Word: plotting
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Dates: during 1930-1939
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...successful young lawer about to begin a political career which is to see him chosen as the Republican candidate for Congress. His wife is the daughter, oddly enough, of a woman whose selection by the Democratic party as candidate to oppose Martin Freemont complicates the novelist's plot to such an extent that it needs the entrance into the story of a complete gangland set-up to clear the way for the eventual triumph of young Freemont...
...Holt possesses the characteristics of masculinity, and very little else; consequently, this side of his nature should be played up as much as possible. The calming down, however, has not been carried too far; he is still bull-necked Jack, the terror among strong men. The plot, appropriately enough, deals with a steel mill, in which jack is at liberty to romp with the hunkies. It is probably the closest approach to the good old Horatio Alger song and dance that the Hollywood demons have given us, and contains most of the elements, in addition, which made Mrs. Radcliffe...
...plot, although trite, is lively enough to provide an evening of more or less semi-conscious entertainment. The acting is not too rosy, but will pass. I do not recommend the vaudeville which accompanies the picture on the stage of keith's Boston...
Roberta (adapted by Otto Harbach from Alice Duer Miller's Gowns by Roberta, score by Jerome Kern; Max Gordon, producer) is another gallant try at making a handsome, funny and affecting play with music and dancing, girls and dresses. Plot: a U. S. college boy loses his girl because she thinks he is "small-town." To forget her, he visits his Aunt Minnie (Fay Templeton) who is Roberta, a famed Paris dressmaker. Planning to will her establishment to her assistant, a onetime Russian princess (Tamara), Aunt Minnie dies without signing the will, thus forcing her nephew-heir to turn...
...Footlight Parade" seems to suffer from a comparison with "Forty Second Street," or the golddigger balderdash. The plot is thin, the songs are only fair. Ruby Keeler, Joan Blondell, and James Cagney are adequate in their parts. But they show a superior attitude to all the implausible nonsense: It is not in good taste, nor is it just to the public if great artists are insincere. What deserve praise are the photography and the ensemble dances on such a large scale that, were he living, Ziegfeld would feel like a cheapskate if he saw them...