen
rights to “Ferdinand” marks the first time
that the studio has ever purchased an out-
side work to be used as basis for a short
subject. The book's popularity with adults
as well as children arouses great anticipa-
tion for the picture and indicates the popular
appeal which it deserves. The lines are
read, the action follows on the screen. It is
of course very clever and is an artistic
achievement.

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MOTION

PICTURE

REVIEWS

NOVEMBER
19 3 8

CONTENTS

Angels With Dirty Faces

Annabel Takes a Tour

The Arkansas Traveler

Artists and Models Abroad

Brother Rat

The Citadel

Down on the Farm

Five of a Kind

The Great Waltz

King of Alcatraz

Listen, Darling

The Mad Miss Manton

Men With Wings

Stablemates

Submarine Patrol

Suez

There Goes My Heart
Touchdown, Army!

Vacation From Love
While New York Sleeps
Young Dr. Kildare
The Young in Heart

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MOTION PICTURE REVIEWS

Three

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Published monthly by

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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

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Address all communications to

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I Oc Per Copy - - $ 1 .00 Per Year

Vol. XII NOVEMBER, 1938 No. 11

FEATURE FILMS

ANGELS WITH DIRTY FACES O O

James Cagney, Pat O'Brien, Humphrey Bo-
gart, Ann Sheridan, George Bancroft, Billy
Halop, Bobby Jordan, Frankie Burke, Will-
iam Tracy, Marily Knowlden. From a story
by Rowland Brown. Screen play by John
Wexley and Warren Duff. Direction by
Michael Curtiz. Warner Brothers

If this film could be shown only to audi-
ences who are mentally equipped to evaluate
its contents and who could be roused by its
heart-breaking picture of slum boys to take
row. It is however extremely well acted, and
action against existing evils, it might be ethic-
ally justifiable. But for general release it is
bad. It is a return to the old type of gangster
film with a quick-thinking hero who attracts
sympathy and a certain degree of admiration.
The story is the usual one of the street gangs
of today who become the gangsters of tomor-
row. It is however extremely well acted, and
the development of the plot holds unusual
interest. The main characters are the priest,
Father Connolly, and the gangster, Rocky
Sullivan, who have grown up in the same
slum and who as boys belonged to the same
tough gang. Father Connolly is working to
save the boys from the influences of their
environment, but the gangster is their idol.

When Rocky is finally captured and about to
die in the electric chair, Father Connolly
pleads with him to give up his spirit of
bravado and go to his death apparently yel-
low and afraid, in order to make the boys
think that after all their hero is a coward
at heart. While this might influence the boys
in the picture who did not know the real
facts, to the boys in the audience it would
seem like a noble gesture on the part of
Rocky and would serve only to enhance their
admiration for him. If the idea of this film
is to show that crime does not pay, it cer-
tainly falls far short of the mark.
Adolescents, 12 to 16 Children, 8 to 12

Bad Impossible

ANNABEL TAKES A TOUR O O

Jack Oakie, Lucille Ball, Ruth Donnelly,
Bradley Page, Ralph Forbes, Frances Mercer,
Donald MacBride. Screen play by Bert Gra-
net and Olive Cooper. Story by Joe Bigelow
and Bert Granet. Direction by Lew Lander.
RKO Radio.

Films making fun of movie stars and pub-
licity agents have become too familiar to
excite much interest. Although lightly en-
tertaining and capably acted, this one is no
exception to the rule. It tells a farcical

Four

MOTION PICTURE REVIEWS

story of a temperamental actress on a per-
sonal appearance tour and of the desperate
efforts of her publicity agent to concoct a few
new stunts.

Adolescents, 12 to 16 Children, 8 to 12

Sophisticated No

THE ARKANSAS TRAVELER O O

Bob Burns, Fay Bainter, John Beal, Jean
Parker, Lyle Talbot, Irvin S. Cobb, B. F.
Allen, Dickie Moore, Ralph Remley. Based
on a story by Jack Cunningham. Screen
play by Viola Brothers Shore and Geo.
Sessions Perry. Direction by Alfred Stantell.
Paramount.

In a story much like those in which Will
Rogers used to play, the problems of a small
town family, economic and romantic, are
solved by a big-hearted and surprisingly
capable hobo. Bob Burns is the traveler who
arrives via the brake beams to take charge
of a newspaper owned by the widow of an
old friend and to help her win the fight
against unscrupulous politicians. Bob Burns’
drawling stories and homely maxims lend
flavor to the tale, Fay Bainter’s acting is
excellent, and the other parts are well taken.
Adolescents, 12 to 16 Children, 8 to 12

Good comedy Yes

ARTISTS AND MODELS ABROAD O O

Jack Benny, Joan Bennett, Mary Boland,
Charles Grapewin, Joyce Compton, The
Yacht Club Boys. From an original story
by Howard Lindsay and Russel Crouse.
Screen play by Howard Lindsay, Russel
Crouse and Ken Englund. Direction by
Mitchell Leisen. Paramount.

Under the aegis of Paramount, instead of
six delicious flavors, Jack Benny brings to
the screen the same ludicrously arrogant
personality that delights his radio audience.
The farcial elements of the picture become
immediately apparent when a theatrical
troupe stranded in France finds that there is
no Federal Theatre Project there. The plot
rollicks along until it is interrupted by a
welter of Lanvin, Schiaparelli, Patou and
Worth and concludes with a variation on the
usual procedure by permitting Jack to get
his girl.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Yes

<©

BROTHER RAT O O

Wayne Morris, Priscilla Lane, Johnnie Davis,
Jr., Jane Bryan, Eddie Albert, Ronald Rea-
gan, Jane Wyman. Screen play by Richard
Macaulay and Jerry Wald. From the play
by John Monks, Jr., and Fred F. Finklehoffe.
Direction by William Keighley. Warner
Brothers.

At Virginia Military Institute, classmates
are known to one another as brother rats;
hence the title of this clever comedy. We are
told that the authors of the original stage play

were brother rats themselves when they start-
ed to write the play, which might well account
for its unusual spontaneity, its rare under-
standing of the devious workings of young
minds, and its seeming omniscience in matters
of student mischief after taps. The boys who
hold the spotlight are three roommates. One
is a swaggering resourceful youth with a too
fertile imagination, who is continually getting
the others into scrapes. When the picture
opens the big baseball game and a prom are
about to take place and commencement is
not far off. Visiting girls are in town, and
the temptation to go calling after taps is
more than the boys can withstand. How each
escapade leads to another until one boy al-
most loses his diploma is told in a series
of hilarious scenes with here and there some
really poignant bits, for their problems are
sometimes extremely serious. The cast as a
whole is good, but Eddie Albert who played
in the New York stage production is out-
standing. Wayne Morris as Billy Randolph,
the ringleader in breaking the rules, has a
less pleasing role, for his misdeeds include
such unethical behaviour as betting with
other people’s money and pawning govern-
ment property.

Adolescents, 12 to 16 Children, 8 to 12

Needs mature analysis Questionable

THE CITADEL O O

Robert Donat, Rosalind Russell, Ralph Rich-
ardson, Emlyn Williams, Rex Harrison, Pene-
lope Dudley Ward, Francis Sullivan, Mary
Clare, Cecil Parker, Nora Swinburne, Ed-
ward Chapman, Athene Seyler, Felix Aylmer,
Joyce Bland, Percy Parsons, Dilys Davis,
Basil Gil, Joss Ambler. Based on the novel
“THE CITADEL" by A. J. Cronin. Screen
play by Ian Dalrymple, Frank Wead and
Elizabeth Hill. Additional dialogue by Em-
lyn Williams. Direction by King Vidor. Pro-
duced by Victor Saville. M-G-M.

