Judge — August 16, 1930 — page 25: what you’re looking at

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

| | PP Nueces is very little ditference in plot. acting. and general enter tainment between “'Shooting Straight” and “Good Intentions. In Shooting Straight” one of those up- standi golden-hearted x dear to the writer | ina hurry, after doin sensational than killir train is wreeked and sters so aves town thing more man. His rains con sciousness in a minister’s home. Sur- prising minister has a beautiful da re and the big, h gangster just melts away befo ce. Her brother, however, loses a great deal of money to a gambler by the name of Martin, Now the big-chearted gambler from New York has turned reformer and is ictually spreading good will about the community. Naturally incensed at the presence of an ill-bred gangster without a heart of gold, the gentleman from New York wins all the time gambler's money, his gambling though that weren't cnough, knocks him movie as it may seem, the her innocent: g small- house, and then, as all over the place in one ef those old William Farnum rough-and-tumble affairs. Of course the police come, but they a medal on the public-spirited boy from New York and haul Gambler Martin off to jail, which leaves the audience pretty much without a moral. Rich ard Dix seemed sturdy enough, but you couldn't expect even a movie actor to take a story like that seriously. “Good Intentions” preten tious than the Richard Dix romance. but by general idea is is more a peculiar circumstance the about the same. In Edmund Lowe is a ngster a bit discouraging these days to realize that a few of us are so be hind the times that we this one (it is attempt to earn an honest living), and, like Mr. Dix, decides that true love is worth more than illicit gold. However, his girl il have none of him, and he goes to his death saving her love this is supposed to be a soc ster picture, and the hero does die, but we left the theatre, knowing that, JUDGE By PARE LORENTZ with all his faults, he had a heart of gold under his steel vest. “Roevrees” is the best) gangster i week. The f movie of the » nous character made so engaging years : by John Barrymore is re-created this time by Ronald Colman in a beauti fully produced picture. The sets, by Mr. Menzies, are up to. his standard, which happens to be several her than any other in Hol Colman is deb usual degrees | ly wood. chor rir and gay The direction is concise and whenever possible the director has utilized action, lights and and dispensed with dialogue. ever, when we regard tl find that: name of Raffles travels in the best so- ciety, He finds that a gang of crooks are robbing the Melrose mansion, where he is a guest. He turns them back and steals the famous Melrose cklace himself, His girl discovers that he is a thief, He promises to go straight and adroitly eludes Scotland Yard and makes off with his gal in a Allison Skipworth, Kay and a splendid cast supy Mr. Colman and the sets of Mr. Men- zies. But, despite the numerous Raf- shadows, How an English g Recommended oll! Quist on the Western Fro “Worth seeing 's ace Moran and Mack e that has some good Fast-mov h Nancy ( and the Paycock”—Ar on of O'Casey’s play and and photography, but a superb “Journey's End"—It is worth a sec ond trip. See it “RaMes"—Colman in a lovely pro- duction: JOD GAM G THe™ ov" is fles stories (not one of which ineludes a sacrifice-for-love scene), the pro ducers chose one of the least dramatic incidents for their plot and, for all “Raffles” ter romance. its superiority, another becomes just Me ten years a dictment against wealth and cor ruption, called ‘Manslaughter,’ made into a popular movie. Geo Abbott has re-written and re-directed this old-fashioned piece and by dint of strenuous work made it believable I cannot understand just why Mr. Abbott should have worked so hard over a story that in the light of the daily headlines seems as sadly out of date as a silent movie, but work he did, and it is worth while to take a look at the result. While Mr. Abbott's film direction shows the formality of the stage, the neat episodic a ements of a man used to thinking in terms of acts, foot its, and diale I think he has nt directors now working in has learned to make his people easy, natural, In “Man ter” he utilizes the sound possi of the sercen in a way [ have been expecting for two years. To date it is the first intelligent use of a tre- mendous possible effect, the aside, or the psychological use, we shall call it (thereby probably driving you all te laying this aside for a good swim). The heroine of “Manslaughter” | killed a motoreycle cop. She is wait- ing in the hospital, and as she stands at a wash basin you hear the voices of the crowd dinning in her ears, “I se a smashing in ed stage Hollywood. He a her do it, I seen her do it, ce. It is effective and dramatic only in and possible However, “Man slaughte anything but a good Brisb: on wealth, love, and the inconveniences of prison life, and Mr. Abbott's version is com mendable only because he has used consummate skill in making it’ pls sible. comicbooks.com