Judge — January 1934 — page 14: what you’re looking at

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

Judge THE PARE LORENTZ HILE it lacked a message, nd was designed for people who might want to have a good time, instead of for people silly enough to want to go to the theatre to think, “The Invisible Man” was a pretty good movie It started with a good grim hu- By mor and it had a Chestertonian atmosphere in its British settings and its minor characters. It never became i boring degree, and there were no overt, gruesome, horror e stic toa stunts in the show, but about mid-way in the production ¢ suddenly felt that the director, James Whale, or his pro- ducers, became une Here they had a thriller wit with a reasonable but resolute melodramatic clusion fac ing them the half way mark t marked t fumble with a love scene; attempted some facetious comedy; and then, having tried unsuccessfully to chat the aning of H. G. Wells’ thriller, they wer Land fi the pic- ture in the same key in which it sta it was a better than gain shows that W Because he has The Invisible Mar ved as a director y absolutely no love interest, uction and e work- kenstein” rating he ows haven't been solemn or pretentious enough to impress the boys. CAN'T imagine a grown man sitting down of an ing “Little "t imagine a evening and rez Women I car sensible mother handing it to 1 fit for an im- pressionistic mind to absorb. Louisa May Alcott was too tough-minded ever to have taken it seriously And, although the movie s produced in splendid ashion, any picture as well set, lighted, and ph “The = Little Tom Swift in Alaska The Littl Shepherd of Kingdom Come,” still would be effusive moonshine, fit only for old ladies, barflies, or la- of leisure, traditional pushovers for u ulterated, t. Lord save us—have we passed from Lardner to Alcott in a decade ? “Te Prize Fighter and Lady” was one of the most entertaining pic- tures of the season. It had a genial quality about it which de Maxie Baer seem a pleasing enough young fight- er; and it was so well edited the big fight scene and the raphed Colonel or die high tenor sent “I wonder where Baku learned to shoot craps so well!” excitement created over two fight- ers who actually seem to have no intention of ever fight eriously, was very credible. The picts MGM_ pictures; 1 there was a pointless musical sequence which should have been edited by the shrewd ntlemen who gave the production otherwise a high polish Outside New York where the cymbals do not clar everytime Mr. Coward’s name is mentioned, “Des for Living” should be well received. It is a gently risque comedy, not too well played, but turned out in very tasty fashion by Ernst Lubitsch —— Fredric March and Edward Everett Horton € some flair for comedy; Mr. Cooper, the equestrian, and Miria Hopkin fortabl a very good actress, seemed clumsy and uncot in their light m The show moves easil; ments , however, and never stoops to bio- logical profundities, which so impressed the ramatic critics as well as the I matrons who stormed the theatre ust Orang last season to see the p Ben Hecht manuserif ct for ginal ee people who love ation of each other ve! Livir Design for g” is merely about four people who are pretty funny And it is the best looking ture you'll have seen in a lo: time. LTHOUGH it is as ex- citing as ‘ A abu” or any of the nature pictures of the best order we have had, I couldn't get over ly concerned abc ried natives in or ive never und vod why rybody wanted to discover a rousand of ice and snow and ever under stood why any ed to live in such’ places raw meat unle you accept the th they're too dumt However, my antipathy to ne locale de the act tl a movi oduc- tion * 0” is highly meri- torious. It even has ty dubiously attractive natives in it, and the B handsomely. phi rd country is SAW it late in but in’ retrospect forced to hand “Bombsh and Jean Harlow the palm again this year. as terse as “Red-Headed Woman”; it was broader and (Page 26, please) It was not comicbooks.com