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2013년 11월 28일 목요일

About 'somerset hotel london'|Albustan Palace Hotel Oman







About 'somerset hotel london'|Albustan Palace Hotel Oman








Westfront               1918               (1930,               directed               by               G.

W.

Pabst,               4               stars)               a               movie               about               German               infantrymen               near               the               end               of               the               trench               warfare               of               World               War               I               that               managed               to               show               that               sound               movies               need               not               be               visually               static,               and               shocked               1930               audiences               with               a               realism               about               combat.

I               think               it               is               of               more               than               historical               interest.

Ever               since               watching               "Captured               on               Film,"               the               2001               documentary               on               Marion               Davies,               I               had               wanted               to               see               one               of               the               movies               of               the               mistress               of               San               Simeon,               who               also               was               once               a               very               popular               comedienne.

Considering               the               recent               elevation               of               the               reputation               of               playwright               George               S.

Kaufman               (enshrined               in               the               Library               of               America)               and               that               he               wrote               "Animal               Crackers"               and               "A               Night               at               the               Opera"               for               the               Marx               Brothers,               I               expected               to               be               amused               by               Not               So               Dumb               (produced               by               Davies,               directed               by               King               Vidor,               1930,               1.2               stars).

I               was               not               (at               all),               leaving               me               unsure               whether               it               was               the               vehicle               or               the               star.

Certainly,               the               plot               and               the               lines               are               stupid               (is               the               title               supposed               to               refer               to               Kaufman's               play,               "Dulcy,"               coauthored               with               Marc               Connelly,               rather               than               to               Dulcy,               its               heroine?).

The               main               character               is               very               annoying,               her               chatter               heavily               laden               with               contrived               malapropisms.

Although               only               running               76               minutes,               the               movie               creaked               and               was               painful               to               watch.
               Pardon               Us               (1931,               2.3               stars),               the               first               Laurel               and               Hardy               sound               feature,               runs               only               56               minutes,               but               still               drags               often,               particularly               in               extended               musical               numbers               (in               a               prison               movie!),               but               has               some               moments               of               inspired               lunacy.

I               was               expecting               the               worst               when               they               went               into               blackface,               but               there               wasn't               anything               particularly               offensive.
               Blessed               Event               (1932,               directed               by               Roy               Del               Ruth,               3.4               stars)               was               intended               for               James               Cagney,               but               became               a               vehicle               for               the               kind               of               exploitative               cynic               Lee               Tracy               played               in               a               succession               of               films               (of               which               the               best               were               the               publicist               he               played               in               "The               Half-Naked               Truth"               with               a               semi-dressed               Lupe               Velez               and               the               publicist               he               played               for               a               "Bombshell"               as               put-upon               as               Jean               Harlow               who               played               the               title               role               and               a               publicist               from               a               drunkard               actor               not               unlike               John               Barrymore               in               "Dinner               at               Eight")..

There               is               a               running               animosity               between               the               gossip-monger               Tracy               played               in               "Event"               and               the               crooner               not               unlike               Dick               Powell               that               Dick               Powell               played               .

The               ending               is               a               mushy               redemption               of               the               rogue..
               Blondie               Of               The               Follies               (1932,               directed               by               Edmund               Goulding,               3.2               stars)               is               a               pre-Code               representation               of               a               woman               from               a               working-class               background               finding               a               sugar               daddy               and               becoming               a               show               girl               (reversing               the               usual               order               of               being               picked               out               of               a               chorus               line               and               debauched).

Marion               Davies               is               plucky               and               likable               in               the               title               role.

Although               not               primarily               a               comedy               (and               not               at               all               a               musical),               Davies               gets               to               do               a               parody               of               Greta               Garbo               partnered               with               Jimmy               Durante               doing               a               parody               of               John               Barrymore               (in               "Grand               Hotel,"               which               Goulding               had               just               directed)               that               is               very               funny.

Meanwhile,               Bille               Dove               does               something               of               a               Garbo               number               as               the               used-up               and               discarded               plaything               of               playboy               Robert               Montgomery.
               The               Testament               of               Dr.

Mabuse               (directed               by               Fritz               Lang               in               1932,               on               the               even               of               the               Nazi               takeover               of               power,               4               stars)               begins               and               ends               well,               and               I               especially               like               the               echo               of               "Metropolis"               of               the               rising               waters.

