Holiday (Pathe). Manhattan cinemaddicts discovered with amazement last week that the witty, rich and velvet sophistication out of which Philip Barry fashioned the best comedy of the 1928-29 theatrical season has not, in translation to the screen, been exchanged for the crude, stuffy plushes of Hollywood naivete. Presenting the situation of a youth engaged to marry an heiress but unwilling to accept the pompous responsibilities of great wealth, the story and its spirit might easily have been suffered to lapse into the Poor Little Rich Girl stereotype. When Johnny Case, deserting...
To continue reading:
or
Log-In
