Word: goldwyn
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Dates: during 1930-1939
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...LIVE AGAIN--Despite the fact that Tolstoy's Resurrection has been filmed twice before in the U. S., it took Producer Samuel Goldwyn to set his hand to producing a near-accurate interpretation of the social message contained in the book. He chose Anna Sten, Fredric March and Director Rouben Mamoulian to make this one of the best pictures of the season--and they fulfilled all expectations...
Evelyn Prentice (Metro-Goldwyn-Mayer). In Manhattan the characters in this picture read Mr. Hearst's American, lunch at the Waldorf-Astoria, take tea at the Plaza, go to Barney's to get drunk. Pullmans carry them to Boston where they stop at the Copley Plaza. Peppered with such initial bits of information, cinemaddicts may be pardoned for wrongly concluding that in Evelyn Prentice they are witnessing a new cinema effort to combine advertising with amusement. Such touches are merely inserted to prove that John Prentice (William Powell) and his wife (Myrna Loy) are cinema patricians. Since cinema...
...Millions (Samuel Goldwyn). A Brooklyn tugboat youth named Eddie (Eddie Cantor) inherits $77,000,000 from an uncle who was an Egyptologist. When he goes to Egypt to collect his legacy, his task is complicated by an unscrupulous Virginia grandee, a male and female racketeer (Warren Hymer and Ethel Merman), a naive agent of his solicitors who loves the Virginian's niece (Ann Sothern). On the boat, Eddie barely escapes death at the hands of the racketeers. In Egypt he is lured to a sheik's palace, narrowly misses being boiled in oil by the sheik, being murdered...
...Live Again (Samuel Goldwyn). When he was considering Tolstoy's Resurrection for blonde and beauteous Anna Sten's second U. S. appearance, Producer Samuel Goldwyn was reminded that it had been made before, with Lupe Velez and Dolores Del Rio. Said he: "It has not been made until I make it." His explanation: both earlier productions failed to stress sufficiently Resurrection's social message...
That Producer Goldwyn 's version of Resurrection seems sincere is due mainly to his leading lady. When, after a year spent in publicized seclusion, Anna Sten appeared in Nona last winter, critics deplored the picture, reserved judgment on its star. We Live Again exhibits her where she belongs, in Russia, and should cause her to be classed with Greta Garbo and Marlene Dietrich as an importation who deserves all the attention she can get. She speaks better English than she did in Nona, looks a little thinner, acts as well. Good shot: Katusha drinking vodka in jail...