Among the hundreds of motion pictures
released yearly, a few are arresting because
of originality in plot and treatment. “The
Citadel” is one of these. Adapted from a
notable best-seller, it must not be accepted
as a picture of the medical profession as a
whole, but rather as the experiences of one
man, the tests which he had to meet, his
personal reactions, and his eventual realiza-
tion of the true significance of his professional
oath. It is a deeply stirring tale. Set first
in the crude locale of the Welsh coal mines,
and then in London where the lure of
wealth and social prestige attracts him, it
has the added interest to American audi-
ences of having been actually made in
Great Britain against authentic backgrounds.
Not often would these varied experiences
fall to the lot of one man, but each is en-
tirely possible and they are the more ab-
sorbing because the story glorifies the men
who go through fire and emerge triumphant

MOTION PICTURE REVIEWS

Five

in a line of work of unparalleled importance
to laymen. Robert Donat brings to the
leading role convincing earnestness and sin-
cerity and sterling ability as an actor. Rosa-
lind Russell ably qualifies in the role of the
well-bred, idealistic wife who remained true
to her convictions and high standards. The
English cast is outstanding, particularly
Ralph Richardson as Denny. It is unusual
to find such careful casting and skilful di-
rection. In altering the novel for the screen
adaption the scenarists worked with the ad-
vice and approval of Dr. Cronin. The
changes in no way affect the original mo-
tivation and do not detract from essential
values. The production is dignified and
unusually worthwhile and has a rare com-
bination of emotional and intellectual appeal.
Adolescents, 12 to 16 Children, 8 to 12

Interesting though Mature

possibly mature

DOWN ON THE FARM O O

(The Jones Family) Jed Prouty, Spring
Byington, Louise Fazenda, Russell Gleason,
Florence Roberts, June Carlson, Dorris Bow-
den, Bille Mahon, George Ernest. Screen
play by Robert Ellis and Helen Logan. Di-
rection by Malcolm St. Clair. Twentieth
Century-Fox.

We hate to see the Jones Family get too far
away from normal living and familiar ex-
periences. However, John Jones (Dad) is a
blustering soul who seems to get himself into
unpredictable difficulties. Now he is to run
for the State Senate, his suitability for the
job being dependent on his skill as a corn
husker. It is broad and noisy farce, ac-
ceptable but not outstanding entertainment.
Adolescents, 12 to 16 Children, 8 to 12

Yes No great interest

FIVE OF A KIND O O

The Dionne Quintuplets, Jean Hersholt,
Claire Trevor, Cesar Romero, Slim Summer-
ville, Henry Wilcoxon, Inez Courtney, Jane
Darwell. Original story by Lou Breslow and
John Patrick. Direction by Herbert I. Leeds.
Twentieth Century-Fox.

The appearance of the miracle children,
the Dionne Quintuplets, would make any
film worth seeing. The sequences in which
they appear are utterly delightful. They are
apparently as simple and unconscious be-
fore the camera as ever and their sly hu-
mor and charm are captivating. In this they
sing, attempt a minuet, bathe dolls and put
them capably to bed, and serve tea. They
show careful and intelligent training which
is heart-warming. The story which holds
together the sequences about the children is
one of adults struggling by fair means and
foul to outwit each other in newspaper com-
petition. In comparison with the wholesome,

normal activities of the little girls, it seems
particularly banal, although it is no worse
than most pictures dealing with the accepted
movie version of modern business methods.

Adolescents, 12 to 16 Children, 8 to 12

Yes No special value

THE GREAT WALTZ O O

Luise Rainer, Fernand Gravet, Militza Korjus,
Hugh Herbert, Lionel Atwill, Curt Bois,
Leonid Kinskey, Al Shean, Minna Gombell,
George Houston, Bert Roach, Greta Meyer,
Herman Bing, Alma Kruger, Henry Hull,
Sig Rumann, Christian Rub. Original story
by Gottfried Reinhardt. Screen play by
Samuel Hoffenstein and Walter Reisch.
Music of Johann Strauss, II. Adapted and
arranged by Dmitri Tiomkin. Lyrics by
Oscar Hammerstein, II. Direction by Julien
Duvivier. M-G-M.

The gaiety of Strauss’ music pervades the
action as well as the score of this delight-
ful film, and Fernand Gravet presents a
dynamic portrait of young Johann Strauss,
II., whose personality and dance music took
Vienna by storm. Although the elder Strauss
had composed several hundred waltzes, it
was the son who earned the title of “Waltz
King” and who caught the imagination of
the people. The picture has a modernity un-
usual in costume drama. One almost has the
feeling that it is another “Alexander’s Rag-
time Band” of a different era. Interwoven
with the music and gaiety is a somber theme,
for dainty Luise Rainer plays the role of a
loving and neglected wife. Militza Korjus
makes her screen debut as the glittering
courtesan Carla Donner, a scheming prima
donna who succeeds in entangling Strauss in
a notorious love affair. She has a brilliant
coloratura soprano, and her singing will be
to many, a major attraction to the picture.
Though the continuity leaves something to be
desired and there are several instances of
carelessness in direction, the picture is un-
usually diverting entertainment. It is lavish
and fanciful, charming in many details, and
outstanding for its lovely music.

Adolescents, 12 to 16 Children, 8 to 12

Sophisticated Too mature

KING OF ALCATRAZ O O

Gail Patrick, Lloyd Nolan, J. Carrol Naish,
Robert Preston. Story and screen play by
Irving Reis. Direction by Robert Florey.
Paramount.

The name of the film is derived from the
villain of the story, a convict who escapes
from Alcatraz in the guise of an old lady,
and with the help of his gang gains com-
plete control of a freighter. However the
main characters of the film are the two radio
operators, rivals for the love of the ship’s
nurse, who strives to send out messages for
help. When one of them is wounded, the
nurse, with miraculous precision, performs an

Six

MOTION PICTURE REVIEWS

operation according to directions received by
wireless from the surgeon on another ship.
With plenty of action, well-written dialogue
and good photography the picture holds in-
terest, although various episodes are over-
done. In spite of the fact that the heroes
of the tale are radio men, there is too much
emphasis on the clever tactics of gangsters.
Adolescents, 12 to 16 Children, 8 to 12

Unwholesome Decidedly not

LISTEN. DARLING O <>

Judy Garland, Freddie Bartholomew, Mary
Astor, Walter Pidgeon, Alan Hale, Scotty
Beckett, Barnett Parker, Gene Lockhart,
Charley Grapewin. Screen play by Elaine
Ryan and Anne Morrison Chapin. From the
story by Katherine Brush. Direction by
Edwin L. Marin. M-G-M.

Freddie Bartholomew is no longer a little
boy. In this picture he is seen as a lanky
youth, driving a car and trailer along the
highway when he conspires with Pinkie Win-
gate (Judy Garland) to save her mother,
Dottie, from a marriage of convenience with
the town “Babbitt.” The picture is mildly
entertaining, giving Judy Garland an op-
portunity to sing, Mary Astor a chance to
appear as a sweetly sympathetic mother, and
supplying Walter Pidgeon with an ingratiat-
ing role as Mr. Thurlo'w who turns out to
be the solution to the problem. Freddie
Bartholomew has not an outstanding role
but handles his opportunities very well in-
deed, and Alan Hale as a nice god-fatherish
sort of person, has some amusing scenes with
little Scotty Beckett.

Adolescents, 12 to 16 Children, 8 to 12

Fairly entertaining Passable but not

particularly

interesting

THE MAD MISS MANTON O O

Barbara Stanwyck, Henry Fonda, Sam Lo-
vene, Frances Mercer, Stanley Ridges, Whit-
ney Bourne, Vicki Lester, Ann Evers, Cath-
erine O'Quinn, Linda Terry, Eleanor Hansen,
Hattie McDaniels, James Burke, Paul Guil-
foyle. Penny Singleton, Leona Maricle,
Kay Sutton. Story by Wilson Collison.
Screen play by Philip G. Epstein. Direction
by Leigh Jason. RKO Radio.

This is a type of picture seldom encount-
ered, a farcial murder mystery. It is an
utterly absurd, madcap affair with Henry
Fonda and Baibara Stanwyck and her bevy
of richly attired debutantes having the time
of their lives from beginning to end. The
plot is so wild and complicated that it is
difficult to follow, but nobody cares very
much. A spoiled darling, airing her dogs
at midnight, steps into an empty residence
in New York City and discovers a diamond

clip beside a murdered man, and the chase
is on! Enjoyment of the picture is wholly a
matter of taste. Some will recall Stanwyck
and Fonda in fine serious characterizations
and regret their performance in a “screw-
ball” production. Others will revel in
laughter.