The               beginning,               when               the               audience               has               no               idea               who               is               lurking               and               then               in               grave               peril               is               gripping,               but               there's               too               much               middle,               ....

and,               alas,               the               German               people               did               not               heed               the               warning               against               Hitler.
               The               long-unavailable               The               Old               Dark               House               (1932,               directed               by               James               Whale,               2.5               stars)               is               neither               very               funny               nor               very               scary,               but               showcases               Melvyn               Douglas,               Charles               Laughton,               Raymond               Massey,               and               Gloria               Stuart               seeking               shelter               from               a               storm               and               having               to               deal               with               Boris               Karloff,               et               al.

It's               not               even               close               to               being               as               entertaining               as               Whale's               "The               Bride               of               Frankenstein,"               although               there               are               some               fine               b&w               visual               compositions.
               Pardon               Us               (1931,               2.3               stars),               the               first               Laurel               and               Hardy               sound               feature,               runs               only               56               minutes,               but               still               drags               often,               particularly               in               extended               musical               numbers               (in               a               prison               movie!),               but               has               some               moments               of               inspired               lunacy.

I               was               expecting               the               worst               when               they               went               into               blackface,               but               there               wasn't               anything               particularly               offensive.
               The               1932               Tiger               Shark               was               the               fifth               sound               film               directed               by               Howard               Hawks               (after               the               great               successes               of               "Dawn               Patrol"               and               "Scarface"               and               two               long-forgotten               ones,               "The               Criminal               Code"               starring               Walter               Huston,               and               "The               Crowd               Roars"               starring               James               Cagney).
               What               was               going               to               happen               was               obvious               to               me               with               the               first               encounter               between               Pipes               Boley               (Richard               Arlen)               and               Quita               Silva               (Zita               Johann).

I               tried               to               tell               myself               that               the               plot               might               not               have               been               as               predictable               in               1932,               though               the               wife               marrying               out               of               gratitude,               the               husband               unconcerned               by               her               telling               him               (before               marrying               him)               that               she               does               not               love               him,               throwing               her               in               frequent               contact               with               his               handsome               and               trusted               best               friend,               their               attractions               overcoming               their               scruples               (and               caution,               so               that               they               are               caught               in               each               others'               arms)               is               not               that               different               than               Arthur,               Guinevere,               and               Lancelot.
               Edward               G.

Robinson               played               the               open-hearted               fishing               boat               captain               with               an               ear-ring               and               an               accent,               though               the               latter               sounds               more               Italian               than               Portuguese               (which               is               what               it               is               supposed               to               be).

Zita               Johann               (who               played               the               female               lead               in               the               original               "The               Mummy"               and               who               retired               from               acting               when               she               wed               John               Houseman)               played               the               apex               of               the               triangle.

WWI               Canadian               flying               ace               Richard               Arlen               (Wings),               whose               kind               of               handsomeness               has               gone               out               of               style,               played               the               character               who               tries               to               protect               the               friend               who               saved               his               life.
               The               best               scenes               are               those               involving               the               skiff               and               the               two               men               in               extremis               (physical               in               the               first               one,               psychological               in               the               second),               and               many               hungry               sharks.

The               scenes               of               early-1930s               tuna-fishing               techniques               are               also               interesting.

The               worst               scenes               involve               Robinson               being               the               hearty,               simple-minded               Portuguese               fisherman-with               sentimental               imaginings               of               encounters               at               the               gates               of               heaven               with               the               fisherman               St.

Peter               sentimental               in               ways               reminiscent               more               of               John               Ford               than               Howard               Hawks.

(Robinson               was               a               more               interesting               delusional               ship               captain               in               "Sea               Wolf.")
               Many               later               Hawks               dramas               similarly               involved               nonsexual               male-male               camaraderie               and               (at               least               somewhat)               resourceful               and               independent               women               unsettling               the               male-male               relationships,               and               many               involved               rough               male               pursuits,               so               the               movie               fits               well               with               auterist               theme-continuity               emphasis               (Thomas               Mitchell               and               Cary               Grant               in               the               1939               "Only               Angels               Have               Wings"               leaps               to               mind,               particularly               in               the               similar               endings               of               these               two               Hawks               movies.

His               next               movie               after               "Tiger               Shark,"               Today               We               Live               (1933)               repeated               the               triangle               and               self-sacrifice               motifs               in               a               World               War               I               naval               setting.

