Andy Devine In the 30's
12/5/1933 HCN Elizabeth Yeaman
Sally Rand, fan dancer extraordinary, did a walk-out at Paramount. She answered a studio call to start work on her first assignment in Bolero, starring George Raft and Carole Lombard. And when she got to the set she found that her part was very small–just a dancing sequence in which she had a few lines to speak. Sally was outraged. She thought everybody understood that she wanted a dramatic role. Why, didn't she leave Hollywood in the first place because she couldn't get a dramatic opportunity? And didn't she stage that Chicago fan dance merely as a side issue and economic expedient? And didn't that expedient give her a new chance to come to Hollywood? Well, Paramount explained to Sally that her role could not be enlarged. So Sally walked out. It looked as if her contract would be torn up. But today executives and Sally went into another conference. Both sides probably will make some concessions. Sally probably will end up getting a slightly more comprehensive role, but not one of the dramatic size she first demanded. For, after all, Sally has had a lot of publicity–publicity that has cost money at the studio, as well as free publicity. And the public certainly knows all about her, and the studio figures she will be a drawing card at the box office. But the studio also figures that the public expects a fan dance from Sally and not a dramatic role!
....
Last week Constance Cummings took her bridegroom, Benn W. Levy, to Palm Springs for his first visit. They were enjoying a nice vacation on the desert, when Connie was thrown from her horse and snapped some small bones in her wrist as she attempted to break her fall. Her doctor says that the injury is not serious, but it will be necessary for Connie to have her wrist in a cast for at least a week. However, she expects to have the wrist in working condition as soon as possible, since she is scheduled to start work very soon in Transient Love, a Radio Picture which will star Irene Dunne. Connie has been borrowed from Twentieth Century for one picture at Radio, and this is her final assignment. At first she was announced for the lead in Success Story.
....
Chic Chandler has finally won his argument with Radio Pictures, and will be free for a featured assignment at Warners, where he will play Lilacs in Harold Teen, with Hal LeRoy. Chic was sought for this role, but he had a three-picture agreement at Radio Pictures and the latter studio said he could not be released at this time since he is wanted there for So You Won't Sing, Eh? However, the shooting schedule finally was rearranged so it will be possible for Chic to appear in Harold Teen first.
....
Teddy Joyce is bound for London and an engagement at the Palladium there. But before he left, Ida Lupino, little English star now under contract at Paramount, gave a party in his honor. And Teddy surprised his little hostess by bringing with him, a new song which he has composed and dedicated to little Lupino. It is called, "I'm the [word obscured on microfilm!] of Your Eyes," and Teddy will introduce the number at the Palladium.
....
Paramount says that Lee Tracy has not been signed and will not be signed for a picture at that studio. This announcement comes on the heels of news that Tracy had been signed, at double his former MGM salary, to play the starring role in The Baby In the Icebox. On the other hand, Lee's agent declares that the actor refused the role in The Baby In the Icebox was so poor, and the agent further says that Lee did not give his reason for refusing the story because of his regard for Harry Joe Brown, who will direct the picture. Hearing both sides of the story, it is difficult in judge what actually occurred. All that is certain is that Tracy will not play at Paramount. And that revives rumors that Tracy is to be the victim of a studio blackball because of the Mexico City incident, during the filming of Viva Villa. Louis B. Mayer, of course, is very bitter on the subject. If he doesn't want. Tracy, I see now reason why he should interest himself further, but talk is going around that Mayer influenced Paramount. And that brings up the rumor that Will Hayes, a strong henchman of Mayer, has instructed the major studios not to engage Tracy. If that be true, then Hayes is committing a policy of blackball which has been vigorously denied by the Hays organization in the past.
....
And speaking of Viva Villa, there is a new member of the cast by the name of Carlos de Valdes. He comes from the New York stage where he was featured in the Theater Guild production of "The Miracle at Verdun" and previous to that played in "Overture." The feminine lead in Viva Villa is still vacant, since the dismissal of Mona Maris, Myrna Loy, Dorothy Burgess, Lila Lee and Carmel Myers have been tested for the part.
....
The Four Marx Brothers once more are dickering with Paramount and deny the report that they plan to make a picture in conjunction with Sam Harris in New York. They deal for their next comedy probably will be signed at Paramount within the next week or two.
Andy Devine In the 30's
ABBREVIATIONS
CD – California Eagle
DN – Los Angeles Daily News
EE – Los Angeles Evening Express
EH – Los Angeles Evening Herald
EHE – Los Angeles Evening Herald Express
FD – Film Daily
HCN – Hollywood Citizen News
HDC – Hollywood Daily Citizen
LAR – Los Angeles Record
LAPR – Los Angeles Post-Record
LAX – Los Angeles Examiner
MPH – Motion Picture Herald
SFC – San Francisco Chronicle
5/7/1930 EE Jimmy Starr
Andy Devine has a strange voice which he thinks might be funny in the talkies.
1/8/1931 EE The Criminal Code
By Jimmy Starr
"An eye for an eye—the basis and foundation of our criminal code!"—shouted the district attorney. "I know the boy is sorry, but a man lies dead upon a slab in the morgue! Somebody has to pay for that!"
Such was the speech made by the district attorney to a lawyer making a feeble attempt to save an unknown boy from the disgrace and hardships of prison; to save him from giving society 10 years of his life.
But the boy is not saved. Despite the fact that even the district attorney knows a "way out," he is bound by duty to win his case....to send a youth to almost sure ruin because of an "accident," one misstep.
How the district attorney, later made warden of the prison, saves this boy is a drama you must not miss!
Martin Flavin's powerful, daring play, "The Criminal Code," has been transferred to the audible screen with even more suspense and terrific punch than was acquired upon the stage!
The film opened last night at the Orpheum Theater before a thrilled audience that became so enraptured with the magnificent performances applause was often heard after actors had completed scenes. An unusual tribute indeed!
Walter Huston, in the central role of the district attorney and prison warden, gives his best performances. With all due credit to Arthur Byron, who played the role on the stage, Huston surpasses him because he lives the character, breathes and thinks like a man would in such a position....he is human!
Although Huston handles the role magnificently, he is not alone the sole receiver of all the laurels. Phillips Holmes, as the boy, goes beyond any of his previous efforts and turns in a grand performance....a portrayal that will go down with Huston's to be written firmly on the pages of motion picture history.
And there is one other who runs third for honors—Boris Karloff, the sinister Galloway—a killer made by prison tactics, by brutality. Karloff will win an exclusive place in pictures with his work. He is superb!
Others who win printed plaudits are: Constance Cummings, a newcomer, who is definitely a "find." She possesses a natural charm and talent that will take her a long way on the cinematic path. Second is DeWitt Jennings in the difficult, but excellently done, role of Gleason, brutal prison guard. Third is Mary Doran, who contributes a fine bit of acting as the girl who caused the boy's mistake.
Arthur Hoyt, John St. Polis, Otto Hoffman, John Sheehan, Clark Marshall, Andy Devine and Ethel Wales all aid greatly in making up a perfect supporting cast.
Director Howard Hawks, responsible for The Dawn Patrol, again proves his ability for handling heavy, dramatic themes without once veering to the melodramatic. He displays an unusual talent for maintaining the proper amount of suspense, and his steady, even tempo is something to be regarded highly.
Fred Niblo Jr., and Seton I. Miller are credited with the adaptation of the play and additional dialogue. They have kept close to the original, injecting several added thrills and splendid lines. Their sane treatment of the delicate theme is an outstanding note of the production.
Well, I must say the movie fans are getting their share of good pictures. You'll get a big thrill from The Criminal Code. It is truly an excellent film—if you haven't guessed so already from what I've been saying.
There is an amusing comedy, Trader Ginsberg, starring Nat Carr, along with an Aesop Fable film and Pathe news weekly.
1/8/1931 EH The Criminal Code
Opened at the Orpheum jan. 7. Taken from the play by Martin Flavin. Directed by Howard Hawks.
CAST: Constance Cummings, Walter Huston, Phillips Holmes, Mary Doran, DeWitt Jennings, John Sheehan, Boris Karloff, Arthur Hoyt, Ethel Wales and John St. Polis.
By W.E. Oliver
Coming late in the vogue of prison pictures, The Criminal Code, now at the Orpheum, should old a strong place among the very best of its ilk. In fact, it grips the emotions as potently as any of them.
The merits of the fine play from which it is adapted are partly responsible for this. In addition, some honest changes in the story give it a hopeful note lacking in the play.
More than this are the intelligent of Howard Hawks and the grand acting of Walter Huston as Warden Brady, young Phillips Holmes as the youth condemned to penal servitude by a combination of fate's vagaries and the law's inexorable code, Boris Karloff playing the cadaverous convict, and DeWitt Jennings, Constance Cummings, John St. Polis playing respectively the jailer, the warden's daughter and the prison doctor.
CHANGES HELP
These changes in the story and Walter Huston give the picture a conviction that the play lacked, particularly toward the end where the fortuity which sent the boy to prison was repeated in having him murder a jailer on the eve of his parole.
The version on the screen undoubtedly is made with both eyes on the box office. But I contend it loses nothing by its addition of a hopeful ending, and it sacrifices hardly anything in its strong preachment against the rotting effects of our penal system.
Although it lacks the sustained mood of the stage play, on the screen The Criminal Code is fuller of emotional appeal and suspense. I vastly prefer it.
Walter Huston's Warden Brady will be suitable company for the grand assortment of screen portrayals he has already supplied this screen.
The playing of Phillips Holmes brings utter conviction to the role of Robert Graham, a boy who brings a lump in the throat when he dazedly admits first to the sympathetic district attorney that he is "sometimes called Bob," and later, as a despair-sodden lump, when he is brought before Huston, now the prison warden.
There are few young men in Hollywood who could have done so handily with the role.
ROMANCE EFFECTIVE
A slender thread of romance, repressed almost to inarticulate measure, falls almost entirely on the shoulders of Constance Cummings, who deals very well with it. This love affair, by the way, is doubly effective against the drab backing of prison walls and men without women.
Others in the cast are Ethel Wales, Mary Doran, Arthur Hoyt and John Sheehan.
Theatrical resources barrel to the stage are used with telling effect by director Hawks. Particularly unforgettable are the "yammering" scenes as thousands of convicts snarl in sullen chorus.
Details of prison life are depleted with reality, where the stage suggested them in a conventionalized way. Much of this realism comes, I understand, from the suggestion of a former convict, who acted in an advisory capacity.
The Criminal Code is one of Hollywood's best recent products. Whether you are out just for entertainment or are interested in prison reform you will enjoy it.
Nat Carr, in a short burlesque, Trader Ginsberg, a Schumann-Heink song feature, an Aesop Fable and the sound news fill out the screen offerings.
