Boxoffice (Apr-Jun 1948)

Opinions on Current Productions; Exploitips for Selling to the Public FEATURE REVIEWS r The Emperor Waltz F Comedy with Music (Technicoloi-) Dream Girl F Comedy Paramount (4720) 103 Minutes Rel. July 2, '48 Understandable it would be if the shades of Austria's Emperor Franz Joseph and his courtiers henceforth hover over the Paramount studio from which emanated this parcel of thoroughly delightful satire. Their blue blood, their foibles, their vagaries and their snobbishness is subjected to as thorough and subtle a ribbing as the screen has ever essayed. Only two such nuts-to-nobility Americans as Charles Brackett (producer) and Billy Wilder (director) could have concocted the laugh-laden Graustarkian yarn to end all Graustorkian yarns. Add to the film's literary luminousness the mighty magnetism of No. 1 Boxoffice Star Bing Crosby, supported by a sterling cast; opulent production values; a well-balanced sprinkling of toe-tickling musical interludes; flaming Technicolor photography; spectacle and specialties, and the offering undoubtedly totals top patronage and popularity. Bing Crosby, Joan Fontaine, Roland Culver, Lucile Watson, Richard Haydn, Harold Vermilyea, Sig Ruman. Who Killed 'Doc' Bobbin? F Comedy (Cinecolor) United Artists ( ) 55 Minutes Rel. Apr. 9. '48 The exhibitor looking for a kiddy show feature will find this Hal Roach comedy right up his alley. It also might go over as the second half of a midweek bill in less sophisticated situations. A talented group of juveniles, several of whom were seen in 'Gurley," are featured here. The better known adult players include Don Castle, Grant Mitchell and George Zucco. "Who Killed Doc Robbin" is the second half of Hal Roach's “Laff-Time" comedy combination. "Here Comes Trouble," reviewed April 17, is the first part. The "Doc Robbin" half is very much like the "Our Gang" comedies of two decades ago. The kids are constantly on the move and in trouble trying to solve the disappearance of a scientist who has been trying to get his hands on a new atomic weapon. Direction by Bernard Carr is smartly paced. Cinecolor photography is tops. Virginio Grey, Don Castle, George Zucco, Whitford Kane, Claire Dubrey, Grant Mitchell, Larry Olsen. Silver River F Western Drama 7^ Paramount (4721) 85 Minutes Rel. July 23, '48 Elmer Rice's play was wisely selected as a transitionary vehicle to return to the screen Betty Hutton, streamlined and iterally dripping with the New Look. Therein she does a female Walter Mitty, a society gal who spends most of her time day dreaming. During her many and varied sallies “(1° J j world of fantasy her imagination creates she is afforded an opportunity to display much of the hoydenish qualities which first won her a vast fan following. In between dreams, the star has a chance at a more sensitive delineation. While the film doesn't move at the lively clip of some of La Hutton's earlier pictures, it adds up to good furp with plenty of laughs stemming from unusual situations and bright dialog, to further insure that the picture will satisfy spectators. There is a topflight supporting cast, rich production and the experienced direction of Mitchell Leisen. Betty Hutton, Macdonald Carey, Virginia Field, Patric Knowles, Peggy Wood, Walter Abel, John Abbott. Waterfront at Midnight F Melodrama Paramount (4719) 63 Minutes Rel. June 25. '48 Give Producers Pine and Thomas, who supply Paramount with its lineup of supporting features, a story idea into which they can sink their teeth and they are dependtable to come up with a fast-moving action feature qualified to add to the drawing power and entertainment values of any double bill. This is a typical case in kind. A tightly woven gendarmes-and-thugs yarn, it was entrusted to a cast which knew just what to do so that there would be no letdown in the exciting tempo._ While some of the situations are standard for photoplays of its type, there are enough new twists to hoist the offering out of the formula class. William Gargan portrays a police lieutenant devoted to rounding up a gang of harbor thieves, an assignment which becomes complicated when his kid brother becomes involved with the mob Ably