The               triangle               went               intergenerational               in               Come               and               Get               It               (1936),               etc.,               etc...
               There               was               also               considerable               continuity               for               Robinson,               who               played               a               very               similar               role               in               a               relocation               of               the               plot,               "Manpower"               (1941)               with               Marlene               Dietrich               as               the               wife               he               could               not               satisfy               and               George               Raft               as               the               pal               who               could;               and               had               already               done               an               earlier               version               in               the               1930               "A               Lady               to               Love"               with               Vilma               Bánky               and               Robert               Ames,               directed               by               Victor               Sjöström               from               Sidney               Howard               play               "They               Knew               What               They               Wanted"               that               had               already               been               filmed               as               a               1928               silent               "The               Secret               Hour"               with               Jean               Hersholt,               Pola               Negri,               and               Kenneth               Thomson.
               BTW,               the               outdoor               sequences               are               from               (and               offshore)               Monterey,               not               San               Diego               and               Mexican               waters.

I               don't               know               why               the               setting               wasn't               identified               as               Monterey               (the               setting               for               "Tortilla               Flat."
               Although               running               only               80               minutes,               many               of               the               scenes               in               "Tiger               Shark"               seemed               to               me               to               drag.

The               verbal               wit               of               many               later               Hawks               movies               was               missing               (seemingly               not               developed               until               "Twentieth               Century"               in               1934,               rather               than               MIA),               though               Hawks               was               doing               impressive               action               scenes               by               the               time               sound               pictures               began               (those               in               his               first               one,               "Dawn               Patrol"               and               "The               Crowd               Roared"               were               reused               in               later               movies               directed               by               others,               for               instance).

(2.8               stars)
               In               1932               in               "They               Call               It               Sin               "               then-rising-star               Loretta               Young               played               Marion               Cullen,               a               Merton,               Kansas               church               organist               with               artistic               pretensions               who               flees               to               New               York               after               a               flirtation               with               Jimmy               Decker               (David               Manners               between               "Dracula"               and               "The               Mummy").

Decker               is               not               only               engaged,               but               is               engaged               to               the               boss's               daughter               (Helen               Vinson)               and               has               far               too               much               to               lose               by               following               his               heart               (or               whatever)               to               Marion.

Jimmy's               friend               and               doctor               Tony               Travers               (George               Brent)               is               very               interested               in               the               fresh               young               thing,               but               Marion               disappears               once               she               learns               that               Jimmy               is               already               spoken               for.

She               becomes               the               protégé               of               a               lecherous               musical               revue               producer               Ford               Humphries               (Louis               Calhern               was               already               oozing               oil               in               1932!).
               The               plot               is               feeble,               requiring               a               medical               miracle               among               other               things.

Other               than               Louis               Calhern's               leers,               the               main               entertainment               is               provided               by               Una               Merkel,               who               plays               Dixie               Dare,               a               dancer               specializing               in               doing               cartwheels               and               considerably               more               savvy               than               Marion.

Roscoe               Karns               adds               his               eye-rolling               sarcasm               as               a               choreographer               accustomed               to               having               to               use               dancers               being               bedded               by               Humphries.
               Long               before               her               reign               on               tv,               Young               was               already               a               clothes-horse.

I               don't               think               she               was               much               of               an               actress,               and,               to               me,               her               face               seems               a               bit               long               and               horsey,               to               (another               era's               notion               of               beauty,               I               guess...)               or               a               beauty,               but               she               had               some               earnest/innocent               charm               (certainly               more               than               David               Manners               had!).

The               dull               soap               opera               picks               up               once               Marion               meets               Dixie               waiting               to               audition               for               Humphries.

The               first               half               hour               offers               some               more               compelling               performances               than               those               by               Young               and               Manners               (Marion               Byron               working               in               a               Merton               drug               store               and               putting               the               moves               on               Manners,               and               Helen               Vinson               as               a               vicious               enforcer               of               respectability               as               Young'               mother).
               Paul               Lukas               played               a               Russian               intellectual               making               his               living               as               a               waiter               in               Grand               Slam               ,               directed               by               William               Dieterle               (1933,               4.2               stars).

It               is               a               surprisingly               funny               satire               of               the               building               up               of               celebrity.

The               waiter               and               the               Russian               restaurant's               hat-check               girl               played               by               Loretta               Young               become               America's               sweethearts               as               bridge               partners               who               never               squabble               (in               marked               contrast               to               most               bridge               partners).

