The Moving Row of Magic Shadow Shapes

Timaru Herald, Volume CXXXVIII, Issue 19953, 10 November 1934, Page 11

The Moving Row of Magic Shadow Shapes

Adolphe Menjou, Dorothy Dell, Charles Bickford and little Shirley Temple play the principal roles in B, P. Schulberg’s Paramount film, “Little Miss Marker.” The story deals with a new type of screen character—the Broadway book-maker, who bets on horse races, and who never goes to races. Early in the film a little girl, blonde, curly-headed and five years of age is left with a selfish bookmaker as security for a race bet. The bookmakers begin playing nursemaid to the tiny tot, and, before long, she has learned their rough ways and is talking their crude language. An unusual and very dramatic finale is reached when they attempt to win back her innocent faith. Interwoven with this plot is a romance between the bookmaker and the sweetheart of the town’s worst “citizen.”

Although numerous books have been written about the great Rothschild banking family, whose history is related in the George Arliss picture, “The House of Rothschild,” their authors invariably prefaced their tomes with some comment on the difficulty of obtaining intimate facts about the Rothschilds. Intimate matters in the family record seem to have been as closely guarded as the business-ledgers of old Mayer Amschel Rothschild, founder of the house of Frankfort, Germany, in the eighteenth century, were kept from the prying tax-collectors of his time who would have wrung his every cent from him if

they only knew how much he had. For 150 years the Rothschilds have played important roles in the history of Europe—and yet there are many things in the annals of the family themselves which have never been disclosed. Mr Arliss plays two parts in the new picture—that of old Mayer Amschel, the Frankfort patriarch, and that of Nathan Rothschild, his most capable son, who founded the English branch of the family, which has contributed notably to British glory for over a century. “The House of Rothschild” is a 20th Century Picture, released by United Artists.

A nautical comedy-thriller, with Clifford Mollison giving a breezy portrayal as a timid clerk who becomes a Naval officer and foils a German sea plot during the war. “Freedom of the Seas,” is adapted from the play by Walter Hackett, “Freedom of the Seas” relates the adventures of a certain Smith, a timid clerk who. although in love with his employer’s charming daughter, Phyllis, has not enough spirit to win her. When he loses his job, however, the “worm” turns, joins the. Navy, and obtains a commission, much to the surprise of Phyllis. At sea he receives instructions to board a tramp steamer suspected of trafficking with German submarines, and finds there are passengers on board—Phyllis, her father, and an American chorus-girl, who have been picked up, shipwrecked, after their ship has been torpedoed. Inspecting the tramp ship, Smith suspects that something is amiss, and discovers a plot to smuggle cordite in a grain cargo. Through the tapping toes of the chorus-girl, who ingeniously works out a little dance from the tapping of a morse message she has overheard, he learns the code signal to the U-boat being used by his enemies on board, and in a tensely dramatic and thrilling climax, frustrates their plans, rams the submarine —and wins Phyllis. Much amusement is provided by the hero’s squabbles with the girl who, despite her inclination to treat him with derision, is gradually won over, and by Smith in charge of the steamer, giving orders to her father, his ex-employer. Clifford Mollison’s performance in this film, as Smith, is claimed to be his best to date, whilst Wendy Barrie is delightful as Phyllis, with H. F. Maltby as her father; Zelma O’Neal, as the chorus girl; Tyrell Davis, Cecil Ramage, Frederick Peisley, James Carew, and Henry Wenman lending excellent support.

Lionel Barrymore has appeared in so many excellent films that it is not surprising to find him giving another fine performance in “This Side of Heaven.” This is a remarkably wellproduced picture, which is certain to afford pleasant entertainment, dealing as it does with the simplicities of life. It is Barrymore’s Jot to give a strong character portrayal. On the surface, his task may seem an easy one, but that is really not the case. When elementais are reached, such as the ordinary human impulses, it is essential to reflect only the truth. Anything alse would not convince. And it is an actor of the quality of Barrymore who can appear impressively as a man of warm sympathies, without the veneer which w'ould obtain in a more elaborate role. Barrymore is revealed to the audience as a man utterly engrossed in his family, and retaining his faith in spite of financial worries and disgrace which threaten to overcome him although he Is innocent. There is pathos in the way he attempts to hide the trouble from his wife and children, not wishing to cause them unhappiness. It is a simple and tragic history. Barrymore chooses suicide as a way out of his difficulties, but he is brought back from the brink of death to find his name cleared at last, and also to find unlimited happiness with his family. It is in these last stages that Barrymore attains great heights with his unfailing sense of drama. As a simple tale, “This Side of Heaven” demands excellent ac-

ting, and it is satisfying to the audience to see that the principal player is supported by a very competent cast, who make the film a positive delight. Fay Bainter, Mae Clarke, and Mary Carlisle all appear with distinction, and it is rare to find such a balanced performance. There are repeated flashes of humour, and Una Merkel plays a valuable part introducing comedy touches. One of the largest and best balanced casts every assembled for a single picture will be seen in the First National comedy, "Convention City,” The list is headed by the blonc(e and vivacious Joan Blondell, star of “Havana Windows” and a member of the all star east of “Footlight Parade” and “Gold Diggers of 1933.” Miss Blondell has the role of a super gold digger in "Convention City,” who wrecks a couple of homes and disrupts an entire convention of salesmen by her flirtations. The leading masculine role is pplayed by Adolphe Menjou, who is appearing in his first picture under his new contract to the First National studios. He will be remembered for his remarkable work in “Morning Glory,” “The Murder of the Circus Queen,” and “A Farewell to Arms.” Mary Astor is another star in an important role, this also being her first picture under long term contract for the company. She has appeared in other First National pictures but was recently given an exclusive contract because of her splendid performance in "The World Changes” with Paul Muni. Dick Powell and Patricia Ellis, who have made remarkable strides in screen popularity in the past year, have the juvenile and ingenue roles, while other important parts are enacted by such noted players as Guy Kibbee. Frank McHugh, Ruth Donnelly, Hugh Herbert. Hobart Cavanaugh, Grant Mitchell, Gordon Westcott, Johnny Arthur, and Huey White. “Convention City” is a hilarous comedy by Peter Milne which gives an insight into the riotous doings of staid business men off on a convention trip with their wives safe at home. The action is said to be fast and furious, beginning with the assembling of the salesmen and following them through a week of riotous escapades to a smashing climax in which a hotel, as well as reputations, is nearly wrecked. Tho dialogue by Robert Lord is said to be lively and sparkling and the situations l-.ilaroas with its multiple entanglements