Independent Exhibitors Film Bulletin (1939)

6 %dependenf exhibitors FILM BULLETIN 'LITTLE PRINCESS' SURE-F Rates • • • where Shirley clicks 20th Century-Fox 91 Minutes Shirley Temple, Richard Greene, Anita Louise, Ian Hunter, Mary Nash, Cesar Romero, Arthur Treacher, Sybil Jason, Miles Mander, E. E. Clive, Beryl Mercer, Clyde Cook, Marcia Mae Jones, Kenneth Hunter, Eily Malyon. Directed by Walter Lang With Shirley Temple attractively photographed in Technicolor and a story which lends itself perfectly to the elaborate production given it by 20th-Fox, this should click handsomely in locations where Shirley is still the ace boxoffice attraction. As entertainment it will delight all youngsters and as many of their elders who are partial to the sentimental classic from which it has been adapted. However, for those who are not confirmed Temple fans, LITTLE PRINCESS offers nothing to make them *E FOR TEMPLE FANS join her legions. Despite Darryl Zanuck's "personally signed statement" in the ads, this is not much different, except for the Technicolor, from a dozen prior Temple vehicles. It is all sweetness (quite stickily so) and awfully obvious. Everybody knows from the start that Shirley's dad eventually will turn up to plague those who turned against her when he disappeared. For all our crabbing, Shirley is still a charming and talented child — and LITTLE PRINCESS is good Temple stuff. The story takes place in the '90s. Shirley is placed in an exclusive London school when her father departs for the Boer War in Africa. Because of her fine clothes and regal bearing, she is dubbed "Little Princess" by the other girls until war reports list her father among the missing. The cruel schoolmistress sends Shirley to the kitchen to work for her board and forbids her to search for her parent among the wounded in London hospitals. In a heart rending sequence, Shirley runs away, has an unexpected encounter with Queen Victoria and eventually finds her shell-shocked dad. The Victoria episode is a highlight and has been superbly handled by the star and Beryl Mercer, who contributes a cameo portrait of the aged ruler. Another standout is Sybil Jason's appealing performance as a little Cockney slavey. Mary Nash has an acting field day as the hateful schoolmistress and Cesar Romero is excellent as a kindly Hindu servant. Arthur Treacher supplies some laugh moments in his music hall dance number with Shirley. Richard Greene and Anita Louise pleasantly carry the romantic interest. Walter Lang's direction is quite competent. AD TIPS: Spread the news that Shirley Temple is seen for the first time in Technicolor. Play up the currently-popular Richard Greene to attract the feminine fans. LEYENDECKER 'THREE SMART GIRLS GROW UP' ANOTHER DURBIN TRIUMPH Rates * * * plus generally Universal 87 Minutes Deanna Durbin, Nan Grey, Helen Parrish, Charles Winninger, Robert Cummings, William Lundigan, Nella Walker, Ernest Cossart, Thurston Halt. Directed by Henry Koster. A MUST for every picture-goer's list, THREE SMART GIRLS GROW UP adds a fifth star to Deanna Durbin's unbroken record of screen successes. The happy combination of Producer Joe Pasternak, Director Henry Koster and Deanna has given the screen another delightfully refreshing and human film. Deanna's soprano voice has matured until it now has a warmth and richness which is superbly evidenced in her matchless rendition of "Last Rose of Summer." As an actress she retains all her irresistible charm and naturalness. Although the plot is a mere thread of story, the situations built around it are completely captivating and charming. Credit Bruce Manning and Felix Jackson for the sparkling original screenplay. If we may para phrase a rather defunct slogan: "Deanna Durbin Pictures Are Your Best Entertainment!" This will get big grosses everywhere except action houses. We are re-introduced to the three girls at Deanna's first grown-up party, a dance at which Nan impulsively announces her engage ment to a boy who is secretly loved by Helen. Discovering the reason for her sister's unhappiness, Deanna sets about finding a "tall, dark and handsome" boy to capture Helen's interest. Her plan fails when the youth also falls in love with Nan despite the little schemer's attempts to couple him with Helen. At Deanna's request, their absent-minded father unexpectedly takes time off from business affairs to straighten out matters to everyone's satisfaction. Although Deanna seems on the verge of romance during the course of the picture, the finale wisely leaves her happy in the realization that she has been instrumental in arranging her sisters' love affairs. Nan Grey and Helen Parrish show to advantage as the sisters. Charles Winninger recreates the role of the father, capturing many laughs and playing his one dramatic scene like the fine trouper that he is. Robert Cummings has a winning personality and Nella Walker and the others are perfectly cast. Deanna's musical interludes are each a part of the story. LEYENDECKER 'THE OKLAHOMA KID' CAGNEY GIVES LIFE TO WESTERN Rat rs • • • for action houses; less elsewhere his role, lending novelty and punch to a yarn that isn't much different from the average Buck Jones vehicle. There is none of the grand scale tone like "Jesse James" had. It's lust riding and shooting and revenge for foul deeds in routine style. THE KID will be a field day for action houses. Even in better class spots the presence of Cagney, Bogart and a good supporting cast should get it above average grosses. The story takes place at the time when Oklahoma was opened for homesteading. Cagney is the blacksheep, outlaw son of Hugh Southern and brother of Harvey Stephens. The latter stake out a claim on the site of Tulsa, but find that Humphrey Bogart and his tough i More Reviews on Page 20) Warner Bros. 85 Minutes James Cagney, Humphrey Bogart, Rosemary Lane, Donald Crisp, Harvey Stephens, Hugh Southern, Charles Middleton, Edward Pawley, Ward Bond, Lew Harvey, Trevor Bardette, John Miljan. Directed by Lloyd Bacon All in all, no less than five writers had their fingers in THE OKLAHOMA KID— and the result is an ordinary horse opera. Yet it isn't ordinary, because dynamic James Cagney turns out to be one of the most exciting western heroes we've ever seen. In his typical, tough Tenth Avenue manner, Cagney swaggers thru gang had jumped the lines and staked a prior claim. Southern and Stephens make a deal with Bogart, giving him control of saloons and gambling joints. When Southern later tries to drive Bogart out of town, the latter has him lynched. Cagney offers his aid to the lawabiding leaders of the town and, one by one, wipes out Bogart's gang. The governor pardons Cagney and he is free to marry Rosemary Lane. Bogart makes a good menace. Rosemary Lane is weak as the heroine. Donald Crisp, Harvey Stephens and Edward Pawley provide strong support. Lloyd Bacon's direction is routine, although fast paced. BARTON