Adolescents, 12 to 16 Children, 8 to 12

Not recommended Too complex

MEN WITH WINGS O O

Fred MacMurray, Ray Milland, Louise Camp-
bell, Andy Devine, Lynne Overman, Porter
Hall, Walter Abel, Kitty Kelley, Virginia
Weidler, Donald O'Connor, Billy Cook.
Screen play by Robert Carson. Photographed
by W. Howard Greene, A. S. C. and Wilfrid
M. Cline. Direction by William Wellman.
(Photographed in technicolor) Paramount.

“Men With Wings” falls somewhat short
of having epic quality, but it is a fine, dra-
matic story, arranged to point to significant
steps in the progress of aviation from the time
of the Wright Brothers’ flight down to the
present day. It would require an intimate knowl-
edge of aviation history to be familiar with all
the types of planes which are flashed on the
screen or to remember all the significant
flights which are brought to mind. The open-
ing scenes, however, have the greater sympa-
thetic interest. We are introduced to Nick
Ransom, a newspaper man who gives up his
job to concentrate on developing a flying ma-
chine, and to two small boys who, inspired by
Ransom, experiment with a kite which will
carry a passenger. They send up a little girl
(Ransom's daughter), because of her lighter
weight, and this episode is thrilling and
beautifully acted by the children. Ransom
builds his plane but is killed in its first flight,
leaving a warning to future aviators to turn
off the ignition when falling. For the next
thirty-five years the two boys and the girl
unimbittered by the tragedy in their youth,
hold to their belief in the future of flying. The
girl encourages and inspires the boys, until
one becomes a successful designer of aero-
planes, and the other interested only in flying,
follows the lure of adventure. Although the
human story is interesting and cleverly etches
the different characters of the men and their
relations to the woman, never-the-less it some-
what obscures the story of aviation.

The cast is excellent. The children, es-
pecially Virginia Weidler, are splendid and
Louise Campbell is lovely to look at and con-
vincing at every stage from young girlhood
to maturity. The color is unusually soft and
natural and many scenes are exceptionally
beautiful. It is an interesting film for the
family but the death of the aviator-inventor is
realistically sad for young children.
Adolescents, 12 to 16 Children, 8 to 12

Excellent Depends on in-

dividual

MOTION PICTURE REVIEWS

Seven

STABLEMATES O O

Wallace Berry, Mickey Rooney, Arthur
Hohl, Margaret Hamilton. Screen play by
Leonard Braskins and Richard Maibum.
From the story by William Thiele and
Reginald Owen. Direction by Sam Wood.
M-G-M.

Here is a story replete with human inter-
est, the regeneration of a derelict through
affection for a boy. As the stable boy who
has been presented with a supposedly worth-
less race-horse, Mickey Rooney is appealing
in his youthful anxiety to make his horse
win. He has ideal support in Wallace Beery
cast in a familiar role to which he is per-
fectly suited. The story gets under way with
difficulty but once the pace it set, action is
at top speed, and excellent comedy develops
in the sequences involving Margaret Hamil-
ton. Spectators are treated to views of Holly-
wood Park and Santa Anita racetracks and
to close-ups of Dauber, Seabiscuit and other
front rank favorites in their stalls. The
operation on Lady Q and the race she wins
are two scenes unsurpassed for suspense.
Adolescents, 12 to 16 Children. 8 to 12

Entertaining Questionable

SUBMARINE PATROL O O

Richard Greene, Nancy Kelly, Preston Fos-
ter, George Bancroft, Slim Summerville,
John Carradine, Joan Valerie, Henry Ar-
metta, Warren Hymer, Douglas Fowley,
J. Farrell MacDonald, Maxie Rosenbloom,
Dick Hogan, E. E. Clive, Ward Bond, Charles
Tannen, Robert Lowery, George E. Stone,
Elisha Cook, Jr., Jack Pennick, Charles Trow-
bridge, Moroni Olsen, Harry Strang, Victor
Varconi. From a book by Ray Milholland.
Screen play by Rian James, Darrell Ware
and Hans Peters. Direction by John Ford,
Darryl Zanuck in charge of production.
Twentieth Century-Fox.

“Submarine Patrol” harks back to the
World War when little wooden boats known
as the “Splinter Fleet” convoyed ships and
dropped bombs on enemy submarines. Though
it contains several thrilling sequences of
encounters at sea and vividly dramatizes
the hazards of life on submarine chasers, it
is intrinscially a narrative of the experiences
of Perry Townsend, III., who learned all
about motors on his father’s yacht but noth-
ing about discipline, and enlisted in the
navy as a chief engineer under the im-
pression that he would soon become an ad-
miral. In the beginning a great deal too
much footage is devoted to his insufferable
bumptiousness, but when the ship pulls out
to sea the story becomes both exciting and
amusing. The group of seasoned actors
who are cast as the greenhorn crew are re-
sponsible for a good deal of the success of
the picture. Of course Townsend is in love
with a girl, and their romance plays a con-
siderable part in the action. The highlight
of the film is the battle between the sub-

marine chaser and a German U-boat. With
the passage of time, movies of the World
War seem to be trying to avoid attitudes
of prejudice and hate, and for this “Sub-
marine Patrol” is commendable. Neverthe-
less it does show war as a thrilling adventure
and for that reason is not to be unreservedly
recommended.

Adolescents, 12 to 16 Children, 8 to 12

Questionable Too exciting

SUEZ O O

Tyrone Power, Loretta Young, Annabella,
J. Edward Bromberg, Joseph Schildkraut,
Henry Stephenson, Sidney Blackmer, Sig
Rumann, Nigel Bruce. Based on the story
by Sam Duncan. Screen play by Philip
Dunne and Julien Josephson. Direction by
Allan Dwan. Twentieth Century-Fox.

Everyone who likes a spectacular movie
will probably want to see “Suez.” The
glittering pageantry of the court of Na-
poleon, III., the sweeping panoramas of
the canal under construction, the dynamit-
ing of a mountain, and the terriffic simoon
put this film in the class with such pro-
ductions as “Old Chicago,” “Marie An-
toinette” and “Hurricane.” Historically it
is impressionistic rather than accurate. It
recreates the atmosphere of the times, the
political intrigues, and the attitudes of con-
temporary statesmen towards the proposed
building of the Suez Canal, but the plot is
largely fictional. The casting of the youth-
ful Tyrone Power in the role of de Lesseps,
who was actually middle-aged, and the in-
troduction of a romantic attachment between
him and the Countess Eugenie are con-
cessions to popular taste which unfortunately
weaken the film dramatically. Though dig-
nified and sincere in his acting, Tyrone
Power is not convincing either as a French
aristocrat or as the engineer who was capable
of winning the backing of nations and di-
recting the vast project of the Suez Canal.
Adolescents, 12 to 16 Children, 8 to 12

Interesting Too long and too

mature

THERE GOES MY HEART O

Fredric March, Virginia Bruce, Patsy Kelly,
Alan Mowbray, Nancy Carroll, Eugene Pal-
lette, Claude Gillingwater. From an orig-
inal idea by Ed Sullivan. Screen play by
Eddie Moran and Jack Jevne. Direction by
Norman Z. McLeod. Hal Roach-United
Artists.

Another poor little rich girl proves her
right to live her own life. Chain store
heiress jumps overboard when left alone
on a palatial yacht and eventually as a
clerk in a department store finds happiness,
heightened by a love affair with a hand-
some newspaper reporter. The picture is
somewhat slow-moving and cumbersome, and

Eight

MOTION PICTURE REVIEWS

although it is fairly entertaining, lacks
really stimulating qualities. The principal
actors are good but have achieved better
performances. Some of the photography is
excellent.

Adolescents, 12 to 16 Children, 8 to 12

Passable Mature

TOUCHDOWN. ARMY! O O

John Howard, Robert Cummings, Mary Carl-
isle, Owen Davis, Jr. Story and screen play
by Lloyd Corrigan and Erwin Gelsey. Direc-
tion by Kurt Neumann. Paramount.
Football, plus the background of West
Point, always offers sufficient pageantry for
an entertaining film. There have been bet-
ter films on the same subject, but this is
worth seeing, and when a young man with
political connections from a “gas house” dis-
trict of New York City is actually made
into a gentleman, one cannot fail to be im-
pressed by the training accorded youths of
the Military Academy. The football victory
over Navy is won, of course, in the last
split second of play. A real stroke of orig-
inality in films would be a game which was
won in the second quarter.

