Page 12, 8th June 1935

8th June 1935
Page 12
Page 12, 8th June 1935 — PUBLIC CINEMA :

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By Celluloid

A Heavy Week ITH seven new films to comment upon, it is impossible 1.0 say

■ ery muth about any of there; this week it is going to be a bit difficult to say very much for any of them. The trouble is that there are too many Mins being made, but that is another story; perhaps we will tell it some other time. Meanwhile, let us gel down to eases.

" RECKLESS " The Empire

Here is a case wherein Metroteoldayn-Mayer gives to the world a masterly lesson in how to make bricks without straw. The plot is threadbare and so worn in places that it hardly holds together. It is the one about the actress who marries into easiety, leaving behind a devoted lover languishieg iLl the class from which site prang.

Society doesn't like her and her husband weaketle. There is a baby and a noble gesture in the theatre wherein the bird is turned into the berries.

That sort of plot lakes a bit of handling in these hard-boiled days, but Metro are equal to it. They throw in an elaborate setting, an all-star cast and their customary efficient direction. Anybody would have done for the lover-left-behind (he catches up In the fade-out), but Bill Powell makes a part of It, though it never looks good enough for him. Jean Harlow, though she cannot sing or dance, has what it takes. Franehot Tone has what "fat" there is and makes the most of it.

" SO, YOU WON'T TALK " New Gallery

Ben, we have art excellent comedy 'short" elongated into an indifferent full-length feature. A legacy is made conditional upon thirty days' silence. Monty Banks is the legatee and Vera Pearce, Bertha Belmore and Enid Stamp Taylor don't want him to get away with it. Monty, of the sunny personality. has a chance to prove himself one or the very best pantoinimists in the business. But pantomime is a cameo-like thing, too much of it degenerates into slapstick, comedy fulls to farce and farce slides into vulgarity. Charlie Chaplin made his reputation iii "shorts," Harry Langdon lost his when he ran to length. Monty Banks is in the same class with either of them, and We need good "shorts" in Bugle mi.

" EIGHTEEN MINUTES" Leicester Square

Monty Banks is also, unfortunately in this Case, a directur. There is a great cinema story somewhere in the circus that bus not been found yet. This one hat, a east and continuity like the League of Natiuns. Gregory Ratoff is a grand comedian as be showed in Otice in a Lifeiinte. He plays a heavy here and is still a. grand comedian. He is a lion-trainer in love with his ward, Katherine Sergava, who Is rather like Garbo, but only in appearanee. There are also John Lotter, Richard Bennett and Renita Hume, and not a lot to distract you if you want to look at them.

I'COIN' TO TOWN " Carlton

Of Mae Weet you may have heard. She is a straightforward vulgarian of the Marie Lloyd, George Rube e, Falstaff and Pistol school, but lacks their touch ol genius. Publicity has manufactured her into a menace to the morals of the multitude, and now she Is not allowed tu bay "howdy?" without a double meaning. Here she struts her stuff in the same old way in a western-cum society, with a dash of racing and not too badly crooned opera, comedy-drama which might have been written by Nat Gould and Ethel M. Dell in collaboration —but wasn't


There is a lot of good acting in a soine.what unusual story of the Mexican border where Paul Muni, a poor peon studying law in his spare time, tries to make the social grade with America's gambling millionaires and finds the game is not worth the candle. He goes through the dickens Of a lime to learn what a short Coarse of pictures would heve taught him without tears. Bette Davis wants him so much that she kills her husband (Eugene Paulette) to clear the way; he wants Margaret Lindsay so much that she kills herself to dodge him. Then Paul's eyes are opened and he returns to peonry and peace. There is an interesting and well-drawn sequence in a Catholic church.



A thriller on Payment Deferred lines, in which a new and powerful screen actor, Henry Oscate as a highly respectable 3.P., duee a murder, and considers that highly respectable families should stand by their highly respectable murderers even if it means that somebody else must hang. It is a psychological story full of red meat, sit ungly melorirentatia but stagy in melte d 01 product:on and acting. British artists ai.e ton slow to reanee the differenee betweeft stage and screen techtaque.


From an entertainment, point or view th's is pribably the best of the Int. Pre-war meek; hall frequenters will remember W. C. Kelly, the Virgena judge; he had quite a following in England but the war changed that. New he re-appears in that type of domestic comedy the Americans do ee well and we cannot do at all. To e be-kering friends, an Irish liod-carrier and a Scottish barber (Andy Clyde!, fight their friendly way through hard ship to success. Jane Harwell, Beti Fulness and It:chard Cromwell help to make a film that nobody will aeclaint as an epic or call stupendoue bet which C.Verybody will relish as a thoroughly enjoyable picture.


Last and greatest of the gangsters. Pattie Enemy Number Two, BabyFace Harrington, lathed° known es Charles Butterworth, with a cold iii his head and Una Merkel for his wife, will give You as gtand an hour as any simple Soul could wish. You will laugh it lot even if, afterwards, you cannot say what at.

With Baby Fare is The Mask of the Vampire. Here you have wind, shrieks. corpses and cobwebs and a wonderful cast, the Islionels—Barrymore and AM-ill—Elizabeth Allen, Belt Lug est. Jean Hersholt and Leila Bennett.

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