Motion Picture Herald (Nov-Dec 1937)

42 MOTION PICTURE HERALD November 13, 1937 (Continued from page 39) difficult, but fresh, is the technique employing such information as the fact that "Second Honeymoon" is a Philip Wylie story (which means a very definite thing to a surprisingly large number of persons) that appeared in the Red Book (a publication widely read and a good deal more widely respected) and has been adapted to screen purposes by Kathryn Scola and Darrell Ware (his is a potent newsstand name in its own right), and directed by Walter Lang (a name director), under the effective, urbane and wholly appropriate auspices of associate producer Raymond Griffith (whose memorable performances in silent pictures were superlative demonstrations of light comedy in the fine). Fresh, likewise, is the "discovery" type of copy, available here in extraordinary degree in the case of Marjorie Weaver, up from bits to a secondary principal assignment in which she "steals" every scene she's in and is in enough to give the tops the jitters. There wouldn't be much exploitation capital in a synopsis of the story. It's about a divorced couple, the girl having remarried, who discover, in Miami, that they shouldn't have been divorced and, after a good deal of amusing but credible misunderstanding and comparing of notes, agree to restore, presumably with due process of law, their former estate. Stories about like that, in synopsis, have been popping up all year, as melodramas, comedies, murder mysteries and whatnot, but they're like it in synopsis only. This one's legitimate. The picture is timely (what with the Miami season coming up) and the treatment is modern (which is not to say sophisticated or subtle or off-color), and it deals with matters and motives everybody knows all about. Previewed at the Alexander theatre in Glendale, Cal., zvhere a plain American Saturdaynight audience enjoyed it to the last chuckle. — W. R. W. Produced and distributed by Twentieth Century Fox. Raymond Griffith, associate producer. Directed by Walter Lang. Assistant director, Gene Bryant. Story by Philip Wylie. Screen play by Kathryn Scola and Darrell Ware. Photographed by Ernest Palmer. P. C. A. Certificate No. 3752. Release date, Nov. 19, 1937. Running time, 77 minutes. General audience classification. CAST Raoul McLiesh Tyrone Power Vicky Loretta Young Leo MacTavish Stuart Erwin Marcia Claire Trevor Joy Marjorie Weaver Bob Benton Lyle Talbot Herbie J. Edward Bromberg Dennis Huggins Paul Hurst Paula Jayne Regan Andy Hal K. Dawson Elsie Mary Treen Thrill of a Lifetime (Paramount) Musical Comedy It might be an idea to drop back a few years to the once standard vaudeville advertising technique in exploitation of this musical comedy, in which a number of persons familiar to footlights do their standard stage routine for the camera. Such a placarding of the talent could include : Ben Blue The Yacht Club Boys The Canovas Tommy Wonder Dorothy Lamour Betty Grable Leif Erikson Eleanore Whitney Johnny Downs Of course the last five are not primarily stage names, if that would make any difference, but the effect of such billing would be to notify the customers that individual performances are underscored in Fanchon's production of a story by Seena Owen, Grant Garrett and Paul Gerard Smith which has about it much of the "Fanchon and Marco Idea" flavor. It is directed by George Archainbaud with much the manner he might be expected to employ if it were for stage instead of screen, and the result is entertainment of the kind usually seen between tormentors, if anybody remembers what they are. The story is about a playwright who owns a summer resort and stages his play in that setting with the aid of guests who happen to be unemployed professionals, all this resulting, after copious confusion, in a happy ending. But the story never is treated more seriously than as a framework on which to hand solo, duet, trio, quartet and ensemble musical numbers and the comedy supplied principally by Ben Blue, the Yacht Club Boys, Judy Canova and Franklin Pangborn in about that order. Frederick Hollander and Sam Coslow wrote three of the songs, with Carmen Lombardo collaborating on the title number, and the Yacht Club Boys are credited with two. Victor Young and Arthur Franklin arranged the music. Boris Morros provided musical direction and LeRoy Prinz and Carlos Romero staged the dances. Previewed at the Paramount theatre, Los Angeles, a presentation house featuring Fanchon and Marco stage productions, where it seemed to please generally. — W.'R. W. Produced by Fanchon. Distributed by Paramount. Directed by George Archainbaud. Assistant director, Joseph Lefert. Story by Seena Owen and Grant Garrett. Screen play by the authors and Paul Gerard Smith. Music by Frederick Hollander, Sam Coslow, Carmen Lombardo and the Yacht Club Boys. Musical direction, Borros Morros. Arrangements, Victor Young and Arthur Franklin. Dances staged by LeRoy Printz and Carlos Romero. Film editor, Doane Harrison. Photographed by William C. Nellor. P. C. A. Certificate No. 3708. Release date, December 3, 1937. Running time, when seen in Los Angeles, 75 minutes. General audience classification. CAST Jimmy Charlie I The Yacht Club Boys Kelly Red J Judy Judy Canova Skipper Ben Blue Betty Jane Eleanore Whitney Stanley Johnny Downs Gwen Betty Grable Howdy Nelson Leif Erikson Don Larry