Adolescents, 12 to 16 Children, 8 to 12

Good Might enjoy it

VACATION FROM LOVE O O

Dennis O'Keefe, Florence Rice, Reginald
Owen, June Knight, Edward S. Brophy.
Original story and screen play by Patterson
McNutt and Harlan Ware. Direction by
George Fitzmaurice. M-G-M.

This is about the most “weary, stale, flat,
and unprofitable” film of the season. It
completely outdoes itself trying to make an
amusing story of ill-considered marriage and
Paris divorce.

Adolescents, 12 to 16 Children, 8 to 12

Very poor No

WHILE NEW YORK SLEEPS O O

Michael Whalen, Jean Rogers, Chick Chan-
dler, Joan Woodbury. Original story by
Frank Fenton and Lynn Root. Twentieth
Century-Fox.

When seven messengers are killed, one by
one, while carrying bonds from an insur-
ance company to a bank, a reporter with
keen intuition sets himself to find the identity
of the murderer. As a mystery it is interest-
ing enough to follow, but social values are
poor with scant respect for officers of the
law and a cloak of cleverness accommodated
to criminal practices.

Adolescents, 12 to 16 Children, 8 to 12

Bad point of view No indeed

YOUNG DR. KILDARE O O

Lionel Barrymore, Lew Ayres, Lynne Carver,
Nat Pendleton, Joe Ann Sayers, Samuel S.
Hinds. Screen play by Harry Ruskin and
Willis Goldbeck. From an original story by
Max Brand. Direction by Harold S. Bucquet.
M-G-M.

A new series has been promised by M.G.M.
starring Lew Ayres and Lionel Barrymore.
It is based on stories by Max Brand, and
concerns the exploits of young Dr. Jimmy
Kildare and the older, more experienced
diagnostician Dr. Leonard Gillespie. In this
first chapter, which is a complete story in
itself, Dr. Kildare commences his internship
at a large city hospital where he finds that
politics play a considerable part in the career
of a young doctor. He finally turns detective
to prove the soundness of a diagnosis and
eventually wins the respect of his chief after
very nearly being dismissed from the hospital
by the Board of Directors. Though Dr. Kil-
dare’s experiences and the conduct of the
hospital affairs cannot be considered typical,
the story is convincingly and intelligently
handled and stresses a high order of idealism
and personal integrity. As Dr. Kildare, Lew
Ayres immediately wins audience sympathy,
and as Dr. Gillespie, Lionel Barrymore again
creates one of his dynamic and lovable
portraits. If the series continues as it has
begun, it will be justly popular.

Adolescents, 12 to 16 Children, 8 to 12

Interesting Too mature

THE YOUNG IN HEART O O

Janet Gaynor, Douglas Fairbanks, Jr., Min-
nie Dupree, Roland Young, Billie Burke,
Paulette Goddard, Richard Carlson, Henry
Stephenson, Irvin Cobb. From a story "The
Gay Banditti," by I. A. R. Wylie. Adapted
to the screen by Charles Bennett. Screen
play by Paul Osborn. Direction by Richard
Wallace. Musical score by Franz Waxman.
United Artists.

David O. Selznick’s productions are pic-
tures to be anticipated, and this one more
than comes up to expectations. It has some-
thing to say and it says it eloquently. It
combines subtle direction, an exceptional
cast, and an unusual and human story which
has spiritual significance. “The Gay Ban-
ditti” from which it was adapted was writ-
ten by I. A. R. Wylie, a capable and inspir-
ing writer. Its translation to the screen is
very fine, and brilliant direction has kept
it free from sentimentality, with just the
right balance of smart flippancy and emo-
tional depth to make it unusually appealing.
It is the story of a wonderful old woman’s
part in the regeneration of a family of
shrewd and unscrupulous renegades who
have planned to victimize her, but who
gradually are completely won over by her

MOTION PICTURE REVIEWS

Nine

understanding sympathy, universal tolerance,
and faith in them. Their transformation is
brought about with so much subtlety and
persuasiveness that there is no feeling of
insincerity: rather it leaves one with the
belief that all things are possible under the
right circumstances.

It is difficult to single out any performance
above another. Minnie Dupree plays the
elderly woman perfectly, there is nothing
maudlin or exaggerated in her beautiful
portrayal. Douglas Fairbanks, Jr., and Janet
Gaynor have never appeared to better ad-
vantage. Paulette Goddard brings to her
role, directness and a poise which make the
girl’s effect on the boy (Fairbanks) seem en-
tirely convincing. Roland Young is flawless
in his part, and Billie Burke as the usual

silly flighty woman gives just the right touch
without stepping over the border-line into
straight farce. Richard Carlson, a newcomer,
displays personality and charm, and Henry
Stephenson is as always competent.

The musical score is notable, suggesting
the mood without obtruding. It is not to be
overlooked in the success of the picture. To
those who wish to enjoy brilliant smart dia-
logue, a clever story, interesting settings,
subtle humor, and a heartwarming belief in
the inherent worth of faith as applied to
daily living, we recommend “The Young in
Heart.”

Adolescents, 12 to 16 Children, 8 to 12

Yes Possibly too subtle

for general ap-
preciation

ANNOUNCEMENT

The California Children’s Festival Associa-
tion is presenting the Clare Tree Major
Children’s Theatre of New York in three
performances at the Wilshire Ebell Theatre.
The plays are “Peter Pan” on Saturday,
November 12th ; “The Little Princess” Decem-
ber 17th; “King of the Golden River”
February 4th, both mornings and afternoons.
This the company’s first visit to the Pacific
Coast and it has the endorsement of many
persons here well qualified to ensure its
merit. Information may be had from Miss
Frieda Sterling, 1067 No. Fairfax, GRanite
2645.

SUBSCRIPTION ORDER BLANK

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DECEMBER

19 3 8

CONTENTS

Arrest Bulldog Drummond
The Beachcomber
The Cowboy and The Lady
Dark Rapture
Dramatic School
Everybody's Baby
Flirting With Fate
The Frontiersman
Hard to Get
Illegal Traffic
The Inside Story
lust Around The Corner
The Last Express
Out West With The Hardys
Pardon Our Nerve
Peck's Bad Boy With The
Circus

Say It In French
Service De Luxe
Tarnished Angel
The Shining Hour
Spring Madness
The Storm
The Sunset Trail
Thanks For The Memory
Up The River

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Crafts and Hobbies — Puzzles

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“We feel that you are setting a new high standard among the children’s magazines
today. Your authors are chosen among the best in the field of juvenile literature.”

Dr. Arthur I. Gates,

Teachers College, Columbia University.

“The first American child’s magazine with a definite and truly artistic standard.”

A European Subscriber.

Endorsed by The Association for Childhood Education, The Society
for Curriculum Study and The Association for Arts in Childhood.

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Los Angeles, California

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Vol. Xn DECEMBER, 1938 No. 12

FEATURE FILMS

ARREST BULLDOG DRUMMOND O O

John Howard, Heather Angel, H. B. War-
ner, Reginald Denny, E. E. Clive, Elizabeth
Patterson. Based on "The Final Count" by
H. C. McNeile. Direction by James Hogan.
Paramount.

Because of his overzealousness to solve a
crime, Drummond narrowly escapes destruc-
tion. For about the fifth time he almost mar-
ries Phyllis, and again is prevented by an
infernal machine perpetually about to go off
and blow everyone to bits, which seems
strangely ineffectual when it does perform.
H. B. Warner, Heather Angel and John
Howard are all too capable for this style of
picture, employing a combination of manu-
factured thrills with a thin, near-English
brand of humor which seldom “clicks.”
Adolescents, 12 to 16 Children, 8 to 12

Only fair Too tense

THE BEACHCOMBER ❖ O

Charles Laughton, Elsa Lanchester, Tyrone
Guthrie, Robert Newton. From the story,
"Vessel of Wrath," by W. Somerset
Maugham. Written for the screen by Bart-
lett Cormack. Direction by Erich Pommer.
May Flower Pictures-Paramount.

