Word: rko
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...Peanut Vendor (El Manisero), with its hot, catchy rhythm between a jig and a tango, has started an invasion. Don Azpiazu's Havana Orchestra brought the song north last year, played it with other Cuban tunes at RKO's Palace Theatre in Manhattan, afterwards at the smart Central Park Casino. Then Don Azpiazu went back to Cuba to entertain U. S. tourists. He left his tunes behind. Manhattan's Leo Reisman learned to lead them. Reisman's drummer mastered the four complicated beats which Cuban orchestras emphasize with the bongo (a double-headed drum held between...
Cimarron (RKO). Edna Ferber's story of the birth and growth of the State of Oklahoma as reflected in the life of a newspaperman and his family was brilliantly cinematic in print and is vivid and memorable journalism as a cinema. It is a long, full-bodied picture, paced so deftly that although it covers more than half a century of crowded, changing events, it never drags and is rarely jerky. Westward goes Richard Dix with his wife (Irene Dunne) to start a newspaper in the town of Osage, Okla., which has sprung into a population...
Karps' Carp. One Sol Karp and other minority stockholders of Pathe Exchange, Inc., last week sought to block Pathé's merger with Radio-Keith-Orpheum Corp. (TIME, Dec. 15), charging insufficient consideration from RKO...
Danger Lights (RKO). For this first important release to be made with the new Spoor-Berggren wide film (TIME, Sept. 1). RKO has shrewdly chosen a story about railroading which gives the cameramen a chance to show the versatility of the new film by photographing locomotives from many angles. The big film seems exactly like other wide films; its mechanical grandeur, the magnified screen and the magnified size of everything thereon, are exciting and worthwhile, but not revolutionary. The story is the sort in which the district superintendent rescues an engineer from a drunken stupor by reminding him that lives...
Check and Double Check (RKO). Knowing that the cinema audience is to a large extent the radio audience of the U. S., the producers of any effort whose cast included Amos (Freeman F. Gosden) and Andy (Charles J. Correll) could be certain of attention at the box office. But material like this could command nothing but the very mildest attention if the radio audience were not the cinema audience. The explanation of the success of the blackface pair in broadcast is that they have created a fiction just funny enough to make people want to hear its nightly continuation...