Word: hollywood
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Dates: during 1930-1939
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Tarzan, the Ape Man is frankly and gorgeously spurious. It was not made in Africa with benefit of publicity and palaver, but on the home grounds of Hollywood, where the apes, crocodiles, lions, tigers, dwarfs, elephants and gorillas are better acquainted with their histrionic duties and can discharge them more effectively. Almost as effective as the animals is Tarzan Weissmuller. His ability as a swimmer has never led him into jungles. The wildest animal he ever knew hitherto was the comparatively tame and toothless alligator which used sometimes to be allowed to splash comically in the Roney-Plaza Hotel...
...make them much funnier than they have often been before. The plot of One Hour With You is not startlingly new. Director Lubitsch himself used it before in a silent cinema called The Marriage Circle, but this time he has given it a new informality, with tricks which other Hollywood directors are bound to imitate. Chevalier addresses the audience from time to time and tells them, to make sure that they understand the story, that he is in love with his wife, Colette (Jeannette MacDonald), but tantalized by her best friend. Mitzi (Genevieve Tobin). Most of the dialog, instead...
...York Giants to Los Angeles instead of San Antonio. There, last week, they played a pre-season series against the Chicago Cubs, which Philip K. Wrigley inherited from his father and which trains at Wrigley-owned Catalina Island. Later the Giants lost a night game to the Hollywood Stars...
...While not exactly a breath-taking stroke of originality, this helps give The Lost Squadron a freshness of viewpoint which informs even the routine stretches of the picture. It also permits the inclusion of one character almost entirely new to the cinema: a violent, loudly clothed, arrogantly posturing Hollywood director. The behavior of this director and his name?Von Furst?suggest that
...Love (Paramount) was not strenuously publicized before release. Its derivation, a forgotten fiction by William J. Locke, was no literary masterpiece. Its plot revolves about the old-fashioned problem of dual identity and its cast (Fredric March, Kay Francis, Stuart Erwin, George Barbier) is only up to the Hollywood average. It would be too much to say that the finished product is brilliant or surprising, but it is consistently enjoyable. Everyone concerned with the story seems very much at home in its surroundings; the cinema has been doing this sort of thing for a long time and it has learned...