1/9/1931 LAX The Criminal Code
By Louella O. Parsons
Arthur Byron became such an intangible part of The Criminal Code on the stage that unconsciously every time the play is mentioned you visualize him in the principal role. I wonder whether even Walter Huston could meet the opposition, but ten minutes in the Orpheum Theater convinced me that other characters may have been differently cast, but no one could possibly improve upon the Huston performance.
Curiously enough, Mr. Huston makes no effort to imitate Arthur Byron. He furnishes his own characterization and does it so well that his crisp "yes" and his manner of smoking his black cigars become a part of Matthew Brady, first district attorney, and later warden.
Martin Flavin's play, "The Criminal Code," was a sad, tragic—yes, gloomy—play on the stage. On the screen it loses none of its atmosphere, but it brightens toward the end when the boy is freed and released from the charge of complicity in a prison murder.
The criminal code that exists among prisoners that no one shall "snitch" is the cause of the mental crucifixion of the young boy imprisoned for a murder he committed in self-defense. Phillips Holmes is splendid as the boy. He is so poignant in his emotions, and his suffering is intensely real.
The part of the girl is, of course, greatly overshadowed by the men. Constance Cummings plays the warden's daughter, a nice role for a beginner. Miss Cummings is very pretty, and I have no doubt will improve with experience. She is still young and obviously new to emotional roles.
No one who sees Boris Karloff as Galloway will forget him. He had the same role on the stage and he is excellent as the sulky, brooding prisoner who bides his time until he gets even with Gleason. No prison story is complete without DeWitt Jennings as a police officer. His Gleason is one of the highlights. Mary Doran is effective in a small, but important role, so are Ethel Wales as the aunt, Otto Hoffman as Pales, another prisoner, and Nicholas Soussanin as the prison doctor.
In spite of certain definite changes in the very well constructed play, The Criminal Code stands out as entertainment of no ordinary quality.
1/10/1931 EE And He is Actor's Son
Hollywood sometimes plays tricks in selecting its players for motion pictures, and the case of Phillips Holmes, is a case in point.
Although Holmes is the son of the stage and screen actor, Taylor Holmes, he had no idea of becoming a screen star. He was discovered quite by chance by director Frank Tuttle on the campus of Princeton University
Tuttle made a 10-day stat at Old Massau to film scenes for Varsity. Noticing Holmes among others, he asked the young man to take a screen test. Holmes did, and was cast. The role was of enough importance to bring him to Hollywood. He played the part of Charles Rogers' roommate.
Now in the character of Bob Graham in The Criminal Code, at the Orpheum Theater, currently, Phillips Holmes delivers his talent on an assignment perhaps as dramatic as any screen youth has ever been given.
The Criminal Code requires him to appear as a clean, hopeful boy who suddenly finds he has innocently killed a man in a night club brawl. Over a period of years, during which he serves in prison for manslaughter, he must portray the many physical, mental and nervous changes in a man thrown with criminals, crazed by the jute mill and soul-shocked continually with overwhelming emotions of grief, hope, hate and despair.
Walter Huston stars in the role of the district attorney and later the prison warden. It is another of the long list of characterizations Huston has given without a single repetition of type.
5/5/1931 HDC Elizabeth Yeaman
Kenneth Harlan, who has been the hero of so many thrilling screen dramas, is going back to Universal to make his second serial, called Danger Island. The picture is an adventure thriller in ten episodes. Ray Taylor will direct, and other members of the cast include Tom Ricketts, William Thorne, Beulah Hutton, Andy Devine and Walter Miller.
9/24/1931 LAR Llewellyn Miller
Andy Devine, the ex-Santa Monica life guard, Santa Clara football player and so on, drew a bit in The Spirit of Notre Dame at Universal. He photographed and acted so well that they shoved him up into an important part. Now they have given him a contract and feature billing in Lewis Ayres' next picture, Gallows. Rowland Brown, who did Quick Millions is the author and director.
10/17/1931 LAR The Spirit of Notre Dame
RKO-Orpheum–Lew Ayrles in The Spirit of Notre Dame with J. Farrell MacDonald, Harry Barris, Andy Devine, Sally Blane, the Four Horsemen. Floyd Gibbons' The Turn of the Tide, Aesop's Fable. Pathe News.
By Don Roberts
(Sports Editor of The Record)
Knute Rockne inspired the greatest football spirit this country ever saw and Hollywood turned out a soggy melodrama to commemorate it.
The Spirit of Notre Dame, which opened yesterday at the RKO-Orpheum, is a good, entertaining picture in its way, but it lacks any semblance of its title.
Grotesquely amateurish when it comes to portraying football–in spite of such famous grid stars as Frank Carideo, Don Miller, Jim Crowley, Harry Stuhldreher and Elmer Layden–the picture incorporates all the old gags.
The fresh youngster from a small town high school arrives at Notre Dame with enlarged ideas of his own prowess. Lew Ayres, as the small towner, is good, but not good enough. As in Iron Man, Ayres is miscast. The trials and tribulations of winning football games are portrayed with little football action of note.
Eventually, Ayres (Bucky O'Brien) is shifted to the blocking halfback post, while his roommate and buddy, Jim Stewart, played by William Bakewell, is given the running job. Stewart begins to get the glory and they have a quarrel. O'Brien is fired by the coach–J. Farrell MacDonald–but comes from the stands to win a game in the last minute.
Naturally the work of MacDonald, the counterpoint of Rockne, will arouse interest. He bears a great likeness to the deceased coach and does his role capably.
Honors for the picture go to Andy Devine, who plays a sub tackle. It was in connection with this role that the famous George Gipp episode was utilized. Devine, playing Truck McCall, is near death from injuries during the Army game. During the half the coach tells them that Truck wants them to "put one over for him," a situation similar to an actual happening.
Russell Mack directed.
A Floyd Gibbons short subject, The Turn of the Tide, and Aesop Fable and a newsreel complete the bill.
10/17/1931 IDN The Spirit of Notre Dame
By Eleanor Barnes
In the Orpheum yesterday at the end of the first showing of The Spirit of Notre Dame, it was observed that more than half of the audience was comprised of young men, apparently college and high school students.
The rest of the patrons–many male–were alert, interesting appearing and not the usual morning matinee crowd that one sees at picture houses.
WELL DONE
This Universal film dedicated to the memory of the peerless football mentor, Knute Rockne, was a fast-moving, well-knit story of the gridiron. It, really, should be reviewed by the sports department of newspapers rather than the drama critics.
PAGE CRONIN
Russell Mack will hear the kickbacks from the football scribes if in directing this piece, from E. Richard Schayer and Dale Van Every's story he has become sloppy or too sobby, for those pigskin experts are pretty tough on directors who aren't technically correct.
The film deals with the "Four Horsemen" and their athletic prowess as well as the latter-day players on the famous Notre Dame roster. The Spirit of Notre Dame is recorded, by deeds, words and thought, one gathers from the story.
Bucky O'Brien, a lad with a strong heart, hitch-hikes to South Bend, gets on the team and works his way up to possible all-American choice. At this juncture, his roommate, Jim Stewart, replaces him in a spectacular position and Bucky later is slightly jealous of the swell-headedness of the new luminary. Their rancor becomes so intense that Bucky tries to take Jim down a notch by unfair tactics on the field. The result netted Bucky turning in his suit.
LATER
Later, when the Army and Notre Dame tangle, Truck McCall, a big goodnatured substitute who was injured when he filled in on the team, spurred the crew on to victory by his plea from his hospital cot to "pull one out of the sleeve" for him. At the crucial point in the match, Bucky gets back into his uniform and goes into action, swinging the score.
Now, Lew Ayres is the star and William Bakewell is his buddy, Jim. Their youthful enthusiasm and their hates and loves cannot be denied.
However, the test of the picture is made by J. Farrell MacDonald, who gives a very faithful and sincere interpretation of the famous Rockne method of coaching. If the resemblance is strained, it is no reflection upon MacDonald or his director. Many terse comments, furnished by Walter DeLeon are worthy of Rockne's craft observations.
THE REST
Other persons of interest include Notre Dame's famous men, Frank Carideo, Jim Crowley and (pick them out yourself from this group) Don Miller, Elmer Layden, Harry Stuhldreher, Nat Pendleton, John Law, Moon Mullins, Adama Walsh, Art McManam, Al Howard, John O'Brien, and others.
There is much humor in this production and the first audience seemed to enjoy the funny stunts of campus life. Florence Lake, Violet Barlow and Sally Blane were the girls.
ADDITIONAL
The second of the series of Floyd Gibbons story of the world war is given, The Turn of the Tide, in which he discussed events at Chateau Thierry. Fun in the Pond, and Aesop fable dealing with frogs and newsreels completed the program.
10/21/1931 EE Jimmy Starr
Pretty Virginia Bruce went to see The Spirit of Notre Dame with Nat Goldstone and wept over Andy Devine's performance.
11/17/1931 EE Jimmy Starr
Andy Devine, the youngster who made such a hit in The Spirit of Notre Dame, and George Meeker have been engaged for featured parts in Fireman, Save My Child, the next Joe E. Brown funny opus at the Warner Studio.
Lloyd (not Irish) Bacon will be at the megaphone end of the business.
12/21/1931 HCN Elizabeth Yeaman
Casting About—George Humbert, who was the original Professor Florentino in Street Scene, and who just finished a role in Ladies of the Jury at Radio Pictures, has signed for featured roles in Dancing in the Dark at Paramount and Hotel Continental at Tiffany. New term contracts were awarded today to Joseph Cawthorn and Ken Murray at Radio Pictures. Heavens! My Husband, starring Andy Clyde with Dorothy Granger, Allan Lane, George Byron, Bud Jamison and Opal Gangle, starts production tomorrow at Mack Sennett under the direction of Babe Stafford. Al Martin is on his eighth short at Universal, the latest being a humorous sport reel starring Charlie Paddock with Nedra Norris in the feminine lead. Oscar Apfel, Ethel Griffies and Bert Roach complete the cast of The Impatient Maiden, joining Lew Ayres, Mae Clarke, Una Merkel, John Halliday, Andy Devine, Helen Jerome Eddy, Cecil Cunningham, Berton Churchill, Monty Montague and Arthur Hoyt, with James Whale directing for Universal.
12/30/1931 HCN Society In Filmland
By Dallas MacDonnell
SURPRISE PARTY FOR LEW AYRES
Thirty-five friends joined in surprising Lew Ayres with a birthday celebration at his home on Hollyridge Drive Monday evening, with Mrs. Ayres (Lola Lane) acting as hostess.
A huge birthday cake, presents of amusing toys and various "gags" were features of the evening.