With               the               aid               of               publicist               and               ghost-writer               'Speed'               McCann               (the               wonderfully               deadpan               Frank               McHugh)               they               become               walking               advertisements               for               the               "Stanislavsky               system,"               a               "system"               of               bidding               whatever               one               feels               like               (since               bids               are               not               rational,               there               is               no               basis               for               recriminations               about               their               stupidity).
               A               duel               with               displaced               bridge               guru               Cedric               Van               Dorn               (sounds               close               to               Goren,               no?

and               I               suspect               the               choice               of               the               character's               name               "Stanislavsky"               was               also               a               slam               at               another               kind               of               system),               a               puffed-up               charlatan               played               very               well               by               Ferdinand               Gottschalk,               is               broadcast               on               radio               stations               across               America               like               a               prize-fight               by               Roscoe               Karns               (another               great               fast-talking               deadpan               comic               actor               of               the               1930s).

The               bridge               players               are               even               in               a               roped-off               square,               though               the               audience               is               above               them,               unlike               in               boxing               "rings."
               The               movie               unfortunately               all               but               drops               Glenda               Farrell,               who               plays               McHugh's               forgetful               girlfriend.

The               wide               variety               of               American               types               prefigures               the               comedies               of               Preston               Sturges,               though               for               manufacturing               celebrity,               "Grand               Slam"               most               calls               to               mind               two               better               movies               from               the               same               (pre-Code)               era               with               Lee               Tracy               playing               fast-talking               publicists:               "The               Half-Naked               Truth"               and               "Bombshell,"               but               "Grand               Slam"               has               its               moments,               especially               for               anyone               who               has               played               bridge               with               serious               point-counters.
               The               film               of               Somerset               Maugham's               The               Narrow               Corner               was               obviously               pre-Code               (1933)               in               that               Fred               Blake,               the               romantic               lead               escapes               the               police               in               two               places               (even               if               he               wasn't               the               murderer               he               was               believed               to               be               in               either               case).

I               was               struck               by               how               far               up               his               waist               were               the               pants               worn               by               Douglas               Fairbanks               Jr.

(above               his               navel).

He               and               Ralph               Bellamy               go               for               a               nude               swim               that               is               filmed               very               carefully               to               be               unrevealing,               too.

The               plot               is               tedious.

Dudley               Diggs               as               an               opium-addicted               physician/sage               is               the               most               interesting               character,               although               he               has               some               homilies               to               deliver.

As               usual,               Bellamy               loses               the               girl               (the               easily               forgotten               Patricia               Ellis).

(2.4               stars)
               Death               Takes               a               Holiday               (1934,               directed               by               Mitchell               Liesen,               2.5               stars)               is               a               slow-starting,               gabby               fantasy               about               Death               going               on               vacation               to               learn               why               he               is               feared.

Fredric               March               is               good               as               the               personification               of               weary               Death,               but               he               and               everyone               else               declaims               claptrap.
               The               campy               1934               version               of               Cleopatra               directed               by               Cecil               B.

DeMille               with               Claudette               Colbert               woefully               miscast               in               the               title               role               alternates               perfunctory               story-telling               with               languorous,               silly               stretches               of               Orientalist               kitsch.

The               montage               battle               sequence               includes               striking               images               (some               recycled               from               the               silent               version               of               "The               Ten               Commandments"),               though               it's               fairly               astonishing               that               the               cinematography               (of               Victor               Milner)               was               honored               with               an               Oscar               (I'd               have               tapped               "The               Scarlet               Empress"               or               "The               Thin               Man,"               but               neither               was               even               nominated).

Colbert               seems               far               too               sensible               and               amiable               to               be               a               great               seducer               or               a               great               lover.

(She               does               get               off               a               contemptuous               final               zinger               at               Octavius,               though.)               Warren               William               musters               the               greed,               craft,               bemusement,               and               hubris               of               Julius               Caesar,               if               not               very               a               Roman               one,               and               the               tall               (6'4")               Henry               Wilcoxon               flexes               his               manly               thighs,               sneers,               rages,               and               grimaces               as               an               easily               manipulable               Marc               Antony.

Although               hardly               free               of               kitsch,               the               1963               version               seems               to               me               to               have               more               convincing               performances...

although               no               one               would               accuse               it               of               being               perfunctory.

2.8               stars.
               Fog               over               'Frisco               (1934,               directed               by               William               Dieterle,               3.7               stars)               is               of               special               interest               to               any               San               Franciscan               for               showing               the               city               before               the               bridges               were               built.

Much               of               the               movie               takes               place               on               Nob               Hill               (the               least               changed               part               of               the               city),               but               there               is               a               major               chase               across               downtown               to               China               Basin               (not               "Bullit,"               but               with               footage               form               longer               ago).