directed by William Berke. William Gargan. Mary Beth Hughes, Richard Travis. Richard Crane, Cheryl Walker. Horace McMahon, John Hilton. French Leave F Corneay Warner Bros. (725) 111 Minutes Rel, May 29. '48 Because the screenplay obviously tried to cover too much territory, and resultantly emerged as a slow, meandering cavalcade of the post Civil War winning of the west, this is suspended somewhere between a western and a drama about empire building. Entertainmentwise it is neither fish nor fowl. Jhe seekers of sagebrush sagas will find it too slow and too freighted with dialog; while the devotees of .neat drama will consider the offering too circuitous, clamorous and unconvincing. Confronted with such material, Errol Flynn, as the hero-heel, Ann Sheridan and an impressive supporting cast are helpless; nor are the films values enhanced by spectacular and expensive production mountings. Despite the name-heavy cast there will be little favorable comment to help it build interest for the subsequent /bookings. Directed by Raoul Walsh. Monogram (4714) 64 Minutes Rel. May 25. '48 Remember Kilroy who was "here" on a worldwide scope during the war and who was the subject of an earlier picture from Monogram? Well, the same Kilroy— again ingratiatingly delineated by Jackie Cooper — is here again and with him his sidekick, Pappy, in the person of Jackie Coogan Ihis time the romantic and venturesome ex-GIs are cast as merchant mariners who get into more trouble in the French black food market than a monkey can with a barrel of peanuts. It all adds up to good, clean fun with accent upon humor but with enough plot to make the film exciting and actioiiful. Sid Luft, who introduced the much-traveled Kilroy to the screen, again produced and gave the picture substantial mountings. The two Jackies are strongly supported by a wisely chosen cast. Directed by Frank McDonald. Errol Flynn, Ann Sheridan. Thomas Mitchell, Bruce Bennett, Tom D'Andrea, Barton MacLone, Monte Blue. California Firebrand F Western (Trucolor) Republic (G54) 63 Minutes Rel. Apr. 1, '48 An above-average western packed with riding, shooting, fisticuffs and everything that the devotees of cowboy films demand. In addition, it has pleasing Trucolor photography and a few prairie ballads which fail to slow up the action. Monte Hale, a husky young hero, and Adrian Booth, the capable and extremely attractive heroine, have been teamed in several Republic westerns and should be a draw with the younger fans, girls as well as boys. Paul Hurst supplies a few laughs as an old-timer and Sarah Edwards contributes a rich character bit. Learning that his uncle had beeri killed by the lawless element in a small western community, Hale swears to avenge him. He im, personates an outlaw summoned to the town by its mayor and thus gets the inside of the gang's plans. Hale exposes the crooked mayor. Directed by Philip Ford. Monte Hale, Adrian Booth. Paul Hurst, Tristram Coffin, Alice Tyrrell, LeRoy Mason, Sarah Edwards, Foy Willing. 928 BOXOFFICE Jackie Cooper. Jackie Coogan, Ralph Sanford. Curt Bois, Renee Godfrey. William Dambrosi. Claire DuBrey. I Wouldn't Be in Your Shoes p Mystery Monogram (4716) 71 Minutes Rel. May 23, '48 Inasmuch as the picture is virtually free of them, perhaps the reviewer might be permitted one little cliche by observing that a sleeper if ever there was one. A cleverly con trived, tight-at-all-seams murder mystery, its entertainment values greatly transcend its budgetary specifications and general averages in the exhibition field at which it is aimed. Inconceivable is the double bill to which it cannot add luster —and in many such bookings it undoubtedly will filch the kudos from the top-spot picture. Entrusted to competent , actors and an understanding director, the sterling qualities ol the screenplay ore milked of every drop of their inherent excitement, suspense and fast tempo. Employing the flashback technique, the story opens in the death house and reveals how an innocent man got there, with the climax exposing the true slayer. Directed by William Nigh. Don Castle, Elyse Knox, Regis Toomey, Charles D. Brown, Rory Mallinson, Bill Kennedy. Roy Dolciome. May 8, 1948 00^7