The guests were Messrs. and Mesdames Russell Mack, James Pinzling, Frank Woody (Helen Twelvetrees), Ira Uhr, and Kane; the Misses Claudia Dell, and Messrs. Paul Bern, Russell Gleason, Lou Schreider, Carl Laemmle Jr., Henry Henigson, E.M. Asher, John LaRoy Johnston, Eddie Silton, W.S. Van Dyke, John Miljan, Robert Burns, Andy Devine and Charles Judels.
2/7/1932 FD Three Wise Girls
Columbia 68 Mins.
Average sophisticated comedy drama with fine cast and lavish display of gowns.
The high spots in this drama of the worldly-wise are excellent performances by the entire cast and a galaxy of magnificent gowns and wraps worn by Mae Clarke and Jean Harlow. The story is commonplace, lacks real punch and goes to pieces at the finish. It revolves around Jean Harlow, who, as a smalltown soda clerk, tires of her small salary and lack of advantages, and goes to New York where she becomes a model in an exclusive shop. She meets Mae Clarke, another model. Jean falls in love with a man whom she later discovers is also married. Mae hands out plenty of advice to Jean, but in the end Mae's man goes back to his wife and Jean's fellow is successful in divorcing his wife. Marie Prevost, as Jean's roommate, contributes some clever comedy.
CAST: Jean Harlow, Mae Clarke, Walter Byron, Marie Prevost, Andy Devine, Natalie Moorhead, Jameson Thomas, Lucy Beaumont, Katherine C. Ward, Robert Dudley, Marcia Harris, Walter Miler, Armand Kaliz.
Director, William Beaudine; Author, Wilson Collison; Adaptor, Agnes C. Johnson; Dialoguer, Robert Riskin; Editor, Jack Dennis; Cameraman, Teddy Tetzlaff; Recording Engineer, Russell Malmgren.
Direction, Fair. Photography, Good.
2/8/1932 IDN Law and Order
By Harry Mines
The dramatic story of the Earp-Clanton feud and the routing of lawlessness from Tombstone is vividly pictured in Universal's Law and Order starring Walter Huston at the RKO-Hillstreet theater.
Here is a picturesque, stirring narrative done with splendid realism and acted to the hilt by a finished cast of character actors. There are no women principals in the story.
The Earp-Clanton feud was one of the most famous incidents in history. Wyatt Earp, a gun-totin' sheriff who killed to maintain law and order had cleaned up Dodge City of undesirables. Now he had come with his faithful band of followers to Tombstone and found the town infested with rule of the Clanton brothers. Bloodshed and villainy were everywhere. No man trusted his neighbor and the mention of the Clanton name struck terror to the heart.
Earp, a strange, somber man, interested in no one except his brother, confiding in no one, is prevailed upon by the peaceful citizenry to take charge of the law. He does. One day there appears on the town bulletin board the notice that carrying guns is taboo and anyone doing so is liable to jail. These and other laws Earp introduces, all of which is met by defiance by the Clantons and followers who spread the tale that Earp is merely trying to control the town.
When Earp's brother kills one of the Clantons while enacting his duty, the bad men retaliate by shooting Ed Brant, follower and friend of Earp. And this leads up to the tense, terse gun battle in the OK Corral on a cold, quiet morning resulting in the suppression of the Clantons and the beginning of justice in Tombstone.
However, W.R. Burnett's story, adapted by John Huston to the screen, takes several rightful liberties to the incidents in order to build up dramatic strength. Burnett's characterization of Earp is known as "Frame" Johnson and the Clantons become the Northrups.
There are two big sequences–the best of course, being the shooting fray in the corral and the picturization of the first lawful hanging in Tombstone, done with dramatic humor and punch.
Credit Walter Huston with a magnificent performance as Earp. Here is an actor who is never the same in any characterization. As the steely-eyed defender of the law, Huston brings a wealth of drama to the role still making Earp the quiet, taciturn person that history credited him to be. It isn't a star performance, that is he doesn't try to take the scene on every occasion, but instead fits his personality and portrayal right into the atmosphere.
THE CAST
Harry Carey, Russell Hopton, Raymond Hatton, Ralph Ince, Russell Simpson, Andy Devine, Richard Alexander and Alphonz Ethier are all superb. Edward Cahn's direction is all that it should be. He has a fine production here, one that should be admired for its pictorial and dramatic values.
On the stage the vaudeville bill is headlined by Ledova in a spectacular dance revue with Leon Varkas. Anita Case has a lovely singing voice, and Joe Donahue does some neat entertaining accompaniment.
2/8/1932 LAX Law and Order
By Marquis Busby
There's an awful lot of shootin' in Law and Order, the out West drama at the RKO-Hillstreet Theater this week. In fact, it comes pretty near being the shootinest picture since All Quiet On the Western Front. There isn't gun play all the time, however. For the relief of those sensitive souls who stuff their ears at the very sight of a six-shooter, there is a nice quiet hanging.
The gun totin' days of frontier life are vividly recreated in Law and Order. The locale is Tombstone, which sounds like a peaceful place, during the era when it was the most lawless town between the Kansas prairies and the Pacific shores. "Saint" Johnson, a deadly shot with a penchant for cleaning up the West, arrives to make this Arizona city safe for posterity. He does it by pouring lead into the hides of the local bad men. At that, it is a rather reliable method.
Strangely enough, the most amusing sequence in the film pictures the hanging of Johnny Kinsman. Johnny, quite naturally, is somewhat opposed to the necktie party. "Saint" Johnson explains that he will be the first man in Tombstone to be hanged legally, and after that Johnny feels like any other maker of history. All the local gentry are on hand for the occasion and bands play. On the whole, Johnny had a nice, legal hanging. Of course, you may not like humor so broadly streaked with the macabre.
Romance is lacking in Law and Order. There isn't a feminine role in the picture, but Tombstone, apparently, was too much shootin' to have much time for the tenderer passions.
Walter Huston is a vividly real figure as "Saint" Johnson, and there are many very fine portrayals from Harry Carey, Raymond Hatton and Russell Hopton, Ralph Ince, Harry Woods and Richard Alexander play the bad men. Andy Devine is Johnny Kinsman and Russell Simpson is the judge. Edward Cahn directed Law and Order, an adaptation of W.R. Burnett's novel, "Saint Johnson." It is a Universal picture, and there's nary a dull moment.
Included on the RKO variety bill is Anita Case, Brems, Fitz and Murphy Brothers, Three Lordens, Zeel and Randolph, and Louis and Cherie. John Donahue is an extra attraction this week.
2/12/1932 HCN Fireman Save My Child
By Jim Crow
"When a guy is as good as I, he don't have to brag."
Such is the shrinking violet philosophy of "Smokey Joe" Grant, fireman, baseball player and inventor of extinguisher bombs.
Smokey Joe, whose big mouth is to put to use in generous praise, first for his extinguisher bomb, second for his firefighting ability and third for his pitching prowess, is portrayed by Joe E. Brown, and the portrayal brought stormy laughter from large crowds at the opening of Fireman, Save My Child, at Warner Brothers Hollywood Theater yesterday.
The fans did not stop to comment on the title, which has nothing to do with the story. They were too busy following the engrossing career of Smokey Joe from his position as a noted fireman and pride of Rosedale's baseball team to a post in the big leagues and to a final triumph in the sale of his extinguisher bomb, "which every man, woman and child should carry."
SUPPORTING CAST WEAK
The picture is much like other Joe E. Brown vehicles, and that, in the opinion of this department, means that it is good enough for anybody's money. Like other Brown pictures, it has a weak supporting cast. But to make up for this in some measure, it has a suspense which had the patrons fidgeting crazily in their seats while Joe, after setting fire to a luxurious suite of offices for the sake of a demonstration, reached for his trusty extinguisher bombs only to discover that he had traded brief cases with a young woman and that a pair of step-ins was the only thing available for battling the flames.
Meanwhile the deciding game of the world series is under way–with Smokey Joe on the missing list. Only the discovery that the fire battalion chief has a bet on the game lures Joe back to the diamond, where, of course, he wins the game in the ninth by retiring the enemy and smacking out a three-bagger with two men on and two down.
Joe's odd swear words, his naive bragging, his agony as the trainer jerks a mustard plaster off his hirsute chest–these are the chief delights of the picture. Guy Kibbee does well as the manager of the St. Louis baseball club and Evalyn Knapp is very charming as Joe's best girl. Lillian Bond enacts effectively the role of the blonde vamp.
The supporting program is good, especial praise being merited by Gaylord Carter's organ antics and by Jack Crawford's orchestra. There is nothing else on the program, however, to compare with the tag line of the picture.
TAG LINE SCORES
This comes when Joe, with siren shrieking, drives up to the church door to meet his bride-to-be and tells her that he is late because he has been making his extinguisher bombs larger so the children won't swallow them.
"No child could swallow one of those things, anyway," says the bride.
"The Grant kids could," says Joe, opening his mouth to prove it.
2/12/1932 EHE Fireman Save My Child
By Dick Hunt
Seldom have I heard as continuous laughter in a theater as greeted Joe E. Brown's latest comedy at Warners Hollywood last night.
The picture, Fireman, Save My Child, ranks right alongside all his top-notchers.
It builds from the opening scenes, which show Joe E. dividing his time between fighting fires and pitching sand-lot baseball until he pulls the big league club out of a hole by winning the world series for them.
Naturally most of the laughs are furnished by Brown's facial convulsions and antics, but no little amount of comedy credit is due Lloyd Bacon's timely direction and the efforts of Robert Lord, Ray Enright and Arthur Caesar, who comprised the list of writers. These four all did swell jobs in Joe's behalf.
BROWN INVENTOR
As the story opens Joe E. is engrossed in an invention, to-wit, a bomb that contains acids capable of extinguishing fire.
This invention and his yen for a fire siren are his mania. Baseball is secondary, although he modestly admits that he is probably the greatest pitcher in the world.
Fireman, Save My Child has a lot of the characteristics of "Elmer the Great," which Joe did so well on the local stage. When he finds time to play ball he is the swaggering Elmer. Only it is accentuated as he really performs on the diamond and Joe is a natural baseball player. Didn't he warm the bench of the Yankees for a season?
CAST HELP STAR
A mighty capable supporting cast has been given the comedian. There is romance with the small town girl whom he eventually marries. Evalyn Knapp is the charming heroine.
There is an enchanting vamp who tries to marry Joe for his money. Lilian Bond cleverly plays the part. Guy Kibbee is the manager of the big league club, and once more proves that he should be given larger parts in our movies. Among the athletes is one of baseball's star hurlers, Frank Schellenback.
And last but not least, Joe E. himself, but you've probably guessed by this time–that he is swell.
Current with the picture Jack Crawford and his orchestra furnish the music for Sally Sweet, blues singer, and "Fuzzy" Knight's clowning act.
