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...half, then made his film debut in the New York studios of Republic Pictures as a featured player in Manhattan Merry-Go-Round, a musical comedy. After 13 "takes" he finally perfected his three-line scene. Later he returned, completed a four-and-a-half-minute sequence with Henry Armetta...

Author: /time Magazine | Title: People, Aug. 16, 1937 | 8/16/1937 | See Source »

...onetime script editor for the cine-MARCH OF TIME. Following the current vogue, Editor Husserl packed his first issue with many more pictures than paragraphs, hired four artists, most notably Jaro Fabry, to illuminate what interstices were left between photographs and text. Best shots: a full page of Henry Armetta titled "Portrait of Expostulation " and "Double Feature," a photograph of a Manhattan theatre marquee advertising Romeo & Juliet and Mama Steps...

Author: /time Magazine | Title: Press: Film FORTUNE | 6/7/1937 | See Source »

...eleven-year-old Peggy Ryan, who apes Eleanor Powell; singing by Gertrude Niesen, imported from radio; clowning by The Three Sailors, imported from vaudeville; Scotch dialect by Ella Logan, who also sings, dances and makes faces; and specialty bits by Mischa Auer, Gregory Ratoff, Hugh Herbert, Henry Armetta. The climax occurs in the night club when patrons and performers mingle in a musical mob scene which for pure size is the most ambitious of the season. Best song: Top of the Town...

Author: /time Magazine | Title: Cinema: The New Pictures: Apr. 12, 1937 | 4/12/1937 | See Source »

...becoming a doctor in order to save the life of the girl he loves. Robert Taylor is the man and Irene Dunne the girl but unfortunately Taylor's acting does not approach he mature work of his leading lady who holds the spotlight. Charles Butterworth and Henry Armetta add their typical bits of humor as newly-wed and valet respectively. It is a generally mediocre piece but entertaining, nevertheless...

Author: By S. C. S., | Title: The Crimson Moviegoer | 2/28/1936 | See Source »

...still the most affected young woman on the U. S. screen. Likely to be popular, because of its stars and a rapid-fire style in which Director Robert Leonard shows the influence of Frank Capra, After Office Hours contains one genuinely comic sequence: a lunchroom proprietor (Henry Armetta) working himself into a slow rage when his patrons comment disdainfully on his taste in radio entertainment...

Author: /time Magazine | Title: Cinema: The New Pictures: Mar. 4, 1935 | 3/4/1935 | See Source »

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