Word: menjou
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Dates: during 1930-1939
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...Great Flirtation (Paramount). A Hungarian actor (Adolphe Menjou), unduly proud of his ability, boasts that he could not play badly if he tried. He marries an actress (Elissa Landi), is jealous of her, sneers at her mediocre mummery. In New York, when through a ruse she has a chance to make a hit. Menjou tries to spoil the play by "mugging." His wife deserts him for a young playwright. Menjou disappears, grows nobly poor and seedy. Wobbling between comedy and sentiment, The Great Flirtation is a raised eyebrow, uncertain and unalluring. Typical shot: the last, in which Menjou and Landi...
...this moralizing talkie is "The Trumpet Blows". George Raft is featured as the Mexican matador who at heart is yellow. His East Said diction seems out of place in this picture of Mexican life and as usual he demonstrates his inability as an actor. Better cast is Adolph Menjou who plays his brother. Both men fall in love with the rhumba dancer Chulita, played by Frances Drake, and around her the story is centered. The piece is very mediocre but may appeal to those who like bullfights and vampire-like women...
...plot is not too original, but is hardly noticed. The little gal falls into the hands of shady racing characters and by her juvenile winsomeness reforms even the most hardened of the toughs. As the chief male character, Adolphe Menjou is satisfactory, and Charles Bickford is his usual self as Big Stove, the head of the guys...
...other picture "Journal of a Crime" might well go without mention. Even the acting of Adolph Menjou cannot relieve the horror of Ruth Chatterton's meaning and groaning. Like an Alexandrine line "it drags its slow length along...
...have seen Miss Chatterton give some thoroughly unpleasant performances in the not too recent past, but in "Journal of a Crime" she seems to have resurrected the restraint that characterized her early hits and the result is a satisfactory piece of acting. Adolphe Menjou is his usual dignified self, but in those wistful eyes of his seems to be a yearning for a lighter part, perhaps a chance at humor. An unusually fine "bit" is contributed by Noel Madison who gives a poignant nonchalance to his role of the convicted murderer that registered deeply in the audience...