2/12/1932 LAR Fireman, Save My Child
Warner Brothers, Hollywood: Joe E. Brown in Fireman, Save My Child, with Evalyn Knapp, Lillian Bond, Guy Kibbee, Richard Carle, George Meeker, Andy Devine and Frank Shellenbach. Directed by Lloyd Bacon. Also, Symphony Murder Mystery, and on the stage, Jack Crawford and his band, Sally Swift, "Fuzzy" Knight and Jeffery Gill.
By Winifred Aydelotte
Joe E. Brown went to the theater yesterday, and saw himself in Fireman, Save My Child, which opened at the Warner Bros. Hollywood.
And then, with the shrieks and roars of a delighted audience still ringing in his ears, he swaggered out of the theater, donned a fireman's cap and drove away in the same firewagon seen in the comedy, making large, candid clucks to the two languid white horses, and causing the traffic cops a good deal of trouble.
Because the dialogue is dull, it drags this film below the peak of the Brown comedies, and it should be at the top, for the basic idea makes for fine, furious fun.
Brown is seen as the captain of the fire department of Rosedale, and the best baseball pitcher in town. However, fire comes first. There is something about the fireman's helmet, the excitement of frantic reins in his hands, the gallant thud of horses' hooves, and the great, eager tongues of flame, that will make him leave a ball game with two men on bases, two strikes and three balls in the ninth inning.
The only other thing Smokey Joe Grant is interested in at all is his bomb which he has invented. It is thrown, like a baseball, right into the middle of the most raging fire, and explodes, releasing a chemical which smothers the flames.
Evalyn Knapp has the role of the small town girl who encourages Smokey Joe to join the Big League and get his bomb patented. Lillian Bond is the vamp who discourages the two projects.
Guy Kibbee has a grand part as the exasperated baseball manager whose main duty is to keep Joe in the pitcher's box when the fire engines go past.
Joe E. Brown, of course, has a swell comedy face, and why he keeps it in a continual, unnatural grimace, is a mystery. It is painting the lily. He is funny enough when he just looks plain.
However, don't miss this picture. It's lots of fun.
Jack Crawford and his band entertain on the stage, and provide music for several specialty acts.
2/16/1932 HCN Elizabeth Yeaman
Mae Clarke's next picture for Universal will be Radio Patrol, with Andy Devine and Russell Hopton in the male leads. Mae is one of the chief feminine standbys at Universal for she can play almost any type of role. Incidentally, she should be an excellent choice for the Sadie Thompson role of Rain which Lewis Milestone will direct for United Artists. It has been rumored that pretty little Ann Dvorak, discovery of Howard Hughes has been engaged for this role. But the rumor remains unverified. I happen to know that some of the executives are rooting for Mae Clarke in the part, and here's hoping she gets it.
2/22/1932 EHE Jimmy Starr
Mickey McGuire (Rooney) and Andy Devine will provide some fun in The Information Kid, starring James Gleason with Maureen O'Sullivan and Tom Brown at Universal.
3/1/1932 EHE Harrison Carroll
The air mails are winging eastward with a script for Ben Lyons to read. It is Universal's The Radio Patrol, and Carl Laemmle wants Ben to play the masculine lead.
With the headlines in Los Angeles daily proclaiming the efficient work of radio-car officers, with New York newly establishing this latest kink in crime prevention and with police departments all over the country taking up the good work, Universal believes that Tom Reed has written an important and timely story. It is going to produce the picture with a cast which already includes Mae Clarke, Andy Devine, and Russell Hopton.
In Ben's absence, Universal is conducting its negotiations by wire. They figure the story will be ready to start by the time Ben finishes his personal appearance week in Washington and returns to Hollywood. I don't have to tell you that Bebe Daniels also went east to sing on the radio. She and Ben will return together.
3/6/1932 FD Law and Order
Universal 70 Mins.
Heavy-shooting melodrama of lawless west containing no feminine principals or love interest.
Adapted from W.R. Burnett's novel, "Saint Johnson," this is a story of the wild frontier days in which Walter Huston portrays the fearless sheriff, who is supposed to have been famous to the point of becoming a legend. After supposedly retiring from cleaning up bad towns, Huston and some of his buddies, including Harry Carey and Raymond Hatton, turn up in Tombstone, a hotbed of lawlessness. After much persuasion on the point of duty, Huston is prevailed upon to again take up the cause of law and order. As deputy sheriff he meets conflict with a gang headed by Ralph Ince, and the two factions shoot it out until all are dropped except Huston, who thereupon goes elsewhere to seek peace. The picture is packed with gun action and hold a tense interest, but lacks a feminine side. Huston's performance is notable and he gets fine support all around.
CAST: Walter Huston, Harry Carey, Raymond Hatton, Russell Simpson, Russell Hopton, Ralph Ince, Harry Woods, Richard Alexander, Alphonz Ethier, Andy Devine, Dewey Robinson, Walter Brennan.
Director, Edward L. Cahn; Author, William R. Burnett; Adaptors, John Huston, Tom Reed; Dialoguers, Same; Editor, Milton Carruth; Cameraman, Jackson Rose; Recording Engineer, C. Roy Hunter.
Direction, Good. Photography, Good.
3/6/1932 FD Impatient Maiden
Universal 72 Mins.
Mechanical version of sexy novel falls flat without a kick in it. Bad reaction on clinic scene.
From Donald Henderson Clarke's "Impatient Virgin" they deleted all the sexy situations or else played them down to such a point that the whole affair rates just a series of flat episodes in a very uninteresting love affair. Lew Ayres seems miscast as the young surgeon, Mae Clarke is unimpressive, and the rest of the cast seems to be licked generally. The theme is that of a secretary in love with the young doctor, but will not marry him as she dreads the prospect of unromantic marriage and struggling along till he builds up his practice. She suggests their love proceed without marriage, and he turns her down flat and goes his noble way. Then, her middle aged boss, a philanderer, goes to work, put her up in a gorgeous apartment, but nothing happens. Big climax is in the operating room, with the young doctor removing her appendix, then love after the operation.
CAST: Lew Ayres, Mae Clarke, Una Merkel, John Halliday, Andy Devine, Berton Churchill, Ethel Griffies, Helen Jerome Eddy, Monty Montague, Lorin Baker, Cecil Cunningham, Arthur Hoyt, Blanche Payson.
Director, James Whale; Author, Donald Henderson Clarke; Adaptors, Richard Scheyer, Winifred Dunn; Dialoguer, Donald H. Clarke; Editor, Clarence Kolster; Cameraman, Arthur Edeson; Recording Engineer, C. Roy Hunter.
Direction, Weak. Photography, Good.
3/14/1932 HCN Elizabeth Yeaman
Another piece of good news from Universal is the announcement that Lila Lee has been engaged for the leading feminine role in Radio Patrol. Since Lila recovered her health in Arizona, she has not found it easy to stage a comeback in Hollywood, although she is looking radiant again. This is the picture which was to have starred Mae Clarke until the star was overtaken by a nervous breakdown. Pretty blonde June Clyde, who incidentally is doing very nicely at Universal, will have the second feminine lead, and Robert Armstrong, Russell Hopton and Andy Devine have been cast for the chief male roles. Others cast are Onslow Stevenson, John Lester Johnson, Harry Woods and Sidney Toler. Edward Cahn will direct.
3/22/1932 HCN Elizabeth Yeaman
The old danger signal, "Jiggers, the cops!" is being reversed at Universal Studios where now the cry is "Jiggers, the public!" is becoming the watchword on the Radio Patrol set. Robert Armstrong, Russell Hopton and Andy Devine, donning police uniforms for the picture, have been mistaken for bonafide cops by visitors, and are so beleaguered with requests and information that they literally have had to take resort to overcoats to escape questioning. Russell Hopton was the hardest hit by questions. He was surrounded by a gesticulating, chattering band of excited Indians who wanted information about the Laughing Boy set where they had been called upon to report.
3/29/1932 HCN Elizabeth Yeaman
Russell Hopton has been nicknamed Gandhi by his follow players in The Radio Patrol at Universal. He was so christened by Robert Armstrong and Andy Devine during athletic scenes of the picture, in which Hopton's light physique was emphasized in contrast to the burly bulk of the other two actors. Hopton doesn't object to the nickname particularly, except he is anxious to let it be known that he still prefers trousers to bedclothing for ordinary street wear.
4/1/1932 HCN Man Wanted
By Jim Crow
The guardian angel of motion picture players was at the elbow of Kay Francis today, guiding her toward the perilous film heights in her first starring picture, Man Wanted, which has a propitious opening yesterday at Warner Brothers Hollywood Theater.
Boasting nothing much in the way of a plot, Man Wanted has been made into a highly entertaining if thoroughly satisfying picture by Miss Francis' charming sophistication, by the appealing performance of David Manners, her leading man, and by the comedy of Una Merkel and Andy Devine.
Skillful direction of William Dieterle gave an intriguing character to a film story that came to obvious conclusions.
Man Wanted has Miss Francis in the role of a shrewd businesswoman editor of a fashionable magazine. Her husband is Kenneth Thompson, a playboy. Her lover is David Manners, a serious and worthy youth.
PLOT UNDERWAY
The plot gets underway when Manners wins a position as Miss Francis' secretary and falls in love with her. He is broken hearted when he relinquishes her because she is the wife of another, and he straightway pledges his troth to Miss Merkel.
This situation, abhorrent, of course, to the movie audience, is deftly rectified when Thompson falls in love with another and asks for a friendly divorce. It is readily granted. Miss Francis and her secretary are left in each other's arms and Miss Merkel is left to her own devices.
Miss Francis was forced to extend to give conviction to the scenes in which she appears as the big business woman, but she was given abundant opportunity elsewhere to display the poised charm which is her particular screen glory. She was beautiful and appealing in the brief love scenes with Manners, who, by the way, handled with fine discretion the part of the engaging and somewhat befuddled employee-lover.
MISS MERKEL HIT
Miss Merkel's performance was a hit, as it usually is. Devine scored notably in the final sequences, although his comedy seemed forced at the beginning.
The picture is too talkative in the opening scenes and sadly in need of cutting. After the bad start, however, it gets down to business and tells its story with no wasted effort.
The stage program at Warners Hollywood offers Mrs. Donald Novis, radio artists and Jack Crawford, orchestra leader, in the featured spots. The latter is in his last week on the Boulevard.
Manuel, slack wire artist, Rita Rubin and Company, adagio dancers; Will Borzage, comedy accordionist; Margo, dancer, and Gaylord Carter, organist, are other attractions of the "in person" program.
The supporting film program offers a Vitaphone Variety, a Sport Slants and a newsreel.
