Showmen's Trade Review (Apr-Jun 1939)

4 Kcralb NEW YORK CRAZV Sam Houston has been given a first-rate screen bioRrapliy in "Man of Conquest." Although tlip film is a product of Republic Pictures, which usually turns out "quickies." there is nothing slipshod about this Capitol offering. On the contrary, it is a handsome and remarkably faithful historical photoplay—the peer of any of the motion picture's recent researches into the burgeoning period of our West. With Richard Dix giving a solid and powerful portrayal of the title role, fine supporting characterizations and fast-paced direction, it is an instructive and vastly entertaining .sliow One of the greatest of our pioneer fighters and statesmen was not called crazy for nothing It is to the rvcrlasting credit of "Man of Conquest ' that it maltes no bones about Houston's frailties, but presents him t^itli all the contradictions of personality that make for a man rather than a mere figure. The film introduces him as lie is enlisting in Andrew Jack.son's army of squirrel hunters which beat the British at New Orleans, it resolutely documents the Houston carousing which broke up his first marriage and shows him torn between personal gtced for power and patriotism before his valiant defense of Texas which led to that state's incorporation in the Union. The narrative is inevitably sketchy, but it rings curiously true To a large extent this Is due to the fact that few o( the principals have been definitely typed. The players in "Man of Conquest" fit their roles persuasively, as they did In "Stagecoach." and the result is a film which really evokes the past, instead of using it as a springboard for the exploitation of personalities. When Houston goes on a four-month diunk after his wife leaves him, when he champions the Cherokee Iiidian nation, pits his wits and loyalties against those of Andrew Jackson, or changes from an exploiter of Texas to the avenger of Ihe Alamo, the human texture of 'he screen drama is not only rich in color and excitement, but It Is (highly convincing. Mr Div reclaims all of his past renown in his steady and many faceted portrayal of the Tennessee titan who made American expansion into the Southwest possible. He looks and acts the part of "a common man," searching restlessly for a place to stretch his soul in a country of rapidly shifting frontiers. He succeeds thereby in stamping the production with Its Individual character and making it cohesive. It is good to see him playing at the top of his form again. Edward Ellis is little short of triumphant as Andrew Jackson, Gail Patrick is definitely acceptable as Margaret Lea, who is a romantic foil for Houston in the latter portions of the photoplay, and Robert Barrat gives a vivid impersonation of Davey Crockett of Alamo fame. For that matter, the whole company knows its business and acquits itself in excellent manner. While tlje script spans too many years not to be episodic. George Nichols Jr. has staged it with considerable suspense and continuity. There are some rather obvions montage effects, but when the action reaches a genuine cUmax, such as the battle on the banks of the San Jacinto, when Houston whipped Santa Ana's superior forces, the film becomes a splendid martial pageant. Always the situations are based on character and authentic incident rather than the romantic conceptions which Hollywood so frequently employs in its reconstructions of vanished eras. "Man of Conquest" is a notable and intriguing addition to the screen's collection of Americana. ^Tribune ^{jt N^tar ^0xk ^imtfi.\ 'Man of Conquest,' a Spectacle-Charged Biography of Sam Houston, Reminds the Capitol of the Alamo By FRANK S. NUGENT Hollywood's Good Neighbor program, so proudly begun by the Warners' "Juarez" went into full retreat yesterday when Republic's "Man of Conquest" swept into the Capitol with the war cry. Remember the Alamo' and a jubilant reenactment of the rout of Santa Ana's army at San Jacinto. It is not a tactful film, but it's a remarkably good one. colorful, vigoroua and dramatic. It is based, of course, on the life of Sam Houston, one of the stormiest petrels in our national history, and it cunningly justifies the revolution In Texas and its subsequent annexation by the United States as a victory of democracy over dictatorship. Even Andy Jackson Is privileged to make a forward-looking comment upon that theme. "Up in Washington you said we'd buried freedom under a pile of dirty politics." he tells Sam Houston. "Well, just remember that America Is still the land of the free— and there's many a brow-beaten people who'd trade their dictatorships in a minute for a good dose of our dirty politics. Not that our brand of freedom ain't got its faults — couldn't help it being run by ornery humans like Congressmen and you and me But I reckon that the United States Is still the only place in the world where a