Motion Picture Herald (Mar-Apr 1939)

64 MOTION PICTURE HERALD April 8 , 1939 (Continued from page 61) staging, lighting, scenic and costume effects and as strange to the modern mind as would have been a radio message to the mind of one who was reading Whittier's "Snowbound" the winter it was written, visioning, the while, the facilities of 1939-1940. But the picture captivated the local audience. So did the picture of Nelson Eddy, usually her companion star, in "Let Freedom Ring." Jeanette MacDonald, Lew Ayres, Frank Morgan, Ian Hunter, William Gargan, Al Shean, Katherine Alexander, Wally Vernon and Paul Hurst are pretty good names. The title is pretty good, too. Mr. Leonard directed "The Great Ziegfeld." The picture has modern and "Madame Butterfly" music. It has something that only those who go to European-produced pictures see in the line of effects. Previewed at the Village Theatre, Westwood, Cal. The reaction of a typical Hollywood audience was typically Hollywoodian. — G. M. Produced and distributed by MGM. Directed and produced by Robert Z. Leonard. Screen play by Charles Lederer. Original story by Lew Lipton, John Taintor Foote and Hans Kraly. Harold F. Kress, film editor. Musical direction by Herbert Stothart. Finale by Busby Berkeley. Photographed by Oliver T. Marsh. P. C. A. Certificate No. 5105. Running time, 115 minutes (to be cut) when seen here. Release date, April 7, 1939. General audience classification. CAST Mary Hale Jeanette MacDonald James Geoffrey Seymour Lew Ayres Larry Bryant Ian Hunter Cornelius ColHer, Jr Frank Morgan Joey, the Jinx Wally Vernon Judy Tyrrell Rita Johnson Pearl Virginia Grey Bill William Gargan Harriet Ingalls Katherine Alexander Herman Al Shean Mrs. Olsen Esther Dale Gene Franklin Panghorn Everett E. AUyn Warren Reynolds Paul Hurst Mr. Fellowes Frank Orth Mrs. Fellowes Esther Howard "Squeaker" Leon Belasco Kitty, the maid Kitty McHugh Singer Kenneth Stevens East Side of Heaven (Universal) Bing Crosby Sings Again All a showman need do to collect the price of an admission ticket from your reporter and several million other Americans is to announce that he has on display a film in which Bing Crosby sings some typically Bing Crosby songs in the Bing Crosby manner. In this instance the songs are four in number and all are of hit parade quality. They are by Johnny Burke and James V. Monaco, who now take their place among the top ranking song writing teams of the era. Two of these songs are sung by Crosby to an infant of some ten months whom they lull to sleep while the lens is full upon him. The infant's name is Sandy, and he pours into the picture such a measure of baby appeal as the screen hasn't dished up in many years. The songs Bing sings to the baby are no mere lullabies, nor are they sung as such ; they are characteristic Crosby songs, delivered in slow Swing, and it will be a dull audience that doesn't discern in Bing's mastery of the situation the fruits of long experience with the four Crosby sprouts at home. These songs and the numerous sequences with the baby, whose babblings had the preview audience in stitches, are the strong points of the picture and strong enough to carry any film. What goes on between these strong points is less distinguished. Joan Blondell, Mischa Auer, Irene Hervey, C. Aubrey Smith and Robert Kent, to name those of billing value, are affiliated with Bing in the telling of a sometimes humorous, sometimes dull, story about a crooning telegraph messenger, later taxi driver, who tries to be helpful to a young woman married to a play boy whose wealthy father wishes she weren't. There's a radio commentator in it, too, and some of the situations are amusing, others ordinary, some of the gags effective, particularly Auer's, some of them static. Direction by David Butler, who is also cred ited with the story in collaboration with Herbert Polesie, is up to his standard. William Conselman's screen play spots the musical numbers advantageously. Art director Jack Otterson's settings, which include a wide variety of backgrounds, are of a kind to add much to the polish of the production. Orchestrations by John Scott Trotter, of Bing's radio hour, and Frank Skinner give the Crosby songs that solid lilt that listeners around the world can't seem to get enough of. Previewed at the Alexander theatre, Glendale. Cal., where the song numbers and the babv sequences elicited hearty response from an audience made up in about equal parts of profession and public— W. R. W. Di/rector, David Butle(r. Production associate, Herbert Polesie. Original screen story, David Butler. Herbert Polesie. Screen play, William Conselman. Cameraman, George Robinson, ASC. Art director, Jack Otterson. Costumer, Vera West. Film editor, Irene Morra. Sound recorder, Charles Carroll. Songs, Johnny Burke, James Monaco. Assistant director, Joe McDonough. P. C. A. Certificate No. 5204. Release date, April 7, 1939. Running time, 90 minutes (Hollywood showing). General audience classification. CAST Denny Martin Bing Crosby Mary Wilson Joan Blondell Nicky Mischa Auer Mona Barrett Irene Hervey Claudius DeWolf Jerome Cowan Cyrus Barrett, Jr Robert Kent Cyrus Barrett, Sr C. Aubrey Smith Baby Barrett Sandy Henville Streets of New York ( Monogram ) Melodrama Here is a show that any exhibitor can offer his patrons with confidence that it will satisfy almost everyone, adults and youngsters. Monogram in the past year has turned out several outstanding attractions that had both entertainment and showmanship value. Not only is "Streets of New York" the best Monogram