Here is an extremely interesting psycho-
logical study of four white persons living

alone among natives on an island in the
Dutch East Indies, who are amazing con-
trasts in temperament, inheritance and
ideals. The Controleur (Robert Newman)
is a Dutchman, educated in England, a man
of keen and human understanding who is
bored and lonely in his isolated position.
Two are English missionaries, the Reverend
Jones (Tyrone Guthrie), a fanatic zealot,
intense and ascetic, and his dull, repressed
sister (Elsa Lancaster), who is bitterly in-
tolerant and incapable of understanding
human frailties. The fourth is The Beach-
comber (Charles Laughton), son of an Eng-
lish vicar, now a remittance man, an easy-
going hedonist, thoroughly disreputable, and
representing all that the Reverend Jones and
his sister fear and detest. The lonely Con-
troleur finds in Ginger Ted his only com-
panionship, but the man’s refusal to conform
to decency makes him an intolerable problem.
The story of the relationships of the four
and the ultimate crisis which arises is un-
usual and intellectually arresting. Its so-
phistication is handled with tact and sim-
plicity, and the sardonic ending is a master-
piece.

The cast is superb, and the combination
of Erich Pommer and Charles Laughton is

Four

MOTION PICTURE REVIEWS

a gratifying one. In giving credit, Dudley
must not he overlooked. He is a most de-
lightful little dog whose personality is defi-
nitely important. To adults who wish some-
thing out of the oridnarv, we recommend
“The Beachcomber.”

Adolescents, 12 to 16 Children, 8 to 1 2

Too mature No

THE COWBOY AND THE LADY O O

Gary Cooper, Merel Oberon, Patsy Kelly,
Walter Brennan, Fuzzy Knight, Mabel
Todd, Harry Davenport. Original story by
Leo McCarey and Frank R. Adams. Screen
play by S. N. Behrman and Sonya Levien.
Direction by H. C. Potter. Samuel Goldwyn
Productions-United Artists.

Children are sometimes wise beyond their
years. A ten-year-old's comment on “The
Cowboy and The Lady” was, “It just goes
on and on.” For many adults this will be
a reaction compatible with their own taste,
for somehow, in spite of lavish and artistic
backgrounds and a popular and competent
cast, it misses the spark which is the test of
good theatre. The story is naive and obvi-
ous. When the bored little rich girl, whose
ambitious father has kept her away from all
normal associations, falls in love with the
first attractive young man she meets, it is
a foregone conclusion that cowhand or
prince, it will make no difference to her.
Their romance meets the usual apparently
insurmountable obstacles but ends satisfac-
torily for all concerned without sophistica-
tion or dubious ethics. It is a mildly enter-
taining and unexciting program film with
pleasant comedy and pictorial settings.
Adolescents, 12 to 16 Children, 8 to 1 2

Yes Little to interest

DARK RAPTURE O O

Armand Denis Production-Universal. Direc-
tion by Armand Denis. Photography by
LeRoy Phelps. Filmed and recorded on the
Armand Denis-Roosevelt Expedition to the
Belgian Congo.

“Dark Rapture” is one of the finest travel
pictures ever produced. From the beginning
when the undertaking is sanctioned by the
well-loved King Albert of Belgium to the
last scenes in the Congo it is a fascinating
account of a journey in the interest of sci-
ence. There are no studio-made combats
between fierce beasts; the elephant hunt is
genuine, showing dangers encountered by the
natives as well as their patience in training
the captured animals. The film deals chiefly
with the tribes of deepest Africa, strange
people with elongated heads, friendly little
pigmies who build high bridges with amaz-
ing ingenuity, and a statuesque race of giant
blacks who live in a beautiful fertile land,
ruled over by a king in elaborate regalia.

The photography is of a high order and the
musical score, based on native music, en-
riches the production.

Adolescents, 12 to 16 Children, 8 to 12

Excellent Too exciting for

some

DRAMATIC SCHOOL O O

Luise Rainer, Paulette Goddard, Alan
Marshall, Lana Turner, Genevieve Tobin,
Anthony Allan, Henry Stephenson, Gale
Sondergaard, Melville Cooper, Erik Rhodes,
Virginia Grey, Ann Rutherford, Rand
Brooks, Hans Conried. Screen play by
Ernest Vajda and Mary C. McCall, Jr.
From the Hungarian play, "School of
Drama," by Hans Szekely and Zoltan
Egyed. Produced by Mervyn LeRoy. Direc-
tion by Robert B. Sinclair. M.-G.-M.

It will be interesting for Luise Rainer’s
fans to see her in a film which gives her such
varied opportunities as “Dramatic School.”
At first she is a sort of wistful Cinderella
working at night in a gas-meter factory and
attending dramatic school by day, harassed
by bosses and teachers, and consoling herself
with elaborate flights of fancy which her
schoolmates impolitely call lies. Then comes
an interlude in which she wears glamorous
gowns, furs, and corsages supplied by an
undemanding Prince Charming to whom she
is engaged. Most dramatic is the sequence
showing a play within a play when, as Joan
of Arc she attests the reality of her visions
and pleads with her judges for leniency.

As a whole the film is an amusing por-
trayal of the types of pupils and teachers
at the dramatic school. The cast, including
two Academy award winners and a number
of newcomers, is exceptionally good. The
dialogue is spontaneous and the situations
are entertaining.

Adolescents, 12 to 16 Children, 8 to 12

Probably enjoyable No interest

EVERYBODY'S BABY (The Jones Family)

Jed Prouty, Shirley Deane, Spring Byington,
Russell Gleason, Ken Howell, George Ern-
est, June Carlson, Florence Roberts, Billy
Mahan, Reginald Denny, Robert Allen,
Claire Du Brey, Marvin Stephens. From
the original story by Hilda Stone and Betty
Reinhardt. Screen play by Karen De Wolf,
Robert Chapin, Frances Hyland and Albert
Ray. Direction by Malcolm St. Clair.
Twentieth Century-Fox.

Dr. Pillcoff, a physician in ill repute with
the medical society, has become a lecturer
on modern psychology as applied to raising
children. The young mothers of the Jones’
circle have accepted him as their guide and
prophet to the distress of their husbands and

MOTION PICTURE REVIEWS

Five

parents. The solution evolved by Granny
Jones is hilarious but possibly open to mis-
interpretation by the younger generation.
The film is broad farce throughout, far re-
moved from reality.

Adolescents, 12 to 16 Children, 8 to 12

Funny Amusing but

misleading

FLIRTING WITH FATE O O

Joe E. Brown, Leo Carrillo, Beverly Rob-
erts, Wynne Gibson, Steffi Duna, Charles
Judels, Stanley Fields, Leonid Kinskey. Di-
rection by Frank McDonald. MGM.

Even the combination of Joe E. Brown and
Leo Carrillo fails to save a poor story. The
comedy is forced and trite, the plot a labored
one in which Dan Dixon (Joe E. Brown)
and his strolling vaudeville entertainers are
held up by a desperado (Leo Carrillo) as
they trek through South American mud.
Dixon finally decides that suicide is his only
means of getting help for the troupe, and the
humor depends upon his macabre but unsuc-
cessful solution. The interpolated songs are
only fair, and some of the dialogue has a
sophisticated flavor which is regrettable in
a Joe E. Brown film.

Adolescents, 12 to 16 Children, 8 to 12

No value No value

THE FRONTIERSMAN O O

William Boyd, George Hayes, Russel Hay-
den, Evelyn Venable, William Duncan, Clara
Kimball Young. Based on a story by Clar-
ence E. Mulford. Screen play by Norman
Houston and Harrison Jacobs. Direction by
Lesley Selander. Paramount.

Hopalong turns his talents to the cause of
education and reforms small Artie, chief
baiter of the crabbed school-marm and
nephew of the owner of the Bar 20 Ranch.
He is assisted by a sweetly pretty new
school teacher who trains the children to
perfection but innocently becomes involved
with the leader of a band of cattle rustlers,
who must in the course of the plot be over-
thrown by the redoubtable Cassidy. Voices
of the St. Brendan’s choir lend a pleasant
if somewhat improbable note to the film, and
the usual shrewd direction and good pho-
tography add up the total result for another
good Western of the series.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Probably

HARD TO GET O O

Dick Powell, Olivia de Havilland, Charles
Winninger, Allen Jenkins, Bonita Granville.
From an original story by Wally Klein and
Joseph Schrank. Screen play by Jerry

Wald, Maurice Leo and Richard Macaulay.
Direction by Ray Enright. Warner Bros.