It               also               has               Bette               Davis               in               her               amoral               blonde               party               girl               phase,               and               Margaret               Lindsay               as               the               good               girl               (the               stepsister               how               is               the               apple               of               their               father's               eye).

It               has               a               lot               of               plot               packed               into               68               minutes               with               multiple               romances,               a               criminal               syndicate,               bankers,               newspapermen,               and               the               police.

The               i's               are               eventually               dotted               with               little               panache,               but               has               its               moments               (especially               with               Davis               and               a               kidnapping).

It               also               shows               that               Howard               Hawks               was               not               the               first               to               use               overlapping               dialogue               in               "My               Girl               Friday."
               Judge               Priest               (1934,               directed               by               John               Ford,               2.7               stars)               shows               something               of               the               Will               Rogers               charm.

It               also               has               a               whole               lot               of               the               sentimentality               that               marred               many               John               Ford               movies,               and               the               racism               that               marred               some,               with               the               now               notorious               shiftless               stereotype               embodied               by               Step'n               Fetchit               speaking               gibberish.

It               also               has               Hattie               MacDaniels               in               one               of               her               many               maid               roles,               this               time               singing               as               she               works               (there               is               an               astounding               scene               of               sort-of               call               and               response               singing               in               which               Will               Rogers               sounds               like               her:               that               is,               one               has               to               watch               to               know               which               one               is               singing!)               Although               the               later               Sergeant               Rutledge               is               a               superior               trial               movie               intercut               with               flashbacks               of               military               action,               "Judge               Priest"               prefigures               it               in               having               a               stiff-necked               defendant               who               is               sure               he               will               not               get               a               fair               trial               and               does               not               deign               to               explain               himself,               or               even               to               correct               the               impression               that               he               is               a               Northerner.

(There               is               also               a               farcical               trial               of               the               Step'n               Fetchit               character               at               the               start               that               ends               with               the               judge               and               defendant               going               fishing               together,               no               doubt               a               common               sight               in               former               Confederate               states               in               1890...)
               Midnight               (1935,               directed               by               Mitchell               Leisen,               4.2               stars               )               has               a               surprisingly               restrained               John               Barrymore               as               a               rich               man               trying               to               end               an               affair               his               wife               is               having               by               turning               her               paramour               on               to               the               unsuccessful               American               chanteuse               played               by               Claudette               Colbert.

As               the               taxi               driver               who               loves               her,               Don               Ameche               is               hammier               than               Barrymore.

The               plot               is               outlandish,               but               the               writing               team               of               Billy               Wilder               and               Charles               Brackett               gave               witty               lines               and               screwball               comedy               business               to               the               players               who               made               the               most               of               these               gifts.
               Black               Fury               is               not               a               blaxpolitation               movie.

It               is               a               1935               movie,               directed               by               Michael               Curtiz               (Casablanca)               focused               on               miners               and               mobsters.

Paul               Muni               (Scarface,               The               Good               Earth)               plays               (very               broadly)               Joe               Radek,               a               slow-thinking               and               loudly               blustering,               but               strong               bohunkie"               (Hungarian?)               dupe               for               a               conspiracy               not               so               much               to               destroy               the               miners'               union               as               to               foment               conflict               that               the               conspirators               can               then               be               paid               to               repress.

To               make               up               for               having               led               his               friends               into               disaster,               Joe               eventually               prevents               anyone               getting               into               the               mine               (the               laxity               of               the               security               is               more               than               a               little               hard               to               believe!).

With               less               makeup               than               in               some               of               his               other               roles,               Muni's               look               is               still               manipulated:               he               has               blond               hair.

He               also               has               a               very               thick               accent.

The               villains               are               cartoonish,               the               crowd               scenes               are               remarkably               dull,               and               the               sentimentalizing               of               the               good               fellows               is               very               heavy               handed               in               one               of               the               lesser               Warner               Brothers               social               problem               flicks.

(2.2               stars)
               I               tried               to               watch               the               1935               Swedish               melodrama               Walpurgis               Night               with               the               then-rising               star               Ingrid               Bergman.

The               movie               also               provided               an               opportunity               to               hear               silent-screen               star               Lars               Hanson               (Flesh               and               the               Devil)               and               his               silent-film               director               Victor               Sjostrom               (in               The               Wind,               The               Scarlet               Letter)               speak.

