Judge — July 1933 — page 22: what you’re looking at

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

F ANY of you are interested in such things, I advise you to keep a press book for the next few months and ither for yourself source material for one of those popular treatises: “How the War arted. manifests itself in many ways, but you need look no further than our own per columnists and editorial writers for evidence of a disgusting hysteria, which always attends the whip- ping up of t Having ignored for years the brutal he martial spirit news war rage. treatment accorded negroes in Detroit, lus- he Akron, Youngstown, and similar trial centers; the daily press, led by New York Times, is now in a white heat of righteous rage over the treat- li a million Jews distributed thru-out the German nation. Rather than answer them with the question: what about the treatment ac- corded the Jews in New York by their own people: the various social, and wealthy Jews who own department stores, corporations, and railroad: I shall retire to my own backyard and call attention to the furore that attended a movie called “Forgotten Men,” as proof that the Jew hysteri the martial spirit In the first place, this movie is repre- sented as being “official.” It is not, ver, released by the government nor the War Department, and I can tell that dozens of scenes in the picture dd to be taken at the front were sly taken in Hollywood. few of the critics who howled with wus ecstasy at this aimless, boring. r movie admitted that nd even traced the his- me of the patently fake scenes which are claimed in a prologue to be “official.” These critics argued, how- ever, that “the picture is such a telling indictment against war one does not ect to these Hollywood interpola ment of h has created how rel rabble-baiting wa is was true, tory of s because they were just inserted to give the official scenes some continuity.” As iar as I am concerned, the shots of no man’s land, the snap-shot of sol- diers smoking behind the lines, the end. less boring, reiterative scenes of shells bursting and dirt flying in the air, hardly constitute a “telling indictment of war.” Again, an extraordinary fel- low with an old time Fair Grounds voice and delivery, keeps up a running fire of talk which is confusing, to say the least, in that one can not tell whether he is against war, for or against the THE OVIES By PARE LORENTZ bonus payments and further, in explains ing the so-called continuity n je makes x his speech t gratuitous plug for Pres dent Roosevelt. it w e »biguous by endit ha gre It may be an exciting thing to some pe to see our boys marching on rench soil, but, here again, betray then’ 1 10u le critics selves. Before they saw en” they had seen, or ave seen, “Chevrons,” also an picture, and “The Big Drive;” as official—and faked—but no han orgotten Men;” and every few months they have had oppor- tunities to see either a Hollywood war movie, or some old newsreels which gotten “offic which more so t show pictures of the boys marching on foreign soil. As tten Men” is hardly official with its many Hollywood scenes; as even with these shots it is a dull busi- ness, never even approaching the ex- ent of “Hells Angel ter integrity of “Journey’s Enc 1a dozen pictures, similar in every way, we think we are justified in ring, what all the shooting’. Obviously, the criti cite or the as we have | won s for. $s were victims of ir own press. While the French kept a shrewd shut mouth during the recent Hitler revolution, our boys were howling that the be back in Alsace, rmans would soon d the Times wrung its hands and lamented Jews who were three thousand miles away (thus much nore to be pitied than those a few blocks from r nes Square). The only The Patriotic Dentist Pulls a Tooth 20 _\ ( b y important thing about rgotten Men” happens to be the excitement it caused, and not its own intrinsic worth, Yes, the boys were deluded. They think they were excited over the picture be- cause it showed the horrors of war— it was war they were excited about. HE Gold-Diggers-of-1933 cheezy attempt to quickly the very satisfactory 42nd Street. is no comedy, the songs are terrible, and although practically the same people are in this musical sequence, the pr made the great mistake of giv croor ion in the jc and this particular singer, one Powell, happens to be just about the most ob noxious little boy we've had on screen since the early Buddy Rod a prominent pos NE CLAIR decided to mak money, instead of an artistic suc cess, and turned out a_ picture, e Fourteenth of July,” aimed at his middle- class countrymen. Yet I advise you to see it, even though it bogs down in tl middle, because M. Clair has a ch: a sly sense of humor, and 2 some rm, good car sense, that make his work refre no matter ho era hing, humdrum his objective. I recommend it also because our own attempts at comedy, such as “Interna- tional House,” out of ¢ enough to keep you he movie theatres forever. O ALL the current crop of summer shows, there are three legitimate rough-and-ready — comedies Little Giant” is a broad—a too broad—bur- lesque of the by now well-known ster characterizations built for Edward G. Robinson. I suppose I enjoyed it over-much because it included Santa Barbara in its burlesque. A picture even better, in every de- partment, is “The Nuisance.” Lee Tracy is a very wearing actor but he has been fortunate in that almost every movie he has had has been well handled. In this one he has the able support of Charles Butterworth, as well as smartly- paced direction. “The Nuisane funniest and best of the lot. he Girl in 419"°—which was re- ceived indifferently, has an unusually tough, gruesome, but authentic atmos- phere, due, for the most part, to James Dunn. The locale and even the inci- dents had a journalistic veracity that made even the rather sensational de- nouement ring true. is the comicbooks.com