What if All of Us Really Told the Truth

Manawatu Times, Volume 60, Issue 54, 6 March 1935, Page 5

What if All of Us Really Told the Truth

PRIESTLEY’S FAMOUS PLAY THE “DANGEROUS CORNER' >

(State: Screening To-day.)

Secret love rebellions against unhappy marriage ties are important factors in the RKO-Radio mystery

drama, “Dangerous Comer.” The

story revolves around a group of four partners in the publishing business, a beautiful woman reader, a trusted employee of the firm, an authoress and the wives of two of the partners. Dcper than the common business and social ties of the group are unsuspecting love angles revealed only after the strange death of ono member of the firm, and the sudden awakening of another, more than a year after the death, to the fact that only half-truths have been told by those concerned. He demands the wliolo truth and gets it in a surprising way, finding that he, too, is in the ring of guilty.

The wife of Robert Ghatfield had had secret meetings with his brother, while the book reader secretary adored the same Robert Cliatiield while openly keeping company with Charles Stanton, a bachelor in the firm, who was protecting the gambling losses of another of the wives. Involved as are the hidden alliances in the daily lives of this group, their mistakes yet are worked out in tho plot and aro somewhat atoned for.

“Dangerous Corner” will be recalled by many as the JV B. Priestley play .wiliicl* was highly successful abroad and in this country. Virginia Bruce, Mclvyn Douglas, Conrad Nagel and lan Keith head the cast. Phil Rosen and

Arthur Sircom directed.

Credit the cast with creating a truth game that gives the film colony a new fad to worry about. What’s more, it may bo the means of actually saving dollars in production delays caused by actors and actresses “blowing up” their lines. It was the theme, which deals with the uncovering of a thrilling murder mystery through the revelation of truths that lie hidden in tho hearts of everyone, that started it all. “Tho rules of the game are simple enough,” explains Conrad Nagel. “Every time a player ‘blows up’ his lines, the script girl puts it on record. Then, at the end of a day’s shooting, each guilty member of the cast must reveal a true, intimate incident in his or her personal life, with the rest of tho players for an audience.” At first tlic east thought it was great fun. But after the first day it took on a more serious turn. Most people would rather do anything —even hard work — than subject themselves to embarrassment.

“I actually Ijclievo that this crazy gamo lias inado it possible to make fewer ‘takes’ on this picture than any I have directed,” said Director Phil Boscn.