The Film Daily (1942)

TO! DAILY Thursday, May 7, 194 V V R€VI€UJS Of THE MW flLHIS > £} Syncopation RKO 88 Mins. HISTORY OF SWING SHOULD SCORE WITH JAZZ LOVERS; HAS B. 0. POSSIBILITIES BUT LACKS ORIGINALITY. William Dieterle is evidently a stickler for details and realism. He starts the saga of jazz with a few shots of African slaves being rounded up for shipment and subsequent sale on the block. This is digging down pretty deep to get at the source of the concoctions offered. Theme of the film is the vicissitudes suffered by those who cast their lot in the musical world but the story itself is on the dull side and could have been cut rather generously. The point brought out is merely that once a great name is established in the musical world it lives on eternally. But it is a heck of a long time unfolding. Adolphe Menjou, portraying a typical New Orleans gentleman at the turn of the century, makes a dramatic speech which is supposed to set the mood and instill an appreciation of what the city represented at the time. There is a Negro church meeting, a couple of good numbers by the Hall Johnson Choir and the introduction to a Negro boy who has the spark of talent — a sense of music which cannot be taught. When Menjou and his daughter, Peggy Mclntyre, move to Chicago their Negro servant, Jessie Grayson, mother of this boy, leaves him behind so that he may continue his development under the tutelage of a band leader. The scene then shifts to 1916. Menjou's daughter is grown up — Bonita Granville takes the part — and she meets Jackie Cooper, leader of a little swing group which has its ups and downs. She eventually marries him but they separate when he sacrifices his talent for a good job with a sweet music outfit. Todd Duncan, the Negro boy, makes a success here and there and figures in the story in a vague way. His character is interesting and should have been played up considerably. There are many complications and a series of events which don't amount to much, but through Miss Granville's faith and confidence in his ability and her knowledge of music, Cooper finally makes the grade and there is a big scene devoted to his opening night in New York, with a song thrown in by Connee Boswell. Incidentally, it is a darn good song, entitled "Falling Star." The struggle of up and coming musicians is a little stale but possibly those of the older generation will find food for fond reminiscences in this pic, and the kids should certainly go for the grand finale which includes the All American Band with their favorite orchestra leaders pooling talents. There is some excellent photography but the direction could have been stepped up. Bonita Granville is very good and really holds the picture together with her fine performance. Cooper is also to be commended on his work. Todd Duncan, Jessie Grayson, George Bancroft and Adolphe Menjou have all contributed generously. CAST: Adolphe Menjou, Jackie Cooper, Bonita Granville, George Bancroft, Ted North, Todd Duncan, Connee Boswell, Frank Jenks, Jessie Grayson, Mona Barrie, "Dr. Broadway" with Macdonald Carey, Jean Phillips Paramount 67 Mins. MELODRAMA PACKS EXCITEMENT AND SUSPENSE TO PUT IT OVER AT THE BOXOFFICE. Aside from the merits of "Dr. Broadway" as film entertainment, the primary interest here is two members of the cast only recently risen to attention as screen performers, Macdonald Carey and Jean Phillips. The former, new to the screen, was Gertrude Lawrence's leading man in the stage's "Lady in the Dark." Featured in a lesser role in Paramount's "Take a Letter, Darling," he offers further evidence in "Dr. Broadway" of his splendid acting talents. Miss Phillips amazes with a startling resemblance to Ginger Rogers first noticed in Paramount's "Night in New Orleans," in which she played a small role. Carey and Miss Phillips should prove a considerable attraction in "Dr. Broadway," a White Way melodrama packed with excitement and suspense and produced astutely by Sol C. Siegel. The story, smartly put together by Art Arthur from a yarn by Borden Chase, has Carey, a doc with a Broadway following, under suspicion in the murder of a former convict (Edward Ciannelli) who entrusted him with a large sum of money to be turned over to the man's long-lost daughter, whose whereabouts are unknown. In his search for the girl, Carey gets himself involved not only with the law but with a group of gangsters headed by J. Carrol Naish, who wants the dough for himself. Miss Phillips works with Carey in landing Naish in the hoosegow as the murderer. The two get themselves into some tough squeezes in their sleuthing collaboration. Anton Mann's direction emphasizes speed and action, not overlooking the chance of a laugh here and there. Carey and Miss Phillips get first-rate support from Naish, Ciannelli, Richard Lane, Jona Woodbury, Warren Hymer and the others. CAST: Macdonald Carey, Jean Phillips, J. Carrol Naish, Edward Ciannelli, Richard Lane, Joan Woodbury, Warren Hymer, Frank Bruno, Sidney Melton, William Haade, Olin Howland, Abe Dinovitch, Phil Arnold, Mary Gordon, John Kelly, Francis Sayles. CREDITS: Producer, Sol C. Siegel; Associate Producer, E. D. Leshin; Director, Anton Mann; Story, Borden Chase; Screenplay, Art Arthur; Film Editor, Arthur Schmidt; Art Directors, Hans Dreier, Earl Hedrick; Cameraman, Theodor Sparkuhl. DIRECTION, Good. PHOTOGRAPHY, Good. Lindy Wade, Peggy Mclntyre, All American Dance Band, Hall Johnson Choir. CREDITS: Producer, William Dieterle; Associate Producer, Charles L. Glett; Director, William Dieterle; Assistant, Dewey Starkey; Author, Valentine Davies; Screenplay, Philip Yordan and Frank