A Night At The Opera (1935)

35 comments on November 15, 1935 by BOXOFFICE Staff

Best Marx Brothers picture to date. Abounds in laughs and side-splitting situations. Pursues a plausible plot. Groucho, business manager for Margaret Dumont, is in Milan for the opera season. Margaret, sold on the idea of backing an American opera company, is induced to sign Walter King, well known tenor, who wants Kitty Carlisle included in contract. Much to the disgust of Walter, she is in love with a chorus man, Allan Jones. Groucho meets Chico, friend of Allan, and they plan to get him the job. Harpo, valet for Walter, hates him, so he joins Groucho and Chico. They arrive in New York disguised as three Italian aviators, are pursued by sleuths for impersonating, wreck the opening night of the opera and keep things in an uproar. Sam Wood directed. SELLING ANGLES

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The Count of Monte Cristo

37 comments on September 07, 1934 by BOXOFFICE Staff

   This Reliance production, produced by Edward Small for U.A. release, is a splendid filmization of the Dumas classic. Despite its lengthy running time, it is thoroughly entertaining and has been elaborately produced. Romance, pathos, drama and all the elements of entertainment have been expertly blended. The entire cast is excellent throughout. Robert Donat and Elissa Landi are particularly fine in the leading roles. Direction is noteworthy and the photography class-A. Large reader interest in this classic, plus recent broadcast versions, should help at the box office. The picture itself should register strongly and more than satisfy viewers. SELLING ANGLES:

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Sons of the Desert

16 comments on December 29, 1933 by BOXOFFICE Staff

Laurel and Hardy provide a miniature sandstorm of mirth in this comedy of lodge "brothers" who duck their wives to have a carousing time at the annual convention. Title is the name of the order to which Stan and Oliver belong, and there is no desert atmosphere as the name might imply. Needless to say, the two culprits are discovered by their irate mates and it all ends up in a grand, slap-bang climax. Mae Busch and Dorothy Christy are teamed with the two comedians and make a grand foursome of continuous merriment and hilarity. This one is in the bag. It can't miss. Directed by William A. Seiter. SELLING ANGLES:

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The Invisible Man (1933)

11 comments on November 13, 1933 by BOXOFFICE Staff

One of the best of the horror stories to reach the screen, this picture rates high because of originality of theme, excellent acting, expert camerawork and direction, plus an atmosphere of brooding mystery which helps engender the proper mood for the fantastic tale of a man who created a miracle only to have it destroy him. Claude Rains is excellent in the title role, that of a young scientist who discovers a drug which, if injected under the skin, causes one to become invisible. The discovery unbalances his mind and he retires to a country inn to continue his experiments undisturbed. Enraged by interferences, he becomes an instrument of destruction, waging a one-man reign of terror.    Directed by James Whale.

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Scarface (1932)

10 comments on April 09, 1932 by BOXOFFICE Staff

Despite the storm of protest this Howard Hughes production might evoke from certain quarters it is perhaps the most daring and sensational expose of the modern gangster we have ever witnessed on the screen. It is a picture that will be remembered long after it has been shown because of its stirring preachment against the racketeer. Paul Muni plays the title role to perfection. The inner-workings of gangdom are shown; how gangsters are mowed down with machine guns in cold blood. The picture is not only filled with action but contains bits of human interest and comedy for relief. SELLING SEATS:

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The Public Enemy (1931)

30 comments on April 23, 1931 by BOXOFFICE Staff

This picture requires lively short subjects to brighten up the program a bit, for there is no comedy relief, and it will cast a depressing mood over the audience unless entertaining shorts are run in conjunction with the picture.
   The story is absolutely serious from start to finish and was meant to be taken seriously by the audience. Unlike other gangster pictures, it shows nothing deliberate or smart on the part of the gangsters to provoke the audience to laughter. Neither does it bring politics or bribes into the picture at all. This is not for children for, although it is a good moral picture, they will not understand it.

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Metropolis

13 comments on May 06, 1927 by Michael Tunison

Released five years before Aldous Huxley's novel "Brave New World" led a wave of dystopian science fiction challenging the most basic assumptions about human society, Fritz Lang's 1927 masterpiece "Metropolis" has influenced both the genre and cinema itself to a degree that's difficult to overstate. The obvious debt that later stylistic ground-breakers such as "Blade Runner," "Brazil," "Batman" and "The Matrix" owe the film demonstrates just how indelibly Lang's vision has been stamped on the world's collective view of the future. This painstakingly restored 75th anniversary re-release of o...

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