Cinema check list

Helen Brown Norden

CARDINAL RICHELIEU.—George Arliss in another of bis suave and dexterous historical monologues, a little less exciting than some of the preceding ones. Mr. Arliss is, of course, the wily French prelate; Edward Arnold does a good job as Louis XIII; and Cesar Romero—devastating in long curls—does as well as possible in a role which offers little opportunity for distinction.

LES MISERABLES.—Twentieth Century did a brilliant piece of miscasting by not putting Charles Laughton in the role of Jean Valjean, which he could have made a magnificent study in regeneration. However, he does an effective characterization in the part he does have, and Fredric March—looking like Rasputin in the convict scenes—is Jean Valjean. The picture is elaborate, impressive, and sufficiently terrifying—with so many scenes of beaten convicts, marches through underground sewers, torture, hunger and despair, that you come staggering out of the theater, practically torn to ribbons by vicarious suffering.

RECKLESS.—Widely advertised as the first film in which Jean Harlow sings and dances, the actual sequences would fool no one above the age of two. However, whoever does sing, does it nicely enough, and Miss Harlow moves her lips in tempo and sways her hips with magnificent aplomb. William Powell is bis customary slick self as a racetrack gambler and sport promoter, and Franchot Tone plays a wealthy cad in amiable fashion. A nice bit is turned in by Rosalind Russell, who has poise, chic and breeding which augur an interesting future in Hollywood.

GO INTO YOUR DANCE.—A1 Jolson and Ruby Keeler are teamed together in this one, for the first time. The film, as usual with these musicals, is short on plot, but long on the song and dance angle. It is way above the last few Jolson vehicles, however, and can boast several excellent tunes, notably She's a Latin from Manhattan. Jolson is still a great entertainer—flashing that unique and personal genius which made him one of the great names in show business.