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...Paid (Metro-Goldwyn-Mayer). Except for its concluding intricacies, worked out along lines immemorially established for stage police departments and district attorneys' offices, Paid is an effective program piece. It is Bayard Veiller's old play, Within the Law, modernized by Charles MacArthur as a vehicle for Joan Crawford. For some reason, principally because of her success in party-pictures and because there are already more than enough emotional actresses in the picture business, Metro-Goldwyn-Mayer has shown some reluctance in letting Joan Crawford play straight parts. This policy is puzzling because she can hold...
...Moon (Metro-Goldwyn-Mayer). Enlarged and changed, this operetta of the Broadway stage of year before last has been made into a vehicle for Metropolitan-trained Grace Moore and Lawrence Tibbett each of whom has done well separately in singing pictures. It is a plotty affair in which a Russian princess and a lieutenant make love against a background of soldiers thoroughly trained in quartet and ensemble work. Undaunted by the Presence of his superior officers, Tibbett pursues Miss Moore at a ball given in her honor by her fiance, the Governor, and in consequence is sent to an outpost...
...Bill (Metro-Goldwyn-Mayer). This is better than most program pictures because it does not fit completely into any standard classifications. It is not a melodrama or a farce, but something between. Marie Dressier as proprietress of a boarding house on the wharfs, Wallace Beery as her star boarder and sweetheart, have some good lines. Sometimes they act competently and sometimes they burlesque with unconscious ludicrousness; particularly Miss Dressier who, made a star because of the extravagant praise given her for her work in bit-parts (TIME, July 28), has now kept on making bit-parts out of roles...
Best sound recording?The Big House (Metro-Goldwyn-Mayer...
...Lady's Morals (Metro-Goldwyn-Mayer). This unimportant little picture has its principal appeal in the fact that it is supposed to be based on the life of Jenny Lind, "Swedish Nightingale" of the Victorian Opera stage. Its best shots are the few that are definitely part of her history?the scenes at Castle Garden, and P. T. Barnum showing Miss Lind U. S. ballyhoo. Its main fault is that it sketches an amorous interlude in the life of a singer who was a notorious prig. Grace Moore, onetime musicomedy star, Metropolitan soprano, sings nicely and acts adequately...