Crabbe Zeke Canova Himself Anne Canova Herself Billy Tommy Wonder Mr. Williams Franklin Pangborn The Fanchonettes Specialty by Dorothy Lamour Manhattan? Merry-Go-Round (Republic) Musical This is Republic's annual contribution to filmusical pictures, and is one of which, according to preview reaction, much can be expected at the box office. A novel story, "Manhattan Merry-Go-Round," apparently was produced with an eye toward satisfying almost everybody by virtue of having in its cast various players of more or less established standing and running the range of music from grand opera to hi-de-ho. In the heterogeneous list of actors are Phil Regan, Leo Carrillo, Ann Dvorak, Tamara Geva, James Gleason, Henry Armetta, Luis Alberni, Max Terhune, Smiley Burnette and in special musical numbers, Gene Autry in his cowboy regalia, Ted Lewis and his orchestra, Cab Calloway and his Cotton Club outfit, Kay Thompson and her singing ensemble, Jack Jenny and his orchestra, The Lathrops and Rosalean and Seville. Joe DiMaggio, star batter for the Yankees, appears in a bit plus an insert of newsreel shots of his home run in the World Series. By proper exploitation of this mass of more or less popular idols, marshaled expertly by Harry Sauber, veteran film writer who makes his debut as a producer with this picture as well as writing the original screenplay, exhibitors may obtain capacity results. Each showman knows the comparative drawing strength in his community of the various personalities. Once inside, the patron hardly will be disappointed by the film, unless, perhaps, by the fact that some of his idols may not have been given more time on the screen. Henry Armetta and Luis Alberni, for instance, whose appearances on the screen merely in a trailer bring applause in some quarters, are relegated to bits. Autry has the most favored spot in the finale, but is seen in only one musical number, "Round-Up Time in Reno," and in a small sequence. The framework of the story is a well moulded concoction giving plausible excuses for presentation of the array of talent. "Gordoni," a more or less racketeering money lender, takes over a musical recording company when it fails because of inability to obtain name performers. He and his henchmen, headed by "Danny the Duck," bring in the name performers by force and make them do the platters. "Gordoni" is confronted by his mother, who berates him because he does not make classical records. So "Gordoni" forces "Jerry Hart," who is in love with "Ann Rogers," the plant's receptionist, to woo "Charlizzini," the opera star, into making platters. He does, but is reunited with "Ann," while "Gordoni" who is "a man of very few words and when he talks, he says a whole lots," in his own description, falls in love with the opera singer. Previewed at the Alexander theatre, Glendale, Cal., where the audience laughed heartily and applauded the unreeling throughout. Lobby comments were to the effect that this ranks high as a musical. — Vance King. Produced and distributed by Republic. Associate producer, Harry Sauber. Directed by Charles F. Riesner. Original screen play by Harry Sauberg. Based on musical revue of same name by Frank Hummert. Musical sequences supervised by Harry Grey. Photographed by Jack Marta. Supervising editor, Murray Seldeen. Film editor, Ernest Nims. Assistant director, George Sherman. Musical director, Alberto Colombo. Art director, John Victor Mackay. Music and lyrics by Jack Lawrence, Peter Tinturin, Gene Autry, Jack Owen, Jerome Jerome, Richard Byron and Walter Kent. P. C. A. Certificate No. 3734. Release date not set. Running time, when seen in Glendale, 78 minutes. General audience classification. CAST Jerry Hart Phil Regan Gordoni Leo Carrillo Ann Rogers Ann Dvorak Charlizzini Tamara Geva Danny the Duck James Gleason Ted Lewis and His Orchestra Themselves Cab Calloway and His Cotton Club Orchestra Themselves Kay Thompson and Her Ensemble Themselves Joe DiMaggio Joe DiMaggio Spadoni Henry Armetta Martinetti Luis Alberni Max Terhune Max Terhune Frog Smiley Burnette Louis Prima and His Band Themselves J. Henry Thorne Selmer Jackson McMurray Eddie Kane Jonathan Moroni Olsen Momma Gordoni Nellie V. Nichols Michael Angelo Gennaro Curci Speed Sam Finn Blackie Al Herman Baldy Robert E. Perry Eddie Jack Adair Jack Jenny and His Orchestra Themselves The Lathrops Themselves Rosalean and Seville Themselves Dorothy Thelma Wunder and Gene Autry Gene Autry Swing It Professor ( Ambassador -Conn ) Comedy, Romance, Music Name value in this picture is represented by Pinky Tomlin, Paula Stone, Milburn Stone, Mary Kornman, Gordon Elliott, Pat Gleason and a varied assortment of specialty entertainers. The story is comedy romance, which blossoms under the handicap of many complications. Although it is embellished with quite a bit of music, presented mainly by Tomlin, the primary purpose of the piece is to provoke laughter. Everything that is said or done, even when it is wrapped up in melodrama, is pointed to accentuate that element. Thus while the production makes no gestures towards pretentiousness it nevertheless is enjoyable. The sophisticates may give it little consideration but persons who go to shows simply to have a good time undoubtedly will find much in it to engage their attention. The plot, which has a super modern minded college professor as its central figure, is romance