Remarque's story of the three German war veterans who sought to find again the way to peace, and of the tuBercular girl who loved one of them and died gallantly as their love was cresting, had, of course, the stuff of a gossamer tragedy. The players, beginning with Margaret Sullavan as the frail but dauntless Pat, through Franchot Tone's sincere and strong portrait of Otto and Robert Young's facile playing of the idealistic Gottfried, to Robert Taylor's actually quite acceptable Erich (either Mr. Taylor is improving or we are losing our grip)—the players, again, are remarkably right. But still it must be counted Mr. Borzage's picture.
For he has interwoven its materials so deftly, has marshalled his players so capably. has used his cameras, lights and sets so persuasively that the flm all unity—a poetic, poignant, heart-breaking whole. 1n retrospect, it is possible to analyze part of his technique—the lifting of the camera for that statue-like shot of Patricia rising from her sick-bed anó groping toward the window, the relentless hunting down of Gottfried's assassin as he staggers along, driven as at bayonet-point by the spikes of Otto's headlights. But a mechanical analysis would reveal only the mechanics of the creation, not its spirit, nor the comprehension and compassion of the man who created it. Those are beyond analysis, but "Checkers"
Jane Withers again will dominate a coming programme at the Grand Theatre, with Stewart Erwin and Una Merkel. exhibits sadness, impassioned love rage, joviality—all within the space of a few minutes. And actors with ten years of stardom behind them tel me that the camera lens, during that time, gradually turns into a baleful, hypnotic eye.
As a rule women are less self-conscious during a test than men. Cecil B. De Mille, who has made thousands of tests and should know, has a pat explanation for that. not beyond appreciation.
Mr. Bor-zogo's Three Comrades deserves yours.
"Vivacious Lady"
Less notable, but possibly making for a jollier evening in the theatre, is George Stevens's "Vivacious Lady," with Ginger Rogers and James Stewart. Mr. Stevens is not even so well known as Mr. Borzage, but he has been round for several years. Quality Street" was less his fault than Katharine Hepburn's, but we prefer to remember him for some of he Rogers-Astaire matters—and for Vivacious Lad Conceding that his material was good and that his cast was in splendid light-comedy fettle, Mr. Stevens yet must be complimented on several counts. He kept his comedy light, although its underpinning was broad.
The story, very roughly is about a college professor who brings home a bride from the night clubs, is unable to find a propitious moment to break the news to Dad, the proxy, and has.an awful time trying to be alone with his wife for a while. He did the "Refrain" from Whimsy, a most unusual number this season, and he kept his screen lively even in those moments when the action was not.
Of course, an hour and 35 minutes is a longish time for any comedy to stay in the upper brackets. There were a few minutes on a train which might have been cut to moments; there was an episode involving the Big Apple which we afe willing to forgive, and there was some business in Professor Stewart's botany class which the directors might have put by for a rainy day. In most respects, though. Mr. Stevens, his writers and his cast have served us well Well enough, anyway, to send their picture scampering to the head of the comedy
Text read from the printed page and cleaned; old type leaves the occasional error.