Word: robber
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Dates: during 1930-1939
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...When a gang of crooks holds up the town bank and shoots a colored woman, mother of Penrod's friend and fellow G-man Verman (Phillip Hurlic, the junior G-men throw their efforts on the side of the law. As dramaturgy, the device of having Bank-robber Hanson (Craig Reynolds; and associates take refuge in the barn which is G-man headquarters, may smack of the coincidental; as fantasy, it blends properly with the hayloft fantasies of the Penrod age. Helped by the local constabulary, the kids round up the yeggs. Blackamoor Verman finds a new home, Penrod...
...looks like the composer he has become. Two years ago, Composer Feher got the notion of a cinema in which music would bear the burden of narration. With his voluptuous wife, Magda Sonja, and his chubby son, Hans, in the main roles, he wrote, composed, directed and cut The Robber Symphony. It won immediate success in Europe, was chosen one of the ten best pictures of the year in 1936 by the International Artistic Motion Picture Exhibition in Venice. Last week, chaperoned by the Feher family, it made its début in the U. S. in Manhattan, where...
Disillusioned thus, the first-night audience, which paid $10 per seat, soon was disillusioned about the picture's other an nounced qualifications. Despite the rec ommendations of Europe and Venice, The Robber Symphony is an incredibly inept execution of a brilliant idea...
Friedrich Feher is a better composer than he is cineman. His score is a pleasant, tinkly copy of Franz Schubert, accompanies the pictures so well that only 400 words are necessary. Technically, however, The Robber Symphony is early Keystone. The sound grinds, roars, squeaks. The photography is mostly bad, the acting lugubriously burlesqued, the fantasy laid on with a shovel. Two of the least unsuccessful fantasies: The dog's tail wagging to rhumba music; the dog wetting a man's trouser-leg because he will not give a penny for the music...
...Playwright Anderson's indefatigable verse. As to acting, more important theft than the stage bank robbery is Actor Charles D. Brown's outright steal of the whole show in the part of De Witt, the oldest and saltiest Dutchman. For years cast as a theatrical cop or robber, Actor Brown comes into his own at last when, in pantaloons and a huge hat, he comes to grips with the 20th Century in the shape of a zipper bag full of money and a paper bag full of sandwiches...