Sally Rand, fan dancer extraordinary, did a walk-out at Paramount. She answered a studio call to start work on her first assignment in Bolero, starring George Raft and Carole Lombard. And when she got to the set she found that her part was very small–just a dancing sequence in which she had a few lines to speak. Sally was outraged. She thought everybody understood that she wanted a dramatic role. Why, didn't she leave Hollywood in the first place because she couldn't get a dramatic opportunity? And didn't she stage that Chicago fan dance merely as a side issue and economic expedient? And didn't that expedient give her a new chance to come to Hollywood? Well, Paramount explained to Sally that her role could not be enlarged. So Sally walked out. It looked as if her contract would be torn up. But today executives and Sally went into another conference. Both sides probably will make some concessions. Sally probably will end up getting a slightly more comprehensive role, but not one of the dramatic size she first demanded. For, after all, Sally has had a lot of publicity–publicity that has cost money at the studio, as well as free publicity. And the public certainly knows all about her, and the studio figures she will be a drawing card at the box office. But the studio also figures that the public expects a fan dance from Sally and not a dramatic role!
....
Last week Constance Cummings took her bridegroom, Benn W. Levy, to Palm Springs for his first visit. They were enjoying a nice vacation on the desert, when Connie was thrown from her horse and snapped some small bones in her wrist as she attempted to break her fall. Her doctor says that the injury is not serious, but it will be necessary for Connie to have her wrist in a cast for at least a week. However, she expects to have the wrist in working condition as soon as possible, since she is scheduled to start work very soon in Transient Love, a Radio Picture which will star Irene Dunne. Connie has been borrowed from Twentieth Century for one picture at Radio, and this is her final assignment. At first she was announced for the lead in Success Story.
....
Chic Chandler has finally won his argument with Radio Pictures, and will be free for a featured assignment at Warners, where he will play Lilacs in Harold Teen, with Hal LeRoy. Chic was sought for this role, but he had a three-picture agreement at Radio Pictures and the latter studio said he could not be released at this time since he is wanted there for So You Won't Sing, Eh? However, the shooting schedule finally was rearranged so it will be possible for Chic to appear in Harold Teen first.
....
Teddy Joyce is bound for London and an engagement at the Palladium there. But before he left, Ida Lupino, little English star now under contract at Paramount, gave a party in his honor. And Teddy surprised his little hostess by bringing with him, a new song which he has composed and dedicated to little Lupino. It is called, "I'm the [word obscured on microfilm!] of Your Eyes," and Teddy will introduce the number at the Palladium.
....
Paramount says that Lee Tracy has not been signed and will not be signed for a picture at that studio. This announcement comes on the heels of news that Tracy had been signed, at double his former MGM salary, to play the starring role in The Baby In the Icebox. On the other hand, Lee's agent declares that the actor refused the role in The Baby In the Icebox was so poor, and the agent further says that Lee did not give his reason for refusing the story because of his regard for Harry Joe Brown, who will direct the picture. Hearing both sides of the story, it is difficult in judge what actually occurred. All that is certain is that Tracy will not play at Paramount. And that revives rumors that Tracy is to be the victim of a studio blackball because of the Mexico City incident, during the filming of Viva Villa. Louis B. Mayer, of course, is very bitter on the subject. If he doesn't want. Tracy, I see now reason why he should interest himself further, but talk is going around that Mayer influenced Paramount. And that brings up the rumor that Will Hayes, a strong henchman of Mayer, has instructed the major studios not to engage Tracy. If that be true, then Hayes is committing a policy of blackball which has been vigorously denied by the Hays organization in the past.
....
And speaking of Viva Villa, there is a new member of the cast by the name of Carlos de Valdes. He comes from the New York stage where he was featured in the Theater Guild production of "The Miracle at Verdun" and previous to that played in "Overture." The feminine lead in Viva Villa is still vacant, since the dismissal of Mona Maris, Myrna Loy, Dorothy Burgess, Lila Lee and Carmel Myers have been tested for the part.
....
The Four Marx Brothers once more are dickering with Paramount and deny the report that they plan to make a picture in conjunction with Sam Harris in New York. They deal for their next comedy probably will be signed at Paramount within the next week or two.
Andy Devine In the 30's
ABBREVIATIONS
CD – California Eagle
DN – Los Angeles Daily News
EE – Los Angeles Evening Express
EH – Los Angeles Evening Herald
EHE – Los Angeles Evening Herald Express
FD – Film Daily
HCN – Hollywood Citizen News
HDC – Hollywood Daily Citizen
LAR – Los Angeles Record
LAPR – Los Angeles Post-Record
LAX – Los Angeles Examiner
MPH – Motion Picture Herald
SFC – San Francisco Chronicle
5/7/1930 EE Jimmy Starr
Andy Devine has a strange voice which he thinks might be funny in the talkies.
1/8/1931 EE The Criminal Code
By Jimmy Starr
"An eye for an eye—the basis and foundation of our criminal code!"—shouted the district attorney. "I know the boy is sorry, but a man lies dead upon a slab in the morgue! Somebody has to pay for that!"
Such was the speech made by the district attorney to a lawyer making a feeble attempt to save an unknown boy from the disgrace and hardships of prison; to save him from giving society 10 years of his life.
But the boy is not saved. Despite the fact that even the district attorney knows a "way out," he is bound by duty to win his case....to send a youth to almost sure ruin because of an "accident," one misstep.
How the district attorney, later made warden of the prison, saves this boy is a drama you must not miss!
Martin Flavin's powerful, daring play, "The Criminal Code," has been transferred to the audible screen with even more suspense and terrific punch than was acquired upon the stage!
The film opened last night at the Orpheum Theater before a thrilled audience that became so enraptured with the magnificent performances applause was often heard after actors had completed scenes. An unusual tribute indeed!
Walter Huston, in the central role of the district attorney and prison warden, gives his best performances. With all due credit to Arthur Byron, who played the role on the stage, Huston surpasses him because he lives the character, breathes and thinks like a man would in such a position....he is human!
Although Huston handles the role magnificently, he is not alone the sole receiver of all the laurels. Phillips Holmes, as the boy, goes beyond any of his previous efforts and turns in a grand performance....a portrayal that will go down with Huston's to be written firmly on the pages of motion picture history.
And there is one other who runs third for honors—Boris Karloff, the sinister Galloway—a killer made by prison tactics, by brutality. Karloff will win an exclusive place in pictures with his work. He is superb!
Others who win printed plaudits are: Constance Cummings, a newcomer, who is definitely a "find." She possesses a natural charm and talent that will take her a long way on the cinematic path. Second is DeWitt Jennings in the difficult, but excellently done, role of Gleason, brutal prison guard. Third is Mary Doran, who contributes a fine bit of acting as the girl who caused the boy's mistake.
Arthur Hoyt, John St. Polis, Otto Hoffman, John Sheehan, Clark Marshall, Andy Devine and Ethel Wales all aid greatly in making up a perfect supporting cast.
Director Howard Hawks, responsible for The Dawn Patrol, again proves his ability for handling heavy, dramatic themes without once veering to the melodramatic. He displays an unusual talent for maintaining the proper amount of suspense, and his steady, even tempo is something to be regarded highly.
Fred Niblo Jr., and Seton I. Miller are credited with the adaptation of the play and additional dialogue. They have kept close to the original, injecting several added thrills and splendid lines. Their sane treatment of the delicate theme is an outstanding note of the production.
Well, I must say the movie fans are getting their share of good pictures. You'll get a big thrill from The Criminal Code. It is truly an excellent film—if you haven't guessed so already from what I've been saying.
There is an amusing comedy, Trader Ginsberg, starring Nat Carr, along with an Aesop Fable film and Pathe news weekly.
1/8/1931 EH The Criminal Code
Opened at the Orpheum jan. 7. Taken from the play by Martin Flavin. Directed by Howard Hawks.
CAST: Constance Cummings, Walter Huston, Phillips Holmes, Mary Doran, DeWitt Jennings, John Sheehan, Boris Karloff, Arthur Hoyt, Ethel Wales and John St. Polis.
By W.E. Oliver
Coming late in the vogue of prison pictures, The Criminal Code, now at the Orpheum, should old a strong place among the very best of its ilk. In fact, it grips the emotions as potently as any of them.
The merits of the fine play from which it is adapted are partly responsible for this. In addition, some honest changes in the story give it a hopeful note lacking in the play.
More than this are the intelligent of Howard Hawks and the grand acting of Walter Huston as Warden Brady, young Phillips Holmes as the youth condemned to penal servitude by a combination of fate's vagaries and the law's inexorable code, Boris Karloff playing the cadaverous convict, and DeWitt Jennings, Constance Cummings, John St. Polis playing respectively the jailer, the warden's daughter and the prison doctor.
CHANGES HELP
These changes in the story and Walter Huston give the picture a conviction that the play lacked, particularly toward the end where the fortuity which sent the boy to prison was repeated in having him murder a jailer on the eve of his parole.
The version on the screen undoubtedly is made with both eyes on the box office. But I contend it loses nothing by its addition of a hopeful ending, and it sacrifices hardly anything in its strong preachment against the rotting effects of our penal system.
Although it lacks the sustained mood of the stage play, on the screen The Criminal Code is fuller of emotional appeal and suspense. I vastly prefer it.
Walter Huston's Warden Brady will be suitable company for the grand assortment of screen portrayals he has already supplied this screen.
The playing of Phillips Holmes brings utter conviction to the role of Robert Graham, a boy who brings a lump in the throat when he dazedly admits first to the sympathetic district attorney that he is "sometimes called Bob," and later, as a despair-sodden lump, when he is brought before Huston, now the prison warden.
There are few young men in Hollywood who could have done so handily with the role.
ROMANCE EFFECTIVE
A slender thread of romance, repressed almost to inarticulate measure, falls almost entirely on the shoulders of Constance Cummings, who deals very well with it. This love affair, by the way, is doubly effective against the drab backing of prison walls and men without women.
Others in the cast are Ethel Wales, Mary Doran, Arthur Hoyt and John Sheehan.
Theatrical resources barrel to the stage are used with telling effect by director Hawks. Particularly unforgettable are the "yammering" scenes as thousands of convicts snarl in sullen chorus.
Details of prison life are depleted with reality, where the stage suggested them in a conventionalized way. Much of this realism comes, I understand, from the suggestion of a former convict, who acted in an advisory capacity.
The Criminal Code is one of Hollywood's best recent products. Whether you are out just for entertainment or are interested in prison reform you will enjoy it.
Nat Carr, in a short burlesque, Trader Ginsberg, a Schumann-Heink song feature, an Aesop Fable and the sound news fill out the screen offerings.
