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...Kiss (Metro-Goldwyn-Mayer). Greta Garbo is in this one. It is silent, yet its climax takes place in the locale that sound pictures have dealt with more successfully than any other?a murder trial. Garbo's brilliance as one more misunderstood wife is alone responsible for the crowds that lined up a block long to see it in cities where it was shown last week. Her husband is older than she. She kills him when he is pummeling a boy who tried to kiss her. Her lawyer, who is her real lover, convinces the jury that her husband committed...

Author: /time Magazine | Title: Cinema: The New Pictures Dec. 2, 1929 | 12/2/1929 | See Source »

Condemned (Goldwyn). There is hardly a scene in this that is not well photographed and Ronald Coleman and Ann Harding act as well as you would expect. Unfortunately, the charm that the director has taken such pains to put into Condemned is wasted because it is inappropriate. Proper picturization of the grim penal colony on Devil's Island* calls for another quality than charm. This bleak little story about a criminal who fell in love with the abused wife of the prison warden could have been made credible only by thoughtful, undecorative realism. Best shot: Louis Wolheim, the toughest...

Author: /time Magazine | Title: Newsreel Theatre | 11/18/1929 | See Source »

Marianne (Metro-Goldwyn-Mayer). One of the most lamentable consequences of the singing pictures is Marion Davies. Here she is as a French girl in love with Stagg* of the A. E. F. One of the ablest clowns in the cinema she is forced to be sentimental. A skillful pantomimic, she has to talk continually, even sing. Unalterably Irish-American she wears peasant clothes and expresses herself in a language consisting of U. S. baby-talk combined with the foreign word cheri. A French soldier who has gone blind is the dramatic obstruction in her affair with Stagg. Best shot...

Author: /time Magazine | Title: Cinema: The New Pictures Nov. 4, 1929 | 11/4/1929 | See Source »

Speedway (Metro-Goldwyn-Mayer). Automobile racing at Indianapolis is a background unfamiliar and colorful enough to make any sort of picture entertaining in spots. In this film about a whimsical mechanic's love life, the background is sketchily and conventionally treated. William Haines capitalizes his famed insouciance to the point of insufferability. Proving at the denouement that he is a good chap after all, he sacrifices the race to his pal, Ernest Torrence, best ac tor in the cast. Best shot: a car turning over on the track...

Author: /time Magazine | Title: Cinema: The New Pictures Sep. 30, 1929 | 9/30/1929 | See Source »

...Ruggles). Anyone who has ever laughed at drolleries induced by the decanter will be amused by this gentleman whose dialog is so real that it suggests the use of a dictaphone. Best shot: Claudette Colbert being told by her lover that he contemplates deserting her. Our Modern Maidens (Metro-Goldwyn-Mayer). The romantic flush of Michael Aden, the decorative gush of a Zuloaga gone mad, surround the frolics of rich U.S. youngfolk-if you would believe cinema producers. Recently Our Dancing Daughters with its imperial salons and moonswept amours caused such a flutter in nationwide breasts and box-offices that...

Author: /time Magazine | Title: Cinema: The New Pictures Sep. 16, 1929 | 9/16/1929 | See Source »

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