Cavett; Art Directors, Albert S. D'Agostino, Al Herman; Musical Director, Leith Stevens; Vocal Direction, Hall Johnson; Photography, J. Roy Hunt; Dialogue, Peter Berneis; Montage, Douglas Travers; Recorded by, Richard Van Hessen, James G. Stewart; Sets, Darrell Silvera; Costumes, Edward Stevenson; Film Editor, John Sturges. DIRECTION, Fair. PHOTOGRAPHY, Excellent. "Beyond the Blue Horizon" with Dorothy Lamour, Richard Denning, Jack Haley Paramount 76 Mins. JUNGLE FANTASY SUFFERS FROM UNIMAGINATIVE STORY BUT KIDS MAY GO FOR IT. Here's Dorothy Lamour once more against a jungle setting, and this time the jungle's in opulent Technicolor. But when you've said that — and mentioned the comic capers of Jack Haley — you've about exhausted the b.o. attributes of "Beyond the Blue Horizon." The story is unimaginative, and in the instance of fantasy, as this is, that is a K. 0. blow. Yarn and script handed Alfred Santell obviously were too much of a handicap to overcome. Producer Monta Bell did the production honors lavishly. But on the basis of plot, it's, the kids who will prove to be the best audience. Dorothy Lamour is a jungle waif. A lot of good celluloid is exhausted on her search for papers which will prove her claim that she is the lost daughter of a moneybags who has died leaving her a jolly fortune. In the party assisting her are Richard Denning, Haley, Walter Abel, Helen Gilbert. Denning is himself a child of the jungle. Before it is all over love has bloomed in beautiful Technicolor for them. A film like this wouldn't be complete without a fat helping of black villainy. The native guides fill this need nicely, although their dirty work rouses laughter in the wrong places. With such material to work with, it is not surprising that the cast sags. The authors must have been mentally resting when they wrote this opus. CAST: Dorothy Lamour, Richard Denning, Jack Haley, Walter Abel, Helen Gilbert, Patricia Morison, Frances Gifford, Elizabeth Patterson, Abner Biberman, Ann Todd, Edward Fielding, Charles Stevens, Ann Doran, Charles Cane, Frank Reicher, Gerald Oliver Smith, Inez Palange. CREDITS: Associate Producer, Monta Bell; Director, Alfred Santell; Story, E. Lloyd Sheldon, Jack DeWitt; Screenplay, Frank Butler; Film Editor, Doane Harrison; Art Directors, Hans Dreier, Earl Hedick; Color Cameraman, Charles Boyle; Cameraman, William Mellor. DIRECTION, Handicapped. PHOTOGRAPHY, Excellent. Gov't Steps Up Drive To Corral Cameramen (Continued from Page 1) to corral film cameramen for both combatant and non-combatant duties. The International Photographers of the Motion Picture Industries, Local 644, IATSE, reported that it has been receiving a flood of requests from the Government as to the names of cameramen available for service with the armed forces and in Washington. Most of the requests have come from the Signal Corps, Air Corps and the office of the Co-ordinator of Information, it was said. Similar requests are understood to have been received by Local 659, Hollywood. "Sweater Girl" with Eddie Bracken, June Preisser, Betty Jane Rhodes Paramount 77 Min MELODRAMA IN COLLEGE SETTIN HAS SPECIAL APPEAL FOR YOUNGI FILM-GOERS. "Sweater Girl" is a satisfactory^^ melodrama which should prove espfe jj»." attractive to young people since it de; chiefly with adolescents in a college settin The film is lightened with many laugl thanks primarily to the performance of Edd Bracken as a young collegiate turned sleul While the melodramatics of the pictu are on the subdued side, "Sweater Gii succeeds surprisingly well in maintaini: suspense and interest to the end. Mu credit for this goes to Eve Greene, w has concocted an effective screenplay frc an original by Beulah Marie Dix and Bertr Millhauser. Also of great assistance the direction of William Clemens, w keeps the action moving evenly and f< and who at all times allows the playe especially the younger ones, to remain tr to type. The story places a number of perso under suspicion in the murder of seve students on the college grounds. Amo them is a professor (Nils Asther) and daughter (Betty Jane Rhodes). Things lo bad for them until the revelation that t professor's wife (Frieda Inescourt), f most innocent-looking person imaginable the culprit. It seems her son died of he; failure during a college hazing ceremo conducted by the murdered boys. Brack( the third of the hazing committee, escap her vengeance by the proverbial hair. Bracken gives splendid account of hi: self. Others who are outstanding are t Preisser, Rhodes, and Inescourt gals, Asth : William Henry, Phillip Terry, Charles Brown. Sol C. Siegel did a commendable prod:. tion job with the assistance of Joseph S trom. John Mescall handled the earner CAST: Eddie Bracken, June Preiss Phillip Terry, Betty Jane Rhodes, Frie Inescourt, Nils Asther, William Henry, El Neal, Kenneth Howell, Johnny Johnsti William Cabanne, Charles D. Brown, Minei Urecal, Robert Cherry, Eddy Chandl George Offerman, Jr., Tommy Hicks, —1 1 : Dean, Leonard Sues. CREDITS: Producer, Sol C. Siegel; / sociate Producer, Joseph Sistrom; DirectWilliam Clemens; Story, Beulah Marie D< Bertram Millhauser; Screenplay, Eve Greer Additional Dialogue, Robert Blees; Fi Editor, Alma Macrorie; Art Directors, He Dreier, Haldane Douglas; Cameraman, Jo Mescall. DIRECTION, Good. PHOTOGRAPH Good. N. Y. SPG and UA Sign Contract identical with those co summated Tuesday by the Sere Publicists Guild of New York a i six majors was signed yesterday t tween the union and UA. Jose; Gould, SPG president, in a stateme said "the rights and privileges of union contract" exist today "only duties, as great new responsibilities