1/9/1931 LAX The Criminal Code
By Louella O. Parsons
Arthur Byron became such an intangible part of The Criminal Code on the stage that unconsciously every time the play is mentioned you visualize him in the principal role. I wonder whether even Walter Huston could meet the opposition, but ten minutes in the Orpheum Theater convinced me that other characters may have been differently cast, but no one could possibly improve upon the Huston performance.
Curiously enough, Mr. Huston makes no effort to imitate Arthur Byron. He furnishes his own characterization and does it so well that his crisp "yes" and his manner of smoking his black cigars become a part of Matthew Brady, first district attorney, and later warden.
Martin Flavin's play, "The Criminal Code," was a sad, tragic—yes, gloomy—play on the stage. On the screen it loses none of its atmosphere, but it brightens toward the end when the boy is freed and released from the charge of complicity in a prison murder.
The criminal code that exists among prisoners that no one shall "snitch" is the cause of the mental crucifixion of the young boy imprisoned for a murder he committed in self-defense. Phillips Holmes is splendid as the boy. He is so poignant in his emotions, and his suffering is intensely real.
The part of the girl is, of course, greatly overshadowed by the men. Constance Cummings plays the warden's daughter, a nice role for a beginner. Miss Cummings is very pretty, and I have no doubt will improve with experience. She is still young and obviously new to emotional roles.
No one who sees Boris Karloff as Galloway will forget him. He had the same role on the stage and he is excellent as the sulky, brooding prisoner who bides his time until he gets even with Gleason. No prison story is complete without DeWitt Jennings as a police officer. His Gleason is one of the highlights. Mary Doran is effective in a small, but important role, so are Ethel Wales as the aunt, Otto Hoffman as Pales, another prisoner, and Nicholas Soussanin as the prison doctor.
In spite of certain definite changes in the very well constructed play, The Criminal Code stands out as entertainment of no ordinary quality.
1/10/1931 EE And He is Actor's Son
Hollywood sometimes plays tricks in selecting its players for motion pictures, and the case of Phillips Holmes, is a case in point.
Although Holmes is the son of the stage and screen actor, Taylor Holmes, he had no idea of becoming a screen star. He was discovered quite by chance by director Frank Tuttle on the campus of Princeton University
Tuttle made a 10-day stat at Old Massau to film scenes for Varsity. Noticing Holmes among others, he asked the young man to take a screen test. Holmes did, and was cast. The role was of enough importance to bring him to Hollywood. He played the part of Charles Rogers' roommate.
Now in the character of Bob Graham in The Criminal Code, at the Orpheum Theater, currently, Phillips Holmes delivers his talent on an assignment perhaps as dramatic as any screen youth has ever been given.
The Criminal Code requires him to appear as a clean, hopeful boy who suddenly finds he has innocently killed a man in a night club brawl. Over a period of years, during which he serves in prison for manslaughter, he must portray the many physical, mental and nervous changes in a man thrown with criminals, crazed by the jute mill and soul-shocked continually with overwhelming emotions of grief, hope, hate and despair.
Walter Huston stars in the role of the district attorney and later the prison warden. It is another of the long list of characterizations Huston has given without a single repetition of type.
5/5/1931 HDC Elizabeth Yeaman
Kenneth Harlan, who has been the hero of so many thrilling screen dramas, is going back to Universal to make his second serial, called Danger Island. The picture is an adventure thriller in ten episodes. Ray Taylor will direct, and other members of the cast include Tom Ricketts, William Thorne, Beulah Hutton, Andy Devine and Walter Miller.
9/24/1931 LAR Llewellyn Miller
Andy Devine, the ex-Santa Monica life guard, Santa Clara football player and so on, drew a bit in The Spirit of Notre Dame at Universal. He photographed and acted so well that they shoved him up into an important part. Now they have given him a contract and feature billing in Lewis Ayres' next picture, Gallows. Rowland Brown, who did Quick Millions is the author and director.
10/17/1931 LAR The Spirit of Notre Dame
RKO-Orpheum–Lew Ayrles in The Spirit of Notre Dame with J. Farrell MacDonald, Harry Barris, Andy Devine, Sally Blane, the Four Horsemen. Floyd Gibbons' The Turn of the Tide, Aesop's Fable. Pathe News.
By Don Roberts
(Sports Editor of The Record)
Knute Rockne inspired the greatest football spirit this country ever saw and Hollywood turned out a soggy melodrama to commemorate it.
The Spirit of Notre Dame, which opened yesterday at the RKO-Orpheum, is a good, entertaining picture in its way, but it lacks any semblance of its title.
Grotesquely amateurish when it comes to portraying football–in spite of such famous grid stars as Frank Carideo, Don Miller, Jim Crowley, Harry Stuhldreher and Elmer Layden–the picture incorporates all the old gags.
The fresh youngster from a small town high school arrives at Notre Dame with enlarged ideas of his own prowess. Lew Ayres, as the small towner, is good, but not good enough. As in Iron Man, Ayres is miscast. The trials and tribulations of winning football games are portrayed with little football action of note.
Eventually, Ayres (Bucky O'Brien) is shifted to the blocking halfback post, while his roommate and buddy, Jim Stewart, played by William Bakewell, is given the running job. Stewart begins to get the glory and they have a quarrel. O'Brien is fired by the coach–J. Farrell MacDonald–but comes from the stands to win a game in the last minute.
Naturally the work of MacDonald, the counterpoint of Rockne, will arouse interest. He bears a great likeness to the deceased coach and does his role capably.
Honors for the picture go to Andy Devine, who plays a sub tackle. It was in connection with this role that the famous George Gipp episode was utilized. Devine, playing Truck McCall, is near death from injuries during the Army game. During the half the coach tells them that Truck wants them to "put one over for him," a situation similar to an actual happening.
Russell Mack directed.
A Floyd Gibbons short subject, The Turn of the Tide, and Aesop Fable and a newsreel complete the bill.
10/17/1931 IDN The Spirit of Notre Dame
By Eleanor Barnes
In the Orpheum yesterday at the end of the first showing of The Spirit of Notre Dame, it was observed that more than half of the audience was comprised of young men, apparently college and high school students.
The rest of the patrons–many male–were alert, interesting appearing and not the usual morning matinee crowd that one sees at picture houses.
WELL DONE
This Universal film dedicated to the memory of the peerless football mentor, Knute Rockne, was a fast-moving, well-knit story of the gridiron. It, really, should be reviewed by the sports department of newspapers rather than the drama critics.
PAGE CRONIN
Russell Mack will hear the kickbacks from the football scribes if in directing this piece, from E. Richard Schayer and Dale Van Every's story he has become sloppy or too sobby, for those pigskin experts are pretty tough on directors who aren't technically correct.
The film deals with the "Four Horsemen" and their athletic prowess as well as the latter-day players on the famous Notre Dame roster. The Spirit of Notre Dame is recorded, by deeds, words and thought, one gathers from the story.
Bucky O'Brien, a lad with a strong heart, hitch-hikes to South Bend, gets on the team and works his way up to possible all-American choice. At this juncture, his roommate, Jim Stewart, replaces him in a spectacular position and Bucky later is slightly jealous of the swell-headedness of the new luminary. Their rancor becomes so intense that Bucky tries to take Jim down a notch by unfair tactics on the field. The result netted Bucky turning in his suit.
LATER
Later, when the Army and Notre Dame tangle, Truck McCall, a big goodnatured substitute who was injured when he filled in on the team, spurred the crew on to victory by his plea from his hospital cot to "pull one out of the sleeve" for him. At the crucial point in the match, Bucky gets back into his uniform and goes into action, swinging the score.
Now, Lew Ayres is the star and William Bakewell is his buddy, Jim. Their youthful enthusiasm and their hates and loves cannot be denied.
However, the test of the picture is made by J. Farrell MacDonald, who gives a very faithful and sincere interpretation of the famous Rockne method of coaching. If the resemblance is strained, it is no reflection upon MacDonald or his director. Many terse comments, furnished by Walter DeLeon are worthy of Rockne's craft observations.
THE REST
Other persons of interest include Notre Dame's famous men, Frank Carideo, Jim Crowley and (pick them out yourself from this group) Don Miller, Elmer Layden, Harry Stuhldreher, Nat Pendleton, John Law, Moon Mullins, Adama Walsh, Art McManam, Al Howard, John O'Brien, and others.
There is much humor in this production and the first audience seemed to enjoy the funny stunts of campus life. Florence Lake, Violet Barlow and Sally Blane were the girls.
ADDITIONAL
The second of the series of Floyd Gibbons story of the world war is given, The Turn of the Tide, in which he discussed events at Chateau Thierry. Fun in the Pond, and Aesop fable dealing with frogs and newsreels completed the program.
10/21/1931 EE Jimmy Starr
Pretty Virginia Bruce went to see The Spirit of Notre Dame with Nat Goldstone and wept over Andy Devine's performance.
11/17/1931 EE Jimmy Starr
Andy Devine, the youngster who made such a hit in The Spirit of Notre Dame, and George Meeker have been engaged for featured parts in Fireman, Save My Child, the next Joe E. Brown funny opus at the Warner Studio.
Lloyd (not Irish) Bacon will be at the megaphone end of the business.
12/21/1931 HCN Elizabeth Yeaman
Casting About—George Humbert, who was the original Professor Florentino in Street Scene, and who just finished a role in Ladies of the Jury at Radio Pictures, has signed for featured roles in Dancing in the Dark at Paramount and Hotel Continental at Tiffany. New term contracts were awarded today to Joseph Cawthorn and Ken Murray at Radio Pictures. Heavens! My Husband, starring Andy Clyde with Dorothy Granger, Allan Lane, George Byron, Bud Jamison and Opal Gangle, starts production tomorrow at Mack Sennett under the direction of Babe Stafford. Al Martin is on his eighth short at Universal, the latest being a humorous sport reel starring Charlie Paddock with Nedra Norris in the feminine lead. Oscar Apfel, Ethel Griffies and Bert Roach complete the cast of The Impatient Maiden, joining Lew Ayres, Mae Clarke, Una Merkel, John Halliday, Andy Devine, Helen Jerome Eddy, Cecil Cunningham, Berton Churchill, Monty Montague and Arthur Hoyt, with James Whale directing for Universal.
12/30/1931 HCN Society In Filmland
By Dallas MacDonnell
SURPRISE PARTY FOR LEW AYRES
Thirty-five friends joined in surprising Lew Ayres with a birthday celebration at his home on Hollyridge Drive Monday evening, with Mrs. Ayres (Lola Lane) acting as hostess.
A huge birthday cake, presents of amusing toys and various "gags" were features of the evening.
