Director: HENRY KING. Screenplay: Reginald Berkeley. Based on the 1931 novel by Jacques Deval. Uncredited screenplay contributor: Dudley Nichols. Photography: John F. Seitz. Film editor: Harold D. Schuster. Costumes designed by René Hubert. Music director: Arthur Lange. Orchestrations: Paul Van Loan. Songs by Jay Gorney and Arthur Lange. Wardrobe master: Sam Benson. Assistant director: Jasper Blystone. Sound recording: Eugene Grossman. Producer: Winfield R. Sheehan.
Copyright 26 October 1934 by Fox Film Corp. New York opening at the Mayfair: 20 November 1934. U.K. release: 11 May 1935. Australian release: 23 January 1935. 8,192 feet. 91 minutes.
PRINCIPAL MIRACLE: Sig Rumann not only has two parts (he confronts himself via a process screen), but for the first and only time in his screen career, uses his real voice.
COMMENT: Whoever said Henry King was a dull director should take a look at "Marie Galante". The pace never lets up from start to finish, atmosphere (thanks also to some wonderfully impressive sets) is so visually exciting you can almost feel the Panamanian heat, and the editing can only be described as innovating and expressive.
King's use of sound effects, particularly at the climax, is also a marvel of ingenuity.
Acting is absolutely spot on. Sig Rumann has the best part of his whole career (two roles actually), delivering his lines with such aplomb that you can see the movie again and again just to enjoy his performance.
Also to be especially relished are Leslie Fenton as Tenoki, Robert Lorraine as Ratcliffe, and the lovely, vivacious Ketti Gallian as the beset heroine. Tracy makes his lead sufficiently charismatic to get by and it's nice to find Ned Sparks and Helen Morgan (though she has little to do but sing) in the cast. Only fly in the ointment (and fortunately only a very small-fry fly) is Stepin Fetchit, way way down to his usual obnoxious parody as an especially moronic assistant to Mr. Sparks.
Despite an occasional stock shot, production values are mind- blowing.
Copyright 26 October 1934 by Fox Film Corp. New York opening at the Mayfair: 20 November 1934. U.K. release: 11 May 1935. Australian release: 23 January 1935. 8,192 feet. 91 minutes.
PRINCIPAL MIRACLE: Sig Rumann not only has two parts (he confronts himself via a process screen), but for the first and only time in his screen career, uses his real voice.
COMMENT: Whoever said Henry King was a dull director should take a look at "Marie Galante". The pace never lets up from start to finish, atmosphere (thanks also to some wonderfully impressive sets) is so visually exciting you can almost feel the Panamanian heat, and the editing can only be described as innovating and expressive.
King's use of sound effects, particularly at the climax, is also a marvel of ingenuity.
Acting is absolutely spot on. Sig Rumann has the best part of his whole career (two roles actually), delivering his lines with such aplomb that you can see the movie again and again just to enjoy his performance.
Also to be especially relished are Leslie Fenton as Tenoki, Robert Lorraine as Ratcliffe, and the lovely, vivacious Ketti Gallian as the beset heroine. Tracy makes his lead sufficiently charismatic to get by and it's nice to find Ned Sparks and Helen Morgan (though she has little to do but sing) in the cast. Only fly in the ointment (and fortunately only a very small-fry fly) is Stepin Fetchit, way way down to his usual obnoxious parody as an especially moronic assistant to Mr. Sparks.
Despite an occasional stock shot, production values are mind- blowing.