Word: pats
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Dates: during 1930-1939
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...eyed weekenders to its shores with tales of buried treasure. Two murders are done, everybody suspects everybody else, while the audience keeps its eye on the shifty butler. Finally a character who might easily have been an innocent bystander is shot down as the culprit. A thriller with so pat a formula is usually expected to move posthaste off the Broadway boards, but with the guidance of respected Play-Picker George Francis Abbott, this one, blackouts, screams, rowdy humor and all, seems likely to remain for a time...
Bureau Stands Pat...
...diligent digging he gets out a fair amount, though most readers may fee! that his results are too pat and his method too tedious to make first-class reading. All the principal characters are treated to full-length portraits, their past histories recounted from birth, their separate thoughts, reactions and activities traced conscientiously through all the tangle of events. This leads to a great deal of harking-back at the beginning of the book, and to a scattering of dramatic effect thereafter, so that even the impact of the earthquake itself is dissipated as the author patiently herds his characters...
...Production Head Sam Briskin sent to Warner Brothers' Producer Sam Bischoff an extra player who posed as a financier, went through the motions of making a deal to buy Producer Bischoff's pet electric razor business. Last week Producer Bischoff sent to Production Head Briskin Extra Players Pat Daly, Frank Jaquet, Bill Teelaak who posed as U. S. Congressmen Martin of Mass., King of Utah, Tydings of Maryland; sent with them a Warner Brothers cameraman who posed as a newspaper photographer. Production Head Briskin posed with the three spurious Congressmen (see cut), blushed, bumbled: "Gentlemen, welcome...
...Circulation (First National) should please cinemaddicts who admire portrayals of brash reporters and nail-hard editors whose presses must be fed regardless of human cost. This time the brazen star reporter is a female named Timmy Blake (Joan Blondell). She loves her apparently unconcerned managing editor, Bill Morgan (Pat O'Brien). He loves her too but has no time for foolishness. Between the first sequence and the last, Joan Blondell swoops through a breathlessly foreshortened flight of pseudo-newsfalconry. She gets an innocent woman indicted for murder, flattens a leering lounger with a right hook...