The guests were Messrs. and Mesdames Russell Mack, James Pinzling, Frank Woody (Helen Twelvetrees), Ira Uhr, and Kane; the Misses Claudia Dell, and Messrs. Paul Bern, Russell Gleason, Lou Schreider, Carl Laemmle Jr., Henry Henigson, E.M. Asher, John LaRoy Johnston, Eddie Silton, W.S. Van Dyke, John Miljan, Robert Burns, Andy Devine and Charles Judels.
2/7/1932 FD Three Wise Girls
Columbia 68 Mins.
Average sophisticated comedy drama with fine cast and lavish display of gowns.
The high spots in this drama of the worldly-wise are excellent performances by the entire cast and a galaxy of magnificent gowns and wraps worn by Mae Clarke and Jean Harlow. The story is commonplace, lacks real punch and goes to pieces at the finish. It revolves around Jean Harlow, who, as a smalltown soda clerk, tires of her small salary and lack of advantages, and goes to New York where she becomes a model in an exclusive shop. She meets Mae Clarke, another model. Jean falls in love with a man whom she later discovers is also married. Mae hands out plenty of advice to Jean, but in the end Mae's man goes back to his wife and Jean's fellow is successful in divorcing his wife. Marie Prevost, as Jean's roommate, contributes some clever comedy.
CAST: Jean Harlow, Mae Clarke, Walter Byron, Marie Prevost, Andy Devine, Natalie Moorhead, Jameson Thomas, Lucy Beaumont, Katherine C. Ward, Robert Dudley, Marcia Harris, Walter Miler, Armand Kaliz.
Director, William Beaudine; Author, Wilson Collison; Adaptor, Agnes C. Johnson; Dialoguer, Robert Riskin; Editor, Jack Dennis; Cameraman, Teddy Tetzlaff; Recording Engineer, Russell Malmgren.
Direction, Fair. Photography, Good.
2/8/1932 IDN Law and Order
By Harry Mines
The dramatic story of the Earp-Clanton feud and the routing of lawlessness from Tombstone is vividly pictured in Universal's Law and Order starring Walter Huston at the RKO-Hillstreet theater.
Here is a picturesque, stirring narrative done with splendid realism and acted to the hilt by a finished cast of character actors. There are no women principals in the story.
The Earp-Clanton feud was one of the most famous incidents in history. Wyatt Earp, a gun-totin' sheriff who killed to maintain law and order had cleaned up Dodge City of undesirables. Now he had come with his faithful band of followers to Tombstone and found the town infested with rule of the Clanton brothers. Bloodshed and villainy were everywhere. No man trusted his neighbor and the mention of the Clanton name struck terror to the heart.
Earp, a strange, somber man, interested in no one except his brother, confiding in no one, is prevailed upon by the peaceful citizenry to take charge of the law. He does. One day there appears on the town bulletin board the notice that carrying guns is taboo and anyone doing so is liable to jail. These and other laws Earp introduces, all of which is met by defiance by the Clantons and followers who spread the tale that Earp is merely trying to control the town.
When Earp's brother kills one of the Clantons while enacting his duty, the bad men retaliate by shooting Ed Brant, follower and friend of Earp. And this leads up to the tense, terse gun battle in the OK Corral on a cold, quiet morning resulting in the suppression of the Clantons and the beginning of justice in Tombstone.
However, W.R. Burnett's story, adapted by John Huston to the screen, takes several rightful liberties to the incidents in order to build up dramatic strength. Burnett's characterization of Earp is known as "Frame" Johnson and the Clantons become the Northrups.
There are two big sequences–the best of course, being the shooting fray in the corral and the picturization of the first lawful hanging in Tombstone, done with dramatic humor and punch.
Credit Walter Huston with a magnificent performance as Earp. Here is an actor who is never the same in any characterization. As the steely-eyed defender of the law, Huston brings a wealth of drama to the role still making Earp the quiet, taciturn person that history credited him to be. It isn't a star performance, that is he doesn't try to take the scene on every occasion, but instead fits his personality and portrayal right into the atmosphere.
THE CAST
Harry Carey, Russell Hopton, Raymond Hatton, Ralph Ince, Russell Simpson, Andy Devine, Richard Alexander and Alphonz Ethier are all superb. Edward Cahn's direction is all that it should be. He has a fine production here, one that should be admired for its pictorial and dramatic values.
On the stage the vaudeville bill is headlined by Ledova in a spectacular dance revue with Leon Varkas. Anita Case has a lovely singing voice, and Joe Donahue does some neat entertaining accompaniment.
2/8/1932 LAX Law and Order
By Marquis Busby
There's an awful lot of shootin' in Law and Order, the out West drama at the RKO-Hillstreet Theater this week. In fact, it comes pretty near being the shootinest picture since All Quiet On the Western Front. There isn't gun play all the time, however. For the relief of those sensitive souls who stuff their ears at the very sight of a six-shooter, there is a nice quiet hanging.
The gun totin' days of frontier life are vividly recreated in Law and Order. The locale is Tombstone, which sounds like a peaceful place, during the era when it was the most lawless town between the Kansas prairies and the Pacific shores. "Saint" Johnson, a deadly shot with a penchant for cleaning up the West, arrives to make this Arizona city safe for posterity. He does it by pouring lead into the hides of the local bad men. At that, it is a rather reliable method.
Strangely enough, the most amusing sequence in the film pictures the hanging of Johnny Kinsman. Johnny, quite naturally, is somewhat opposed to the necktie party. "Saint" Johnson explains that he will be the first man in Tombstone to be hanged legally, and after that Johnny feels like any other maker of history. All the local gentry are on hand for the occasion and bands play. On the whole, Johnny had a nice, legal hanging. Of course, you may not like humor so broadly streaked with the macabre.
Romance is lacking in Law and Order. There isn't a feminine role in the picture, but Tombstone, apparently, was too much shootin' to have much time for the tenderer passions.
Walter Huston is a vividly real figure as "Saint" Johnson, and there are many very fine portrayals from Harry Carey, Raymond Hatton and Russell Hopton, Ralph Ince, Harry Woods and Richard Alexander play the bad men. Andy Devine is Johnny Kinsman and Russell Simpson is the judge. Edward Cahn directed Law and Order, an adaptation of W.R. Burnett's novel, "Saint Johnson." It is a Universal picture, and there's nary a dull moment.
Included on the RKO variety bill is Anita Case, Brems, Fitz and Murphy Brothers, Three Lordens, Zeel and Randolph, and Louis and Cherie. John Donahue is an extra attraction this week.
2/12/1932 HCN Fireman Save My Child
By Jim Crow
"When a guy is as good as I, he don't have to brag."
Such is the shrinking violet philosophy of "Smokey Joe" Grant, fireman, baseball player and inventor of extinguisher bombs.
Smokey Joe, whose big mouth is to put to use in generous praise, first for his extinguisher bomb, second for his firefighting ability and third for his pitching prowess, is portrayed by Joe E. Brown, and the portrayal brought stormy laughter from large crowds at the opening of Fireman, Save My Child, at Warner Brothers Hollywood Theater yesterday.
The fans did not stop to comment on the title, which has nothing to do with the story. They were too busy following the engrossing career of Smokey Joe from his position as a noted fireman and pride of Rosedale's baseball team to a post in the big leagues and to a final triumph in the sale of his extinguisher bomb, "which every man, woman and child should carry."
SUPPORTING CAST WEAK
The picture is much like other Joe E. Brown vehicles, and that, in the opinion of this department, means that it is good enough for anybody's money. Like other Brown pictures, it has a weak supporting cast. But to make up for this in some measure, it has a suspense which had the patrons fidgeting crazily in their seats while Joe, after setting fire to a luxurious suite of offices for the sake of a demonstration, reached for his trusty extinguisher bombs only to discover that he had traded brief cases with a young woman and that a pair of step-ins was the only thing available for battling the flames.
Meanwhile the deciding game of the world series is under way–with Smokey Joe on the missing list. Only the discovery that the fire battalion chief has a bet on the game lures Joe back to the diamond, where, of course, he wins the game in the ninth by retiring the enemy and smacking out a three-bagger with two men on and two down.
Joe's odd swear words, his naive bragging, his agony as the trainer jerks a mustard plaster off his hirsute chest–these are the chief delights of the picture. Guy Kibbee does well as the manager of the St. Louis baseball club and Evalyn Knapp is very charming as Joe's best girl. Lillian Bond enacts effectively the role of the blonde vamp.
The supporting program is good, especial praise being merited by Gaylord Carter's organ antics and by Jack Crawford's orchestra. There is nothing else on the program, however, to compare with the tag line of the picture.
TAG LINE SCORES
This comes when Joe, with siren shrieking, drives up to the church door to meet his bride-to-be and tells her that he is late because he has been making his extinguisher bombs larger so the children won't swallow them.
"No child could swallow one of those things, anyway," says the bride.
"The Grant kids could," says Joe, opening his mouth to prove it.
2/12/1932 EHE Fireman Save My Child
By Dick Hunt
Seldom have I heard as continuous laughter in a theater as greeted Joe E. Brown's latest comedy at Warners Hollywood last night.
The picture, Fireman, Save My Child, ranks right alongside all his top-notchers.
It builds from the opening scenes, which show Joe E. dividing his time between fighting fires and pitching sand-lot baseball until he pulls the big league club out of a hole by winning the world series for them.
Naturally most of the laughs are furnished by Brown's facial convulsions and antics, but no little amount of comedy credit is due Lloyd Bacon's timely direction and the efforts of Robert Lord, Ray Enright and Arthur Caesar, who comprised the list of writers. These four all did swell jobs in Joe's behalf.
BROWN INVENTOR
As the story opens Joe E. is engrossed in an invention, to-wit, a bomb that contains acids capable of extinguishing fire.
This invention and his yen for a fire siren are his mania. Baseball is secondary, although he modestly admits that he is probably the greatest pitcher in the world.
Fireman, Save My Child has a lot of the characteristics of "Elmer the Great," which Joe did so well on the local stage. When he finds time to play ball he is the swaggering Elmer. Only it is accentuated as he really performs on the diamond and Joe is a natural baseball player. Didn't he warm the bench of the Yankees for a season?
CAST HELP STAR
A mighty capable supporting cast has been given the comedian. There is romance with the small town girl whom he eventually marries. Evalyn Knapp is the charming heroine.
There is an enchanting vamp who tries to marry Joe for his money. Lilian Bond cleverly plays the part. Guy Kibbee is the manager of the big league club, and once more proves that he should be given larger parts in our movies. Among the athletes is one of baseball's star hurlers, Frank Schellenback.
And last but not least, Joe E. himself, but you've probably guessed by this time–that he is swell.
Current with the picture Jack Crawford and his orchestra furnish the music for Sally Sweet, blues singer, and "Fuzzy" Knight's clowning act.