An amusing satire on the times is always
acceptable. Through this medium, everyone

should be familiar by now with the strange
eccentricities of capitalists and their fami-
lies. The capitalists in this film seem to
hover somewhere between sanity and de-
mentia and everyone seems to be having
a mental tug of war with everyone else, in-
cluding the proletariat, until finally a bright
young man with a strong jaw straightens
out everything to a semblance of normalcy.
All of which, put in other words, means
that a spoiled daughter of the rich tries to
charge gasoline at a station where she is
not known. The attendant, believing her to
be a deadbeat, makes her work out her debt
by cleaning tourist cottages. She plans a
revenge on him which backfires and involves
her affections. Dick Powell's presence does
not make this a musical. He sings two songs
though, and the film would have gone along
just as well without them.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Yes

ILLEGAL TRAFFIC O O

J. Carrol Naish, Mary Carlisle, Robert Pres-
ton, Judith Barrett. Original story and
screen play by Robert Yost, Lewis Foster
and Stuart Anthony. Direction by Louis
King. Paramount.

A company which specializes in the hasty
transportation of criminals from the scenes
of their crimes to safety, becomes the object
of suspicion by police. A federal agent in-
geniously attaches himself to the gang, dis-
covers their methods of operations and elim-
inates their leader. This is a harrowing tale
of desperate criminals in search of a haven
of security. It is typical of stories one finds
in cheap detective magazines and follows
the “penny dreadful” technique to the last
bullet. The subject matter is decidedly
mediocre but pictures of this type probably
have a box-office total in direct proportion
to the sales of pulp magazines .

Adolescents, 12 to 16 Children, 8 to 12

No No

THE INSIDE STORY O O

Michael Whalen, Jean Rogers, Chick Chan-
dler, Douglas Fowley, John King, Jane Dar-
well. Based on a story by Ben Ames Wil-
liams. Screen play by Jerry Cady. Direction
by Ricardo Cortez. 20th Century-Fox.

Barney, a newspaper man, writes a human
interest story about the loneliest man in New
York (himself) who wishes to spend Christ-
mas in the country with the loneliest woman
(a night club singer). Not a bad idea to
begin with, it soon develops that June White
has all sorts of unsavory connections with
people who have such unpleasant, notions as
chloroforming her and dropping her in the
river, and in no time at all the picture be-
comes a rousing melodrama. The plot is

Six

MOTION PICTURE REVIEWS

well worked out with suitable cast and direc-
tion. It makes an interesting if not unusual
mystery.

Adolescents, 12 to 16 Children, 8 to 1 2

Too mature No

JUST AROUND THE CORNER O O

Shirley Temple, Chas. Farrell, Joan Davis,
Amanda Duff, Bill Robinson, Bert Lahr.
Direction by Irving Cummings. 20th Cen-
tury-Fox.

As a vehicle to display Shirley Temple’s
talents, this film succeeds admirably and is
pleasing entertainment for her admirers.
With her usual sunny charm, she brings hap-
piness to the various tenants in a big apart-
ment house, stages a benefit to help an old
man whom she mistakes for “Uncle Sam"
and finds a wife for her widowered father.
Adolescents, 12 to 16 Children, 8 to 12

Yes Yes

THE LAST EXPRESS O O

Kent Taylor, Dorothea Kent, Don Brodie,
Paul Hurst, Greta Granstedt. From the
novel by Paynard Kendrick. Screen play
by Edmund L. Hartmann. Direction by Otis
Garrett. Universal.

Undoubtedly devotees of detective stories
can follow the plot. All others should be
warned to listen very carefully for the final
explanation which is given over a dicta-
phone; otherwise they will never know who
killed whom and why. There is a good deal
of turmoil and excitement with two sets of
detectives and police officers working at
cross purposes and all ending up in a de-
serted and almost forgotten subway where a
bag of thirty thousand dollars has been
secreted. The acting is better than the story,
which after all is not very high praise.
Adolescents, 12 to 16 Children, 8 to 1 2

Waste of time No

OUT WEST WITH THE HARDYS O O

Lewis Stone, Mickey Rooney, Cecelia Park-
er, Fay Holden, Ann Rutherford, Sara
Haden, Don Castle, Virginia Weidler, Gor-
don Jones, Ralph Morgan, Nana Bryant.
Screen play by Kay Van Riper, Agnes
Christine Johnson and William Ludwig.
Directed by George B. Seitz. M.-G.-M.

The writers for the Hardy Family series
have found the secret for human interest
stories of adolescence. Combining the hu-
mor and drama necessary for plot, they say-
something about real people and real prob-
lems, and no one can come away without a
deeper respect for the American family life
which is typical of many homes. A trip out
West is necessitated by a legal matter re-
quiring Judge Hardy’s counsel, and the fam-
ily’s adventures in this environment are
highly entertaining. Both Andy and Marion
come home with a different understanding

of life’s realities. Credit is due writers,
director, and cast for splendid work, with
special praise to Virginia Weidler for her
sincerity and charm.

Adolescents, 12 to 16 Children, 8 to 12

Excellent Entertaining and

constructive

PARDON OUR NERVE O <>

Lynn Bari, June Gale, Guinn Williams,
Michael Whalen, Edward Brophy, John Mil-
jan, Theodore Von Eltz. Original story by
Hilda Stone and Betty Reinhardt. Direction
by H. Bruce Humberstone. Twentieth Cen-
tury-Fox.

“Pardon Our Nerve” is a broad, noisy
farce concerning two adventuresses who,
having come to the end of their resourceful-
ness in beating their way about the coun-
try, contrive to back a moronic ex-waiter in
a series of prize-fights. There are a few
laughable situations but as a whole it is
overwritten, overacted, and incoherent.
Adolescents, 12 to 16 Children, 8 to 12

Too cheap and No

unethical

PECK'S BAD BOY WITH THE CIRCUS O

Tommy Kelly, Ann Gillis, Edgar Kennedy,
Benita Hume, Spanky MacFarland, Billy
Gilbert, Grant Mitchell, Nana Bryant, Lou-
ise Beavers. Based upon the character
created by G. W. Peck. Direction by Ed-
ward F. Cline. Principal-R. K. 0. -Radio.

Here is a rollicking juvenile comedy en-
acted against the glamorous background of
a circus tent, with the circus people and cir-
cus animals, especially some remarkably
trained lions, adding color and drama to the
adventures of BUI Peck and his friends. The
young hero is en route to a summer camp
when he is lured into the circus, and he
and his friends find themselves involved in
a feud between two of the performers and
a little feminine bare-back rider. Bill’s ex-
periences in the circus ring and his wild ride
to reach the camp in time to compete in an
athletic contest are highly entertaining. In
fact, here is a picture in which the action is
of paramount interest. The director has
failed to bring out Tommy Kelly at his best
and all the star performances are given
to the minor juveniles and the group of
superb lions.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Good

SAY IT IN FRENCH O O

Ray Milland, Olympe Bradna, Irene Hervey,
Janet Beecher, Mary Carlisle, Walter Kings-
ford, Erik Rhodes Screen play by Frederick
Jackson. Based on a play by Jacques Deval.
Direction by Andrew Stone. Paramount.

With more expert handling this film might
have been a fairly entertaining, though rou-
tine, sophisticated comedy. As it happens, it

MOTION PICTURE REVIEWS

Seven

clumps along in an atmosphere of exagger-
ated extravagancej drinking, and vulgarity,
until its finale when it becomes reminiscent
of a Christy chase with its hero careening
through traffic in a toy-sized automobile. In
the beginning, young Richard Carrington,
Jr. is seen arriving from Europe with his
attractive French wife Julie. Not knowing
of his marriage, the Carringtons insist upon
his announcing his engagement to an heiress
in the hope of reestablishing the family
credit. Julie meanwhile is mistaken for the
new maid and accepts the position in order
to help Richard. What happens after that
is obvious, rather boring, and sometimes
crude. The characters are too superficial,
the situations too forced, and the conclusions
too false even for a light comedy. Only
Miss Bradna as Julie awakens the slightest
sympathy.

