Word: screenings
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Dates: during 1930-1939
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...grasp that idea perfectly. The picture tells the story of "a modern woman who had the courage to send her husband into the arms of another woman to prove to him that it is she whom he loves." As always happens to lovers so fortunate as to be screen heroes and heroines, she gets him back in the end. But the heaviest spots are tastefully peppered with some really brilliant dialogue...
Anything Goes (Paramount). Actually, a lot of people beside Cole Porter had a hand in this screen version of last year's No. 1 Broadway musicomedy, but somehow it all adds up to a Cole Porter lyric cast in celluloid, with involved metaphors and polysyllabic rhymes translated into comedy antics and plot convolutions, and set to impudent, lighthearted music. Some of it is music worn thin by 1935's dancing slippers, but some good new ones have been added: Sailor Beware, Moonburn, My Heart...
...least, if not to others, Joe von Sternberg always is the principal character in his screen creations. He indisputably is one of our great directors and certainly one of our greatest masters of the camera. No picture of his fails to be a photographic treat. He has his own style of photography which gets its virility from his daring use of light and shade and true black. He carries his during into each production, each seemingly being to him merely an experiment along another line...
There seems to be nothing that can be said about "Peter Ibbetson" except that no one should have tried to put it on the screen. One of the most beautiful stories has been considerably dulled by the attempt to transpose purely mental processes to a visible stage. The picture, however, is not as thoroughly unbearable as it could have been with unskilled directing and acting. While Gary Cooper reverts to the cowboy in a few scenes, he turns in a quite creditable performance as Peter, and Ann Harding is even better as the Duchess of Towers. It was a pleasant...
...Ghost Goes West (London Films). Rene Clair's first film in English, made at Alexander Korda's London studio from a screen play by Robert Sherwood, is a satiric fantasy notable for the qualities of grace, charm and imaginative wit that have long distinguished its director's work in French. Produced by a Hungarian, written by an American, directed by a Frenchman, and acted by an English-speaking cast, it has the homogeneity of style, the smooth polish often conspicuously lacking in its Hollywood counterparts. Its most serious fault is an occasional lethargy of pace, which...