(3 of 3)
Unless they are particularly enthusiastic about speedboats, of which the film contains a few good shots, there is no special reason for adults to see Fast Life. Metro-Goldwyn-Mayer's opinion of the juvenile audiences for whom the film was evidently intended can be inferred from a comedy sequence in which Sandy's best friend (Cliff Edwards) describes the bed in which Sandy's fiancee will be situated if she marries Sandy's rival.
The Match King (Warner). Sooner or later the cinema, which has already adapted one of Author Theodore Dreiser's books and is soon to adapt another (Jennie Gerhardt), will investigate the possibilities of The Financier. When this happens the banking business may get the treatment it deserves from the cinema, which The Match King flagrantly neglects to give it. How the career of the late Ivar Kreuger, on which this picture is based, could possibly seem colorless and stupid you will not be able to guess until you have seen Warren William, the imitation John Barrymore, wrestling with a story that wobbles about the capitals of Europe. Instead of developing the exciting material which such doings as Kreuger's offer to the cinema, the producers made their tycoon, Paul Kroll, an arrogant, chipper, not particularly clever swindler. His formula is simple: he borrows money, then borrows twice as much from someone else to pay it back. He gets a briefcase full of bonds by murdering a gangster, forges certificates for $40,000,000 worth of bank stock and differs from the typical villain in a cinema melodrama mainly because of his penchant for cynic maxims. Sample: "Bankers and pawnbrokers are always reluctant to lend money to those who need it most."