Word: rko
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...Lost Squadron (RKO), instead of being about flyers in the War, is about flyers performing in a cinema about flyers in the War. While not exactly a breath-taking stroke of originality, this helps give The Lost Squadron a freshness of viewpoint which informs even the routine stretches of the picture. It also permits the inclusion of one character almost entirely new to the cinema: a violent, loudly clothed, arrogantly posturing Hollywood director. The behavior of this director and his name?Von Furst?suggest that
...Lost Squadron is the first picture manufactured by RKO since young David Selznick became production head of RKO-Radio and RKO-Pathe. It will be to the advantage of all concerned if the picture is typical of forthcoming RKO products. Good shot: a group of assistant directors, script writers, prop boys and cameramen waiting to start work, with Von Stroheim standing above them, on a pedestal beside the camera, bawling orders...
From England out of Germany comes this screen comedy with music, now being presented at the RKO Keith Theatre. Originally produced in the Rhineland, it has been recast and filmed by Gains-borough, and now is released in America by RKO. Thursday night brought to Boston the American premiere of the picture , with Klieg lights and motion picture cameras vainly striving to turn Washington Street into Hollywood boulevard...
Lady with a Past (RKO). Like her small sister in She Wanted a Millionaire, Constance Bennett in this picture is an American girl who has adventures in France. She, too, is seen wearing fine feathers and patronizing Parisian cafes while trying to straighten out her romantic uncertainties, but in other respects the pictures are dissimilar. Constance, far from being the finalist in a beauty contest, is a girl of high degree who has found that the men she admires are unsusceptible to her charms. To make herself more desirable, she sets out to acquire a past, aided by a flip...
Prestige (RKO-Pathe) is a tedious hyperbole concerned with Army life in an Indo-Chinese penal colony. Ann Harding suffers the difficulties customary for heroines so situated: her husband (Melvyn Douglas) in his own phrase is "going to pieces." A Negro minion kills the admirer (Adolphe Menjou) with whom she endeavors to escape to Paris. There follows a prison riot in which Douglas redeems his prestige by switching his rebellious charges with a stock-whip. Good shot: the Negro servant looking mournfully at Ann Harding after he has murdered Menjou...