Adolescents, 12 to 16 Children, 8 to 12

Certainly not No interest

SERVICE DE LUXE O O

Constance Bennett, Vincent Price, Charlie
Ruggles, Helen Broderick, Mischa Auer,
)oy Hodges. Original story by Bruce Man-
ning and Vera Caspary. Screen play by
Gertrude Purcell and Leonard Spigelgass.
Direction by Rowland V. Lee. Universal.

This is a light but definitely entertaining
film about a young man who flees the domi-
nation of three maiden aunts and escapes to
New York with a firm resolve to put his in-
vention, a heavy tractor, on the marke.t But
petticoats still rule his life, and his success
is deftly accomplished by the charming girl
he believes to be a clinging vine but who is
in reality the head of the Dolly Madison
Service, an agency which arranges every-
thing from weddings to important personal
problems. There are many original touches
and clever lines. Constance Bennett wears
smart clothes and is good in this type of com-
edy. Helen Broderick, Charlie Ruggles and
Mischa Auer are responsible for many hu-
morous and ridiculous situations.

Adolescents, 12 to 16 Children, 8 to 12

Somewhat mature No interest

THE SHINING HOUR O O

Joan Crawford, Margaret Sullivan, Robert
Young, Melvyn Douglas, Fay Bainter.
Based on the play by Keith Winter. Screen
play by Jane Murfin and Ogden Nash. Di-
rection by Frank Borzage. M.-G.-M.

There is something new under the sun,
for “The Shining Hour” gives us Miss Craw-
ford surrounded by a play instead of a play
surrounded by Miss Crawford. As Olivia
Riley, night club dancer, she marries Henry
Linden knowing that his back-to-Genesis
family will not approve of her. The adjust-
ment is difficult enough, and when Henry’s

married brother falls in love with her,
Olivia wins general approval by acting as
much like a thoroughbred as any of them.
The formula of the girl from the slums,
dressed in beautiful clothes, making society
and becoming involved in something of
greater dramatic impact than just a love
affair, is typical of a Crawford picture, but
because of good writing and capable direc-
tion this is unalloyed by the tawdriness that
marred some of her earlier efforts and the
artiness that crept into some of the later
ones. Margaret Sullivan and Fay Bainter
in supporting roles are formidable threats
for center stage. However, their presence
does nothing to detract from Miss Craw-
ford’s importance as the star. Voluble dra-
matic acting by only one person is sometimes
tedious and needs a shift of attention to be
appreciated. Miss Sullivan is particularly
fine when the responsibility is hers. The
dialogue is intelligent because it typifies what
intelligent people would say. No wisecracks
are included for their own sake to garner
laughs, but when they do appear are touches
of humor necessary in shading the rhythms
of the play. There is only one sequence that
seems stagey, almost tenth rate theatre, but
the characters themselves admit that it was
unreal, “like somehing you would read in a
book”, and in consequence the episode seems
less fantastic. The impending success of this
film must be attributed to a recognition that
the play, not the star, is the thing.

Adolescents, 12 to 16 Children, 8 to 12

Unsuited No

SPRING MADNESS O O

Maureen O'Sullivan, Lew Ayres, Ruth Hus-
sey, Burgess Meredith, Ann Morris, Joyce
Compton, Jacqueline Wells, Frank Albert-
son. Based on the play, “Spring Dance," by
Philip Barry. Screen play by Edward Cho-
dorov. Direction by S. Sylvan Simon.
M.-G.-M

“Spring Madness” gives us youth at its
best, though the title would never suggest
it. Post-depression youth with its poise, its
self-assurance, its adult slant, still maintains
the poignant hopes, the aching sincerity, the
almost fanatic idealism of young people of
all time. This picture shows genuine per-
ception in delineating the characters. It is
replete with humor and light dialogue, and
even when exaggeration strains plausibility,
it is still believable. When Alexandra Ben-
son and Sam Thatcher fall in love, it seems
that Sam must revise his plans for a two-
year sojourn in Russia. Under the negative
pressure of his roommate on one side and
the affirmative pressure of Alex’s sorority
sisters on the other, Sam gives up Russia
in favor of Alex. This is not just another

Eight

MOTION PICTURE REVIEWS

college comedy, for it brings sympathetic
understanding to a never certain age.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Perhaps

THE STORM O O

Charles Bickford, Barton MacLane, Preston
Foster, Tom Brown, Nan Grey, Andy De-
vine, Frank Jenks, Samuel S. Hinds. Orig-
inal story by Daniel Moore and Hugh King.
Screen play by Theodore Reeves, Daniel
Moore and Hugh King. Direction by Harold
Young. Universal.

Stark melodrama consisting of a succes-
sion of violent scenes could have appeal only
to those whose imagination is inured to
blood and thunder. Others are apt to find
it unendurably exhausting. After viewing
the fights in water-front cafes over gambling
debts and cheap women, the collision with
an iceberg, the explosion of inflammable
cargo, and the surgical operation which is
performed by radio instruction during a
violent storm, you drag what is left of you
out of the theatre, granting that the leading
character may have had conspicuous merits
but wondering whether the proof was worth
the time spent on it.

Adolescents, 12 to 16 Children, 8 to 12

Unsuited No

THE SUNSET TRAIL O O

William Boyd, George Hayes, Russell Hay-
den, Charlotte Wynters, Jane Clayton,
Robert Fiske. Original story by Clarence E.
Mulford. Direction by Lesley Selander.
Paramount.

Among Westerns, the Hopalong Cassidy
pictures have an excellent rating, and this
one is better than usual, because, in addi-
tion to the features of adventure, fine riding,
and beautiful California mountain scenes,
William Boyd has a chance to vary his part
by imitating a tenderfoot in a very ludicrous
manner. In the story he is sent to rescue a
widow, who has been bereft by the slick-
haired gambler and saloon-keeper not only
of her husband but of a $30,000 fortune.
She has been advised to open the first “dude
ranch,” and to this resort come Cassidy
and an assortment of odd and peculiar East-
erners. At the proper moment he reveals
himself with Windy and Lucky as avengers
of the innocent.

Adolescents, 12 to 16 Children, 8 to 12

Entertaining Exciting

TARNISHED ANGEL O O

Sally Eilers, Lee Bowman, Ann Miller, Alma
Kruger, Paul Guilfoyle, Jonathan Hale. Di-
rection by Leslie Goodwins. RKO-Radio.

Reaction to this picture will depend upon
the credulity of the audience. An ordinary
gambling-club hostess, hounded by the police
from the bright dens of Broadway, hides
with her associates under the cloak of re-

ligion and becomes a spectacularly successful
revivalist. Her life is then changed through
the faith she has inspired in her followers.
The story is swift in action and not without
interest, but the characterizations are not es-
pecially interesting or convincing and the re-
sult is just another picture for an idle hour.
Adolescents, 12 to 16 Children, 8 to 12

No value Mature

THANKS FOR THE MEMORY O O

Bob Hope, Shirley Ross, Chas. Butterworth,
Otto Kruger, Hedda Hopper. Based on a
play by Albert Hackett and Frances Good-
rich. Direction by George Archianbaud.
Paramount.

The old problem of man's complex against
being supported by a woman is introduced in
this light social drama. A young writer
who finds that the futility of social life and
the demands of a salesman’s job have under-
mined his ability to write, decides to break
away from both. His wife returns to her
job as a model while he attempts to finish
his book at home and run the house. They
are nice people but their story is common-
place, lacking any novelty in treatment to
intrigue the spectator. It will be remem-
bered longest for the popular song-hit, “The
Sleepy People.”

Adolescents, 12 to 16 Children, 8 to 12

Mature and little No interest

interest

UP THE RIVER <* O

Preston Foster, Tony Martin, Phyllis
Brooks, Slim Summerville, Arthur Treacher,
Alan Dinehart, Eddie Collins, lane Darwell.
Based on original story by Maurine Wat-
kins. Screen play by Lou Breslow and John
Patrick. Direction by Alfred Werker. 20th
Century-Fox.

