Word: chatterton
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...beset on one hand with his own scholastic woes, both present and in the near future, and with those of his family and the falling market on the other, a little light divertissement is well in order. Such is to be found at the Metropolitan this week, where Ruth Chatterton holds forth in "The Rich Are Always With Us," (an optimistic title, forsooth), and where La Montemegro and others provide a far better than usual stage show...
...Chatterton, whose acknowledged forte is registering the anguish of a broken heart, goes through strangely little mental suffering in her current opus, a light comedy so-called, in which she is ably supported by one George Brent. The whole picture though tenuous, is well written, almost always amusing and is excellently played throughout. Dealing as it does with the light whims and vanities of a super-glided Park Avenue aristocracy it could hardly be shown to an audience of unemployed steel workers in Pittsburg without precipitating the downfall of the capitalistic classes, but to those who take the Hollywood conception...
...Rich Are Always With Us (Warner) is a story of sacrifice, divorce and romance among the serious rich. It is also any egocentric woman's dream of the life she would like to be able to look back on. Ruth Chatterton, as one of the richest women in the world, resists her hero (George Brent) to be true to her husband (John Miljan) who is opportunely snared by another woman (Adrienne Dore). Miss Chatterton is free to suffer a little, agreeably, and say the right, the irreproachable things to her husband's hussy. She gets a divorce...
...Ruth Chatterton's tough, hangdog look, her husky refined drawl ending on a raised note, go well with the foreverandever emotions, too poignant for tears, as one gentleman to another. She can say: "I love you more than anything on earth" and sound as though she might mean it. She can say: "Please kiss me into needing you" without making the customers scowl. George Brent's underacting goes well with Miss Chatterton's. He is shown as a white man because he will not marry an unmarried girl with money, but cinemorality impels him to want...
...disaster which this would entail, prefers the personal catastrophe of watching his departure from the window, with her husband who still thinks the doctor's child is his own. The play lacks surface too much to be an ideal vehicle for the cinema in general or for Ruth Chatterton in particular. Her performance, like that of Paul Lukas, as the doctor, and the late Robert Ames, as the husband, has a studied competence which leaves Tomorrow and Tomorrow the cold outline of a spurious dilemma instead of a tragedy in heroic compromise...