Word: arzner
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...Actress Chrystal Herne. The screen version exhibits to good advantage the talents of two other ladies. Her brilliantly vitriolic portrayal as Mrs. Craig is likely to be a turning point for Actress Rosalind Russell, heretofore noted for her smooth handling of light comedy roles. The work of Dorothy Arzner, Hollywood's only woman director, is equally distinguished for giving pace without apparent effort to a picture that might, with less expert treatment, have seemed pedestrian...
...Dorothy Arzner is short, stocky, with a quiet executive manner, a boyish bob and an interest in medicine and sunsets. She graduated from Westlake School, a semi-fashionable Los Angeles seminary for girls, into a job on the switchboard for a wholesale coffee house. A friend got her a $3 raise and a place in the Paramount stenographic department. She became a script girl for Nazimova, did so well that she was pro moted to the cutting room - a department then generally staffed exclusively...
...Parade (Paramount). It is an extraordinary fact that although 65% of cinema audiences are women and the majority of men who attend cinemas follow the dictates of their companions, there is only one woman director in Hollywood (Dorothy Arzner) and no important woman executive. The Mad Parade is the first picture with an entirely feminine cast. Men are constantly discussed by the women members (Louise Fazenda, Lilyan Tashman, Irene Rich) of a canteen in the War, but no male actor appears in the picture with the possible exception of a large rat at whom the heroine (Evelyn Brent) throws...
...Hallelujah, Not So Dumb); 3) Clarence Brown of Metro-Goldwyn-Mayer (Anna Christie, Wonder of Women) ; 4) Lionel Barrymore of Metro-Goldwyn-Mayer (Madame X, His Glorious Night). Others: Ernst Lubitsch, Roy Del Ruth, Herbert Brenon, James Whale, Frank Lloyd, Sidney Franklin. Good directors not placed: Raoul Walsh, Dorothy Arzner, Edmund Goulding, Frank Borzage...
There are times when the efforts of Director Dorothy Arzner to vitalize every possible emotional value of her material become too apparent, as in the mother's hysteria when she first finds out the child is gone, and in the final scene, when the baby, now adolescent, is called upon to choose, in delirium, between his real mother and his foster-mother. These faults are not important. Sarah and Son is a vigorous and moving story, properly told. It covers a long period, and the arrangement of time, perhaps the most difficult problem in building a cinema, is worked...