(Sjostrom               speaks               in               "Wild               Strawberries,"               but               I               haven't               seen               that               since               seeing               any               of               the               films               he               directed,               "Laugh,               Clown,               Laugh"               as               well               as               the               Gish-Hanson               pairings;               I               also               recently               saw               "Flesh               and               the               Devil"               for               the               first               time               with               Hanson               as               the               friend               of               John               Gilbert               who               marries               Greta               Garbo.)               I               couldn't               stay               awake               for               it,               though.

(<2               stars)
               The               1935               version               of               Enchanted               April               manages               to               be               simultaneously               tedious               and               perfunctory.

It               is               difficult               to               show               the               transformative               magic               of               Italy               shooting               in               a               studio               with               only               stereotypical               Italian               behavior               to               belabor.

The               transformation               of               the               four               strangers               fleeing               London               is               instantaneous               in               the               cut               from               the               first               day               to               a               week               later.

Rather               than               develop,               the               screenplay               flips               a               switch               and               the               characters               are               different.
               The               husbands               are               boring               enough               in               flashbacks               without               turning               up,               even               if               their               presence               does               not               drive               the               four               women               back               into               their               shells               and/or               hostilities.
               Jessie               Ralph               has               the               most               fun               (moving               instead               of               entirely               chewing               up               the               scenery)               and               Katharine               Alexander               has               some               poignant               charm               out               of               her               husband's               shadow               (and               away               from               his               hideous               droning).

Ann               Harding               is               unremarkable               here               (with               the               Production               Code               being               enforced).

She               had               an               appropriate               line               in               an               earlier               (pre-Code)               movie,               "When               Ladies               Meet":               "You're               not               worth               a               minute               of               one               anxious               hour               that               either               one               of               us               has               given               you,"               but               in               "Enchanted               April"               can               only               look               hurt,               rush               out,               and               proclaim               fealty               to               her               errant               husband.

(3               stars)
               There               were               two               reasons               for               me               to               want               to               watch               the               1935               Steamboat               'Round               The               Bend               .

One               was               that               the               movie               was               directed               by               John               Ford,               and               though               I               don't               always               like               the               movies               he               made,               I'm               trying               to               see               them               all.

(Ford's               badly               dated               The               Informer               also               dates               from               1935.)               The               other               reason               is               that               it               starred               the               legendary               Will               Rogers               (who               was               Fox's               biggest               star               and               something               of               a               national               institution.

I               know               who               is               (and               that               he               is               more               than               the               name               on               a               California               state               beach),               but               had               never               seen               him               in               anything               (he               died               in               an               airplane               crash               in               1935               before               the               movie's               release).

The               role               of               Doctor               John               Pearly               did               not               call               for               dispensing               much               of               the               folksy               wisdom               for               which               Rogers               was               famous,               but               did               use               one               of               the               talents               from               his               vaudeville               acts,               lassooing               (he               lassoes               Captain               Eli's               boat).

Eugene               Pallette               was               also               on               hand               as               a               laid-back               southern               sheriff,               drolly               croaking               his               lines.
               Doc               Pearly,               a               veteran               of               the               Confederate               army,               sells               patent               medicine               and               owns               a               broken-down,               docked               river               boat               called               the               "Claremore               Queen"               (Rogers's               hometown               was               Claremore,               OK.)               Doc               turns               it               into               a               floating               museum               of               waxworks,               stowing               away               the               patent               medicine,               which               is               needed               later,               during               a               riverboat               race               that               is               also               a               race               to               deliver               a               key               witness               to               avert               the               hanging               of               Doc's               nephew               "Duke"               (John               McGuire).

One               additional               point               of               interest               is               that               Duke's               "swamp               gal"               fiancee               Fleety               Belle               (Anne               Shirley)               shows               herself               fully               competent               to               pilot               the               riverboat.

No               one               even               comments               on               this.

Alas,               the               representation               of               female               competence               is               accompanied               by               one               of               the               cringe-inducing               uses               of               Step'n               Fetchit               (Lincoln               Perry)               as               the               stupid,               painfully               slow-talking,               and               "shiftless               n___er."
               Neither               the               comedy               nor               the               melodrama               have               aged               well,               and               it               would               be               easy               to               stop               watching               the               proceedings.

What               is               interesting               is               mostly               in               the               last               half               hour:               showing               the               workings               of               the               paddle-wheel               river               boats               (a               proliferation               of               them               not               the               result               of               computer               multiplication               or               of               miniatures).

(<2               stars)






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