offering of the year, but it compares favorably with the leading pictures turned out by any studio. Considered as a whole the picture is a combination of those qualities, a sound and believable story, good production detail, which together create the desired illusion and produce the desired effects, with the aid of capable acting and intelligent direction. Should by any chance an independently produced picture be nominated for any of the Academy awards, "Streets of New York" would have an odds-on chance to carry off one or two honors. For the important matter of name value the picture makes available Jackie Cooper and little Martin Spellman, who actually carry the story, and in the work of George Cleveland audiences will see one of the finest etched character bits that they have witnessed in years. The story's simplicity is the element that gives the production its power punch and appeal. Newsboy "Jimmy" is ambitious to become a lawyer. While studying, he organizes his sheet hustlers legitimately and make a particular pet of crippled "Gimpy," meanwhile tolerating irascible "Pop" nicely. Looked upon with favor by "Judge Carroll," after he has defended his own group as well as some musclers — in headed by "Spike," "Jimmy's" handicap is his elder brother "Tap," a racketeer. The Christmas party which the "Judge" gives Jimmy and his pals is a warmly tender event. But immediately the story turns melodramatic again when, as "Spike's" mob raids "Jimmy's" stand, "Tap" is being hunted by police as a murderer. While melodrama is the fundamental quality of the picture, it is not without moments of rare comedy and bits of human interest. As written into the screen play by Robert D. Andrews, directed by William Nigh, produced by William T. Lackey and played by a skillful cast, the show stacks up as one that any exhibitor may include on his program. Previewed in the Monogram studio proiection room in Hollywood. — G.M. Produced and distributed by Monogram. Directed by William Nigh and photographed by Harry Neuman. William T. Lackey, supervisor. From an original screen play by Robert Andrews. Sound by Karl Zint. Edited by Russell Schoengarth. Running time, when seen in Hollywood, 73 minutes. General audience classification. P. C. A. Certificate No. 5237 Release date, April IS, 1939. CAST hmmy Jackie Cooper G'mpy Martin Spellman Jiggsy Sidney Miller Flatfoot Buddy Pepper Beansy Bobby Stone Spike David I>urand Howie Robert Tucker Sammy William Tucker S°P J9.°'^ - George Cleveland Roger Wilson Robert Emmett Keane Burke Robert Emmett O'Connor Tap Keenan Dick Purcell Judge Carroll George Irving Anne Marjorie Reynolds One Armed Bandit (Universal) Lantz Cartune A cartoon moral on the lesson that gambling never pays, especially when played at a slot machine, is joined with a "ten-twent'-thirt" melodrama of the Gay Nineties vintage to produce a pen and ink composition that should amuse most audiences. The heroine's father is addicted to the vice of jackpot playing and gambles away not only his relief check but the mortgage on the old homestead. The daughter, being psychic and knowing that all is not well with the pater, leaves her washboard to plead with the villain. Not content with having won the family's house and home, the nasty man makes some mean gestures at the virtuous gal. But all turns out well in the end when the young lady's muscular boy friend bouncingly trounces the cad, saves pappy's dough, retrieves the mortgage and wins the daughter's hand. There is one shot in the cartoon rough house that will bring a good laugh to showman and patron alike. While the hero and villain are swapping punches, two odd little figures march across the scene bearing a banner inscribed with the sentiment that "motion pictures are your best entertainment." — Running time, seven minutes. Artie Shaw and His Orchestra (Vitaphone) Melody Master Partisans of the claims of Artie Shaw for the King of Swing title will clap their hands and stamp their feet in approval over this recital by their favorite, which is the newest number from jazz concert classification of the Melody Masters series. Maestro Shaw and his lads render such "hot stuff" numbers as "Begin the Beguine," current favorite in jam session circles ; "Let's Stop the Clock" ; "Non-Stop Flight," featuring Mr. Shaw's renowned clarinet, and a Russian ditty called "Ptoss-Tschai." Helen Forrest and Tony Pastor, not the original T.P., offer the vocal interludes. — Running time, 10 minutes. Duel Personalities (MGM) Our Gang Cutups A juvenile lesson on the fickleness of the feminine heart is offered in this page of Our Gang comic strip that may be more in the range of adult understanding and experience. The figures in the young triangle are Alfalfa, as the romantic with a yen for the chivalrous past ; Darla as the femme fatale, and Butch as the menace. Stimulated by the spell induced by a hynotist, Alfalfa challenges his rival to a contest of pistols for the hand of their prize. Revived from his state of false courage. Alfalfa arranges with Butch to fake the match and to allow Darla to choose the victim of her heart's <: desire. But, the young lady overhears the ar '} rangements and when the challengers are stretched out on the field of honor, true to the calling of her sex, chooses the arm of Waldo, a rich black horse in the sweepstake contest for the miss and her attention. Even though the material may be too advanced for the infant fans of Our Gang antics, their big brothers and sisters should find the amorous complications amusing. — Running time, 10 minutes.