2/12/1932 LAR Fireman, Save My Child
Warner Brothers, Hollywood: Joe E. Brown in Fireman, Save My Child, with Evalyn Knapp, Lillian Bond, Guy Kibbee, Richard Carle, George Meeker, Andy Devine and Frank Shellenbach. Directed by Lloyd Bacon. Also, Symphony Murder Mystery, and on the stage, Jack Crawford and his band, Sally Swift, "Fuzzy" Knight and Jeffery Gill.
By Winifred Aydelotte
Joe E. Brown went to the theater yesterday, and saw himself in Fireman, Save My Child, which opened at the Warner Bros. Hollywood.
And then, with the shrieks and roars of a delighted audience still ringing in his ears, he swaggered out of the theater, donned a fireman's cap and drove away in the same firewagon seen in the comedy, making large, candid clucks to the two languid white horses, and causing the traffic cops a good deal of trouble.
Because the dialogue is dull, it drags this film below the peak of the Brown comedies, and it should be at the top, for the basic idea makes for fine, furious fun.
Brown is seen as the captain of the fire department of Rosedale, and the best baseball pitcher in town. However, fire comes first. There is something about the fireman's helmet, the excitement of frantic reins in his hands, the gallant thud of horses' hooves, and the great, eager tongues of flame, that will make him leave a ball game with two men on bases, two strikes and three balls in the ninth inning.
The only other thing Smokey Joe Grant is interested in at all is his bomb which he has invented. It is thrown, like a baseball, right into the middle of the most raging fire, and explodes, releasing a chemical which smothers the flames.
Evalyn Knapp has the role of the small town girl who encourages Smokey Joe to join the Big League and get his bomb patented. Lillian Bond is the vamp who discourages the two projects.
Guy Kibbee has a grand part as the exasperated baseball manager whose main duty is to keep Joe in the pitcher's box when the fire engines go past.
Joe E. Brown, of course, has a swell comedy face, and why he keeps it in a continual, unnatural grimace, is a mystery. It is painting the lily. He is funny enough when he just looks plain.
However, don't miss this picture. It's lots of fun.
Jack Crawford and his band entertain on the stage, and provide music for several specialty acts.
2/16/1932 HCN Elizabeth Yeaman
Mae Clarke's next picture for Universal will be Radio Patrol, with Andy Devine and Russell Hopton in the male leads. Mae is one of the chief feminine standbys at Universal for she can play almost any type of role. Incidentally, she should be an excellent choice for the Sadie Thompson role of Rain which Lewis Milestone will direct for United Artists. It has been rumored that pretty little Ann Dvorak, discovery of Howard Hughes has been engaged for this role. But the rumor remains unverified. I happen to know that some of the executives are rooting for Mae Clarke in the part, and here's hoping she gets it.
2/22/1932 EHE Jimmy Starr
Mickey McGuire (Rooney) and Andy Devine will provide some fun in The Information Kid, starring James Gleason with Maureen O'Sullivan and Tom Brown at Universal.
3/1/1932 EHE Harrison Carroll
The air mails are winging eastward with a script for Ben Lyons to read. It is Universal's The Radio Patrol, and Carl Laemmle wants Ben to play the masculine lead.
With the headlines in Los Angeles daily proclaiming the efficient work of radio-car officers, with New York newly establishing this latest kink in crime prevention and with police departments all over the country taking up the good work, Universal believes that Tom Reed has written an important and timely story. It is going to produce the picture with a cast which already includes Mae Clarke, Andy Devine, and Russell Hopton.
In Ben's absence, Universal is conducting its negotiations by wire. They figure the story will be ready to start by the time Ben finishes his personal appearance week in Washington and returns to Hollywood. I don't have to tell you that Bebe Daniels also went east to sing on the radio. She and Ben will return together.
3/6/1932 FD Law and Order
Universal 70 Mins.
Heavy-shooting melodrama of lawless west containing no feminine principals or love interest.
Adapted from W.R. Burnett's novel, "Saint Johnson," this is a story of the wild frontier days in which Walter Huston portrays the fearless sheriff, who is supposed to have been famous to the point of becoming a legend. After supposedly retiring from cleaning up bad towns, Huston and some of his buddies, including Harry Carey and Raymond Hatton, turn up in Tombstone, a hotbed of lawlessness. After much persuasion on the point of duty, Huston is prevailed upon to again take up the cause of law and order. As deputy sheriff he meets conflict with a gang headed by Ralph Ince, and the two factions shoot it out until all are dropped except Huston, who thereupon goes elsewhere to seek peace. The picture is packed with gun action and hold a tense interest, but lacks a feminine side. Huston's performance is notable and he gets fine support all around.
CAST: Walter Huston, Harry Carey, Raymond Hatton, Russell Simpson, Russell Hopton, Ralph Ince, Harry Woods, Richard Alexander, Alphonz Ethier, Andy Devine, Dewey Robinson, Walter Brennan.
Director, Edward L. Cahn; Author, William R. Burnett; Adaptors, John Huston, Tom Reed; Dialoguers, Same; Editor, Milton Carruth; Cameraman, Jackson Rose; Recording Engineer, C. Roy Hunter.
Direction, Good. Photography, Good.
3/6/1932 FD Impatient Maiden
Universal 72 Mins.
Mechanical version of sexy novel falls flat without a kick in it. Bad reaction on clinic scene.
From Donald Henderson Clarke's "Impatient Virgin" they deleted all the sexy situations or else played them down to such a point that the whole affair rates just a series of flat episodes in a very uninteresting love affair. Lew Ayres seems miscast as the young surgeon, Mae Clarke is unimpressive, and the rest of the cast seems to be licked generally. The theme is that of a secretary in love with the young doctor, but will not marry him as she dreads the prospect of unromantic marriage and struggling along till he builds up his practice. She suggests their love proceed without marriage, and he turns her down flat and goes his noble way. Then, her middle aged boss, a philanderer, goes to work, put her up in a gorgeous apartment, but nothing happens. Big climax is in the operating room, with the young doctor removing her appendix, then love after the operation.
CAST: Lew Ayres, Mae Clarke, Una Merkel, John Halliday, Andy Devine, Berton Churchill, Ethel Griffies, Helen Jerome Eddy, Monty Montague, Lorin Baker, Cecil Cunningham, Arthur Hoyt, Blanche Payson.
Director, James Whale; Author, Donald Henderson Clarke; Adaptors, Richard Scheyer, Winifred Dunn; Dialoguer, Donald H. Clarke; Editor, Clarence Kolster; Cameraman, Arthur Edeson; Recording Engineer, C. Roy Hunter.
Direction, Weak. Photography, Good.
3/14/1932 HCN Elizabeth Yeaman
Another piece of good news from Universal is the announcement that Lila Lee has been engaged for the leading feminine role in Radio Patrol. Since Lila recovered her health in Arizona, she has not found it easy to stage a comeback in Hollywood, although she is looking radiant again. This is the picture which was to have starred Mae Clarke until the star was overtaken by a nervous breakdown. Pretty blonde June Clyde, who incidentally is doing very nicely at Universal, will have the second feminine lead, and Robert Armstrong, Russell Hopton and Andy Devine have been cast for the chief male roles. Others cast are Onslow Stevenson, John Lester Johnson, Harry Woods and Sidney Toler. Edward Cahn will direct.
3/22/1932 HCN Elizabeth Yeaman
The old danger signal, "Jiggers, the cops!" is being reversed at Universal Studios where now the cry is "Jiggers, the public!" is becoming the watchword on the Radio Patrol set. Robert Armstrong, Russell Hopton and Andy Devine, donning police uniforms for the picture, have been mistaken for bonafide cops by visitors, and are so beleaguered with requests and information that they literally have had to take resort to overcoats to escape questioning. Russell Hopton was the hardest hit by questions. He was surrounded by a gesticulating, chattering band of excited Indians who wanted information about the Laughing Boy set where they had been called upon to report.
3/29/1932 HCN Elizabeth Yeaman
Russell Hopton has been nicknamed Gandhi by his follow players in The Radio Patrol at Universal. He was so christened by Robert Armstrong and Andy Devine during athletic scenes of the picture, in which Hopton's light physique was emphasized in contrast to the burly bulk of the other two actors. Hopton doesn't object to the nickname particularly, except he is anxious to let it be known that he still prefers trousers to bedclothing for ordinary street wear.
4/1/1932 HCN Man Wanted
By Jim Crow
The guardian angel of motion picture players was at the elbow of Kay Francis today, guiding her toward the perilous film heights in her first starring picture, Man Wanted, which has a propitious opening yesterday at Warner Brothers Hollywood Theater.
Boasting nothing much in the way of a plot, Man Wanted has been made into a highly entertaining if thoroughly satisfying picture by Miss Francis' charming sophistication, by the appealing performance of David Manners, her leading man, and by the comedy of Una Merkel and Andy Devine.
Skillful direction of William Dieterle gave an intriguing character to a film story that came to obvious conclusions.
Man Wanted has Miss Francis in the role of a shrewd businesswoman editor of a fashionable magazine. Her husband is Kenneth Thompson, a playboy. Her lover is David Manners, a serious and worthy youth.
PLOT UNDERWAY
The plot gets underway when Manners wins a position as Miss Francis' secretary and falls in love with her. He is broken hearted when he relinquishes her because she is the wife of another, and he straightway pledges his troth to Miss Merkel.
This situation, abhorrent, of course, to the movie audience, is deftly rectified when Thompson falls in love with another and asks for a friendly divorce. It is readily granted. Miss Francis and her secretary are left in each other's arms and Miss Merkel is left to her own devices.
Miss Francis was forced to extend to give conviction to the scenes in which she appears as the big business woman, but she was given abundant opportunity elsewhere to display the poised charm which is her particular screen glory. She was beautiful and appealing in the brief love scenes with Manners, who, by the way, handled with fine discretion the part of the engaging and somewhat befuddled employee-lover.
MISS MERKEL HIT
Miss Merkel's performance was a hit, as it usually is. Devine scored notably in the final sequences, although his comedy seemed forced at the beginning.
The picture is too talkative in the opening scenes and sadly in need of cutting. After the bad start, however, it gets down to business and tells its story with no wasted effort.
The stage program at Warners Hollywood offers Mrs. Donald Novis, radio artists and Jack Crawford, orchestra leader, in the featured spots. The latter is in his last week on the Boulevard.
Manuel, slack wire artist, Rita Rubin and Company, adagio dancers; Will Borzage, comedy accordionist; Margo, dancer, and Gaylord Carter, organist, are other attractions of the "in person" program.
The supporting film program offers a Vitaphone Variety, a Sport Slants and a newsreel.
Labels: Andy Devine, Constance Cummings, Irene Dunne, Sally Rand
posted by GDH at 8:32 AM
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