Judge — December 15, 1928 — page 23: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

™" a P ou- aid ds. ile. on to ost on th, hat UDGING THe MI and my theory t this one), has her ey middle of the showing of Manhattan Cocktail,” tion without much a back-stage sweet-faced chorus girl. song for him, I recognized the situ entration, There was poking gentleman, and a The innocent girl sang a as you could almost ¢ ess from the some difficulty as to Obviously, a) musical comedy producer with no morals worth noting had a lustful eye Well, it wasn’t five minutes until the worst happ > out by the actions of the He up and kissed the girl, but fortunately her sweetheart appeared to do his part. From that moment on, an innocent chorus girl. ned the audience could hardly First the mean old producer put the hero rl offers to do anything to 2" questions the — producer. girl, her quivering chin reproduced by a hundred and_ fifty So the producer lets the hero out of jail and then locks the girl in his office, alls the fire department (and the interesting mount audience didn’t even nd wired Se arines before the producer ga tary Kellogg for ve up for the time is a sub-plot in that the producer's wife : , who claims to be a pl However, good triumphs over evil, and just out-of-town audiences happy, there is a ack at New York City. fe “Manhattan Cocktail” is a moral, up- lifting, denunciation of city life (it was dire a woman) and you'd be perfectly safe in inv grandmother, especially if you have any old grudges you'd like to pay off, d by g your (Two pertormances daity shows. Consult daily papers for theatre changes.) “Alias Jimmy Valentine” (Astor)— Old-fashioned, but William Haines makes the first half very funny. A great director gone ing and very dull, 1 desate th the toed scting. “Lilae Tine” (Central)—Despite the stolen plot, the miserable acting, and the fake war scenes, people go to this one Sentineatal on soe Jo over in good fashion (Contixzous shows.) “hie Cireus™ (Tivoli) —Represen a story of sit and love. More anything else, all the thought bei mother variety. “The Cameraman” (Carroll. lyn) that “Docks of New York” —We list this because than the ordinary program job. on puta this oe JUDGE : movies might Perhaps, with talking sequences the producers would insist upon Certainly, with the greatest man- world buying stock in movie com- would be some change. nt production of FRO, and electric apest hack should ving parts of every gar last sixteen months, nd stupid as any a quart of speakeasy “Underworld, innocent girl (see plot of any movie), and the | writers that the latest move demanding dial dramatic dialo; ufacturers in the feel reassured. "is just as cheap, ridiculous movie ever inspired b gangsters of isn't interesting. It would seem that Holly- wood is safe in the hands of Wall Street. comitant with talking sequence fault of car ¢ are severcly king movies pped by the limitations of the “Napoleon's Barber,” Arthur Cwsar, the various close-ups : shuts so interrupted the di: Incidentally, the one it appeared ay ¢t play was even more show sound pictures. Warner Brothers ally shoving old chestnuts such as into the public fire of ngling over how producers w (Continued on page The Movie Guide “Excess Baggage’ bouse, Brooklya)—A “His Private Lite” (Loew's Victoria and 42nd St.)—The story is near! anemic as Mr. Menjou appears. “The Patriot” —This ooe may go down (St. George Play- 4 job. fas the last great movie—it will be hard ‘See it by all means. 4G director using Marion Davies and William, Haines to good advantage. that runs off elowly, but aoe ani. “The Wedding March”? (Paramount, iklyn)—Von Stroheiin looking very “Manhattan Cocktail” lustful under the apple blosoma. Ter- cuit)—Reviewed in this issue. “Mapoleon’s Barber”—Reviewe! i “white Shadews"*—s tography more than worth comicbooks.com