Word: twentieths
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Dates: during 1930-1939
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...Kate Douglas Wiggin's folksy story of the ups & downs of a horse-&-buggy family. Filmed with a heartiness and warmth calculated to reawaken memories of toasty nights around the parlor baseburner, Mother Carey's Chickens joins Metro-Goldwyn-Mayer's homely Judge Hardy and Twentieth Century-Fox's happy-go-lucky Jones Family in cinema's new grand march to the tune of Home, Sweet Home...
Little Miss Broadway (Twentieth Century-Fox) pits Shirley Temple's curls and dimples against the lengthy, dour countenance of Edna May Oliver. To win over a fitful Manhattan millionairess is child's play for Shirley, who has spent her precocious career winning over a variety of toughs, misanthropes, hard-hearted colonels and capricious sea captains...
...Give a Million (Twentieth Century-Fox). When word gets around the Riviera that a millionaire in tramp's clothing has 1,000,000 francs to bestow for one kind deed, a wave of benevolence envelops every mudlark and ragamuffin in the South of France. But to the real millionaire (Warner Baxter) a pretty circus performer (Marjorie Weaver) is most kind, and nobody doubts who is to get the million. Result: a comic-opera Riviera, almost but not quite a lively, amusing farce...
...Going to be Rich (Twentieth Century-Fox). Since a British comedienne named Gracie Fields has for the past few years been the reputedly highest paid cinemactress in the world, U. S. cinemaddicts may wonder: 1) why Fields pictures have never been exhibited in the U. S.; 2) why British audiences find her so funny. This first of three Fields pictures which Twentieth Century-Fox plans to make in its Pinewood studios, begs the first question but answers the second. An uproarious, rough & tumble comedy about life before the turn of the Century in the gold camps of South Africa...
Always Goodbye (Twentieth Century-Fox) provides Barbara Stanwyck, as an up-to-date young woman caught in the web of social difficulties, with a perplexing problem and an extensive wardrobe. The problem is whether to marry the man she loves (Herbert Marshall), or the guardian (Ian Hunter) of her son, produced before she married anyone at all. The wardrobe is the inevitable equipment, in the cinema, of all young women who work in dress shops...