The exact moral influence of a prison film
is often difficult to measure. Sometimes a
picture serves to stimulate a morbid curiosity
or to evoke sentimental pity for those who
deserve punishment more than it serves to
warn those with criminal leanings. It is
doubtful if “Up The River” will have much
influence one way or another on any mature
person, for it is such absolute farce. Most
of the action takes place in a penitentiary,
showing the pleasanter side of prison life;
a light opera given by the inmates and the
big football game of the prison conference.
Preston Foster, Albert Treacher and Slim
Summerville are all amusing and have ab-
surdly funny lines. There is even a very
human little romance between a young
offen3er and the girl who waits outside. A
picture of a type which will probably never
be made again and never should be, it nev-
ertheless contains a good deal of spontane-
ous humor.

Adolescents, 12 to 16 Children, 8 to 12

Unsuitable theme No, indeed

MOTION PICTURE REVIEWS

Nine

SHORT SUBJECTS

SYMPHONY No. 8 (Unfinished) O O

By Franz Schubert. (General Productions.)

This is one of a series of fine symphonies
given by Fredrich Feher and his National
Symphony Orchestra and will be appreciated
by music lovers as well as many motion
picture fans who do not ordinarily attend
concerts. Beautifully rendered, the film gains
in educational value, because the camera is
able to select various instruments and illus-
trate the part each one contributes to the
composition as a whole. Family.

TANNHAUSER OVERTURE O O

(General Productions.)

This familiar overture is well presented
with dramatic use of the brasses and the
surging strains of the Pilgrim’s Chorus by
male voices. Family.

BLUE DANUBE O O

(General Productions.)

In the lovely Blue Danube which has de-
lighted several generations, the emphasis is
first on the violins, then the ’cellos, and then
the full view of the orchestra. A complete
arrangement of the waltz is given with per-
fect rhythm and excellent recording. Family.

WILLIAM TELL OVERTURE O O

(Symphonic Films, Inc. -Paramount.)

The ever-popular overture from William
Tell is beautifully done by this orchestra.

The series as a whole should accomplish a
great deal in spreading the love of really
good music. The chief flaw in the produc-
tion is the use of too many close-ups, which
sometimes have a grotesque or comical effect
and in such cases detract from real appre-
ciation of the score. Family.

THE WORLD IS OURS O O

Produced by the entire motion picture in-
dustry. 2 reels.

The fourth largest industry of the United
States does a little expert selling in order
to prove that motion pictures are your best
entertainment. This is done in a film which
follows the documentary pattern but which
cannot be classified as such because of its
decided affirmative bias. Having been made
by the industry for the industry, the argu-
ment is convincingly presented. It shows the
superiority of present-day motion pictures
over those of earlier days, and attempts to
prove also that they bring to you authentic
reproductions both of contemporary life and
of various historical periods. Pictorial news
as a visual aid in understanding the prob-
lems of the day is also considered. In short,
the movies place the world at your feet.
Whether or not you are convinced that they
are your best entertainment will depend on
preconceived tastes and habits, but the pre-
sentation is interesting and entertaining.
Family.

Ten

MOTION PICTURE REVIEWS

INDEX . . . JULY through DECEMBER, 1938

Affairs of Annabel, The August

Arrest Bulldog Drummond . . December

Algiers July

Always Goodbye August

Always in Trouble September

Amazing Dr. Clitterhouse, The July

Angels With Dirty Faces November

Annabel Takes a Tour November

The Arkansas Traveler November

Army Girl September

Artists and Models Abroad . November

Beachcomber, The December

Birth of a Baby, The July

Blockade July

Blockheads September

Blond Cheat July

Booloo August

Border G-Man July

Boy Meets Girl August

Boy's Town October

Breaking the Ice October

Broadway Musketeers September

Brother Rat November

Bulldog Drummond in Africa. . September

Campus Confessions October

Carefree September

Chaser, The September

Citadel, The November

Cowboy and The Lady, The . December

Cowboy from Brooklyn July

Crime Ring July

Crowd Roars, The September

Dark Rapture December

Down on the Farm November

Dramatic School December

Drums October

Everybody's Baby December

Fast Company July

Five of a Kind November

Flirting With Fate December

Four Daughters September

Four's a Crowd August

Freshman Year September

Frontiersman, The December

Fugitives for a Night September

Garden of the Moon August

Gateway September

Girls on Probation September

Give Me a Sailor September

Grand Illusion October

Great Waltz, The November

Hard to Get December

Having Wonderful Time July

Hold That Co-ed October

If I Were King October

Illegal Traffic December

I'll Give a Million August

I'm From the City September

In Old Mexico September

Inside Story, The December

Josette July

Just Around the Corner December

Keep Smiling July

King of Alcatraz November

Last Express, The September

Letter of Introduction September

Listen. Darling November

Little Miss Broadway August

Little Tough Guy September

Lord Jeff July

Love Finds Andy Hardy August

Mad Miss Manton, The November

Man to Remember, A October

Marie Antoinette August

Meet the Girls August

Men With Wings November

Missing Guest, The October

Mr. Doodle Kicks Off October

Mr. Moto's Last Warning September

Mother Carey's Chickens August

My BUI July

My Lucky Star September

Mysterious Mr. Moto July

Mysterious Rider, The October

Out West With The Hardys December

Pardon Our Nerve December

Passport Husband August

Peck's Bad Boy With The Circus December

Personal Secretary October

Pride of the West July

Prison Farm July

Professor, Bewarel August

MOTION PICTURE REVIEWS

Eleven

Rage of Paris, The July

Rich Man, Poor Girl September

Road Demon September

Road to Reno, The October

Room Service October

Safety in Numbers September

Say It In French December

Service De Luxe December

Sharpshooters October

Sheik, The luly

Shining Hour, The December

Shopworn Angel, The August

Sing, You Sinners September

Sisters, The October

Sky Giant August

Smashing the Rackets September

Sons of the Legion October

Spawn of the North September

Speed to Burn July

Spring Madness December

Stablemates November

Storm, The December

Straight, Place and Show October

Submarine Patrol November

Suez November

Sunset Trail, The December

Tarnished Angel

December

The Texans

Thanks for The Memory.
That Certain Age
There Goes My Heart
Three Blind Mice
Three Loves Has Nancy
Time Out for Murder
Too Hot to Handle
Touchdown, Army!

The Toy Wife
Tropic Holiday

Up The River

Vacation From Love
Valley of the Giants

When Were You Born?.
While New York Sleeps .
Wives Under Suspicion
Woman Against Woman

You and Me

You Can't Take It With You

Young Fugitives

Young in Heart, The

Young Dr. Kildare
Youth Takes a Fling

SHORT SUBJECTS

August
December
. October
November
July
September
August
October
November
July
July

December

November

October

July

November

July

October

July

November

October

Blue Danube December

The Brave Little Tailor October

Donald's Lucky Day Sept, and Oct.

Farmyard Symphony Sept, and Oct.

Ferdinand The Bull October

Goofy and Wilbur October

Mother Goose Goes Hollywood. October

The Practical Pig October

Symphony No. 8 (Unfinished)
by Franz Shubert December

Tannhauser Overture December

The Ugly Duckling October

William Tell Overture December

The World Is Ours December

SUBSCRIPTION ORDER BLANK

Please Detach and Mail in with Your Subscription

MOTION PICTURE REVIEWS

Women's University Club

943 So. Hoover St., Los Angeles, Calif.

1938

I am enclosing for subscriptions to Motion

Picture Reviews at $1.00 a year each.

Name

Address.

Scanned from the collection of
Margaret Herrick Library

Academy of Motion Picture Arts and

Sciences

Coordinated by the
Media History Digital Library
www.mediahistoryproject.org

Funded by a donation from

University of South Carolina Libraries and
College of Arts and Sciences

After 5 Days Return to

Women's University Club

943 South Hoover Street
LOS ANGELES, CALIF.

Sac. 562. P. L. & R.

U. S. POSTAGE

PAID

Los Angeles, Calif.
Permit No. 1850

RETURN POSTAGE GUARANTEED

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