Word: paramount
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Dates: during 1930-1939
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...Brown Eyes (Paramount) presents a new kind of cinematic criminology and a new Joan Bennett. The criminology revolves around a private detective who found a margin of profits in his employment as a liaison between insurance companies and the underworld, from which the companies were interested in recovering stolen gems to obviate payments to their clients. Morey (Walter Pidgeon) is the private detective of Big Brown Eyes, working with an associate whose crimes include infanticide. The Big Brown Eyes are Eve's (Joan Bennett), who has been transformed from a quiet type into a slangy manicurist whose assured deportment...
...Hours by Air (Paramount). Rocketing from Newark to San Francisco in a bullet-nosed Boeing are an heiress (Joan Bennett) rushing to intercept her sister's marriage to a cad; the cad's brother (Fred Keating); a bad little boy, his water pistol and his caretaker (Zasu Pitts); the customary gangster, the sleuth trailing him; a transport pilot (Fred MacMurray) returning to duty from a canceled vacation...
Nothing better illustrates the fallacy of the "big double bill" type of program than the current offering at the Paramount and Fenway. "The Widow from Monte Carlo" tries so hard to be a smart, sophisticated, gay comedy, and it falls flat with a dull thud that resounds throughout the theatre...
Ralph Rainger (Paramount) is one of the few popular songwriters who has had thorough classical training. He studied at Manhattan's Institute of Musical Art. To earn a living, he took a job as a pianist in the First Little Show (1929), wrote Moanin' Low for Libby Holman. For Paramount Rainger and his lyricist Leo Robin wrote June in January, Love in Bloom and the songs Gladys Swarthout sang in Rose of the Rancho. When Paramount wants swing music, Mack Gordon and Harry Revel are set to work. Clowning at parties pleases them more. With little urging Gordon...
Hardly a summer goes by now without some impatient young criminal providing the Press with an "American Tragedy Murder." Paramount filmed the story in 1931, subsequently defending itself against one suit brought by Mr. Dreiser because the company had "vivisected" his work, another brought by Grace Brown's mother, who claimed she had been libeled. A U.S. playwright made a melodrama out of the story. A pair of French playwrights made it a character study. A Russian playwright made it a text for Bolshevism. But no adapters have departed so radically from the novel or achieved so exciting...