The Exhibitor (Jun-Oct 1939)

Sen /section 3 tiers against land grabbers. Making his escape with McLaglen and other convicts, he heads the band, which operates from a mountain hideout. They join the settlers, righting their wrongs, mak¬ ing things generally unpleasant for the land grab¬ bers to finally emerge victorious in the eyes of the government which has condemned them. Aherne is scheduled to be hanged but the settlers arrive in the nick of time to save him from the noose. There is plenty of rough and tumble ac¬ tion with lots of good comedy and light romantic episodes. Audience reaction was good. Estimate: Top-bracket attraction ; a natural for the action fans. UNIVERSAL Family The House of Fear mystery Drama 66 M. William Gargan, Irene Hervey, Alan Dinehart, Walter Woolf King, Dorothy Arnold, El Brendel, Harvey Stephens, Robert Coote, Jan Duggan, Tom Dugan, Ben Lewis, Stanley Hughes, Don Douglas, Raymond Parker. Directed by Joe May. If there were two prominent marquee names heading the cast, we wouldn’t hesitate about calling this a money-making whodunit. With a cast brimful of competent, but not well known, performers; directed along the lines of a Hitch¬ cock by Joe May; tingling with excitement, chills, mystery, suspense; allowing a few laughs to mingle with the shivers, here is a low budget affair to strengthen duals headed by weak “A” product. It can be featured, without fear, in smaller spots. Actor Don Douglas is mysteri¬ ously murdered, his body disappearing. "Ghosts" haunt the theatre in which he died, until detec¬ tive William Gargan takes over. Together with his wife, talented newcomer Dorothy Arnold, he pins the crime on Robert Coote, Tom Dugan. Ghosts, secret passages, eerie sounds, etc., all add tremendously to the effectiveness of the tale. Gargan, Hervey, Walter Woolf King, Harvey Stephens, Coote, Arnold stand out from the acting viewpoint, but credit for the success of the picture must go to megaphoner May. Estimate: Thrill-packed mystery; excellent dual support. WARNERS-FN Code of the Secret Service (374) Family Melodrama 5 8m. Ronald Reagan, Rosella Towne, Eddie Foy, Jr., Joseph King, Moroni Olsen, John Gallaudet, Dick Botiller, Edgar Edwards, Sol Gorss, Jack Mower, Stevan Darrell. Directed by Noel Smith. Those same kids who shriek with excitement during the Saturday matinee serials will eat up this fast-paced combination of western, detective, horror yarns. Without much point or plan on which to base a photoplay, this still manages to provide enough excitement to enliven the lower half of duallers. Secret operative Ronald Reagan, assistant Eddie Foy, Jr., are assigned to bring back some stolen treasury plates. Another opera¬ tive, John Gallaudet, is killed on the job. They trace their prey to Moroni Olsen’s hideout in Mexico’s interior. After imprisonments, slugfests, shooting, horseback chases, thrilling automobile jaunts, Reagan manages to get what he wants— the stolen treasury plate, Rosella Towne. Estimate: Action dualler. MISCELLANEOUS Code of the Cactus (Victory) Family Western 57m. Tim McCoy, Ben Corbett, Dorothy Short, Ted Adams, Alden Chase, Dave O’Brien, Forrest Taylor, Bob Terry, Slim Whittaker, Frank Wayne. Directed by Sam Newfield. Modern mechanized gangster methods are adopted in the gentle pastime of cattle rustling, but it makes no difference to "Lightning” Bill Carson, alias Miguel, and he re-establishes law and order in the wide-open space. And, of course, "Lightning” Bill would have to be Colonel Tim¬ othy J. F. McCoy, than which on the matter of fanning a barking six-shooter, moderne western dramas have no whicher. Working in top form (in the character of the Mexican that has dom¬ inated this series), McCoy joins the outlaws to seek the higher-up, who turns out to be Forrest Taylor, who had earlier underbid McCoy on a government beef contact. Ted Adams is the agent with whom McCoy does the business. A slight romantic thread is provided by Dorothy Short ( whose ranch in the center of the rustlers’ unrest) and Dave O’Brien (one of the hired help. Ben Corbett again adds the comedy touch as Magpie, McCoy’s long-time pal. Here is a top¬ rating western, in the McCoy manner, that should prove a response-getter in western houses. Estimate: Top-rating McCoy western. Tumbleweeds (Aator) Family Western 88m. William S. Hart, Barbara Bedford, Lucien Lit¬ tlefield, J. Gordon Russell, Richard R. Neill, Jack Murphy, Lillian Leighton, Gertrude Claire, George Marion, Capt. T. E. Duncan, James Gordon, Fred Gamble, Turner Savage, Monte Collins. Directed by King Baggot. Ever since today’s youngsters have been able to appreciate the thrills of modern cowboy films, they’ve more than likely had their elders put a damper on their enjoyment by saying: "Yeah, that croonin’ buckaroo’s okay, but there ain’t been a good cowboy show since William S. Hart called it quits.” Realizing that inevitable comparison, Astor dug up the 192 5 edition of United Artists’ "Tumbleweeds,” purported Hart’s best. They ar¬ ranged to compensate for the difference in photo¬ graphic speed; added an ear-pleasing musical ac¬ companiment, sound effects; treated the film so that it appears sepia; took Hart out of his re¬ tirement movingly to address the audience to a 10 -minute prologue. The story, briefly, is that of ranch foreman Hart, who finds himself out of a job when the government declares the Cherokee strip open to homesteaders. Romance, in the form of Barbara Bedford, makes him change his mind about joining the land-grabbers. After rascals plot, the romance is broken up, Hart is impris¬ oned, escapes from the posse, everything turns out for the best. Adults will want to see the film, those under 20 will want to see how good that Hart really is, compared to today’s Autrys, Rogers, Starretts, Randalls, McCoys, O’Briens, etc. Showmen have something here which can be ex¬ ploited for all its worth. In spite of the age of the film, it’s in good condition. Estimate: Revival which can get results if ex¬ ploited. FOREIGN The Challenge family Drama (Film Alliance) 77M Robert Douglas, Frank Birch, Geoffrey Wardwell, Moran Capiat, Luis Trenker, Mary Clare, Fred Groves, Joan Gardner, Cyril Smith, Babita Soren, Hugo Leyner, Lloyd Pearson, Luis Gerald. Directed by Milton Rosmer. This mountain-climbing thriller has a box office title, a good story, and scenes, scenery which, for dramatic intensity and power, beggar description. Freely adapted from history, it describes the first ascent, in 1865, of the 14,782 foot Swiss mountain, Matterhorn. Robert Doug¬ las, the British climber, and Louis Trenker, Ital¬ ian Alpine guide, become close friends when Trenker rescues Douglas, on the latter’s first attempt to scale the unconquered peak. Douglas promises Trenker that the next summer they will scale the mountain together. On Douglas’ re¬ turn, however, Cyril Smith, Italian mountain climber appointed by the government to climb the Matterhorn, has entered the field, tries to persuade Trenker to be his guide. Fred Groves, father of Trenker’s sweetheart, Joan Gardner, succeeds in sowing distrust between Trenker and Douglas, to ween Trenker to the Italian side. Douglas, about to begin ascent from Swiss side of the mountain, joins forces with several other Englishmen, begins a race with the Italian party, climbing from the Italian side of the peak. Two parties make the ascent from opposite sides. Sheer steeps, falling rocks and snow, all the hazards of the ascent are vividly photographed. There is a stirring scene when the English party reaches the summit first. Tragedy strikes climactic descent, when four of Douglas’ party fall thou¬ sands of feet to their death; Douglas returns to the village with only two guides. Douglas is presently accused ofhaving cut the rope hold¬ ing his ill-fated companions, in order to save him¬ self. He is vindicated by the court, but the villagers are about to take justice into their own hands, when Trenker climbs the mountain, finds the severed rope. In a last minute rescue, Tren¬ ker informed by his sweetheart that Douglas was not to blame for former misunderstanding, reveals to villagers that Douglas did not cut the rope. Film ends happily. Estimate: High rating importation. Escape from Yesterday (Hoifberg) Adult Drama 95m. Jean Gabin, Annabella, Robert le Wigan, Aimos, Pierre Renoir, Charles Granval, Margo Lion, Gas¬ ton Modot, Castro Blanco, Robert Ozanne, Vivianne Romance, Little Jacky. Directed by Julien Duvivier. Following a noticeable decline in the number of top quality Gallic films, the Hoffberg office comes up with this two or three-year-old Jean Gabin-Annabella starrer which should set a fast pace in art houses, provide an excellent second feature for theatres which ordinarily don’t ex¬ hibit French pictures. Directed by Julien Duvi¬ vier, who megged "The Great Waltz” for Metro, "Un Carnet de Bal,” “Poil de Carotte,” per¬ formed by a definitely superior cast, this is a worthy successor to "Grand Illusion.” Jean Gabin enlists with the Spanish foreign legion to escape the torture of being hunted for mur¬ der. He weds lovely native Annabella, but is still trailed by detective Robert le Vigan. The final scene, in which an entire battalion with the exception of le Vigan is wiped out, is a startling sequence. Gabin, who impressed so well in "Grand Illusion,” dominates again, with Pierre Renoir, Annabella, Robert le Vigan, Aimos com¬ ing in for more than their shares of thespian laurels. It’s a plea for peace based on the por¬ trayal of the stark brutality of war, shouldn’t be missed by anyone. Estimate: Infinitely superior French product. For Men Only Family Comedy Drama (Per Uomini Soli) 7Sm. (Esperia) Carlo Buti, Antonio Gandusio, Guido Riccioli, Paola Barbara, Fanny Marchio, Loris Gizzi, Pina Renzi, Riento. Directed by Guido Brignone. Forgetting about political themes, temporarily at least, Italy sends us the tuneful, witty show for domestic consumption. Although this wouldn’t do very well on the average American movie diet, exhibitors located in Italian sectors can rest as¬ sured they can make loads of friends by screen¬ ing this sly comedy. Its title, despite no connec¬ tion with the story, should go a long way in selling seats. Apparently inspired by the GarboStokowski real-life romance, this has Italy’s song sensation, Carlo Buti, enamoured with a visiting American cinemactress for publicity purposes. He’s got a gal of his own, but things turn out for the best. Estimate: Great show for Italian nabes. 313