man can cuss the President out loud and all the President can do is cuss back or else go flshin'. That's what I call democracy." Or good old homespun philosophy which sanctifies a cleverly staged land-grab and chiritably ignores— or blames on white renegades— the bilking of the Cherokees and the scrapping of their treaties. But that is apart from the picture itself and should not discredit it. For it is. in the main, an admirably contrived biography, honest enoug^i to mention Houston's sodden spree among the Indians, making dramatic capital of his progression from self-aggrandizing adventurer to instrument of national developmert. Houston, as Richard Dix has pUyed him, is a full-bodied portrait, earthy, human and virile. Scarcely less notable is Edward Ellis's performance of Andrew Jackson. Houston's political godfather. By a strict interpretation of the script, the film's Old Hickory would have been combination saint and prophet Mr. Ellis, with a lift of an eyebrow or a twitch of the mouth, has managed to suggest that the halo is gilded, that Andy was the wily old rascal history proves him to be, a statesman of highly practical idealism. The picture finds Houston almost at the beginning of his astonishing career, but whisks him quickly through all its early stages and does not pause until he has resigned the governorship of Tennessee because of the Eliza Allen scandal. It hurries forward again, through his wound-licking sojourn with the Cherokees, to the Texas campaign with the massacre of the Alamo and, climactically, the surging charge of the outnumbered Texans through the siesta-numbed ranks of the Santa Annans. And before the effect of the battle spectacle has had time to wear off, the picture telescopes the seven years between Texan independence and Texan annexation and ends— with a victory for Jacksonlan democracy over Mexican dictatorship. Obviously, not a good-neighborly attitude, but a picture well worth seeing and hearmg. Richard Dix Enacts Houston With Gusto By KATE CAMERON. "Man of Conquest," Republic picture, screen play by Wells Root, E. E. Paraniore Jr. and Jan Fortune based on story by Harold Shumate and Wells Root, directed by George Nicholls Jr. and presented at the Capitol Theatre. Newark -Telegram "Man of Conquest" Called Epic Film Richard Dix as Sam Houston Comes Into His Own Again. By Salute with twenty-one guns a fine, rousing, spectacular blend of Americanism and adventure called "Man of Conquest." at the Capitol, which not only sounds the clarion call of freedom and democracy in high, resounding notes but relates Its message of liberty and the right of man to govern himaell In a vigorous, colorful, thrilling manner. Salute, too, the return to his former prestige as „.,„ _ . ^ an actor, forth WUlUm BoehneL right, capable beyond praise, of Richard Dix, who hasn't had such a meaty role as Sam Houston since the days he appeared in "Cimarron." What makes "Man of Conquest" the epic film It Is Is the simple fact that it never once sacrifices action or drama on the altar of propaganda. In its simple, direct, beautiful prose it restates the principles on which this nation was founded and will continue to exist, world without end, God willing, b.ut it does so with a full realization that with out dramatic conflict, without suspense and action its message, no matter how fiery or sincere, isn't worth a hoot in hell. For it is a truism of the cinema that before you can preach you must first entertain. Strong, 'Vibrant Stuff. WILLIAM BOEHNEL. And how "Man of Conquest" entertains! From the very beginning It Is rough, strong, vibrant stuff, heroic In characterization, sweeping in scope, majestic in sentiment, for It deals with a two-fisted empire builder In a colorful and courageous era when a young but mighty nation was spreading westward and southward and when men and women thought not only of their sacred rights for the day but for the future as well. Here, then, is the very stuff of which patriotic spectacles are made and authors, director and players have made the most and best, of it. This is the story of Sam Houston, soldier, politician, adventurer, man of the people and lover of liberty and Justice. It begins with Houston's unhappy first marriage to Eliza Allen, how he becomes a member of the Cherokee tribe out of disgust at the treatment he has received from the white men, how he gives up his Indian allegiance in a deal with Andrew Jackson to save the redmen's land, and how, finally, he leads the Texans to victory against Mexico and marries Margaret Lea. A Career Story. In its outline it is a career story of a pioneering American, but in Its substance it is a dignified, simply stated plea for liberty and Justice as well as a rip-snorting, red-blooded s>ory of love and adventure, which you cannot afford to miss. The cast is excellent Richard Dix. long one of the finest actors on the screen, comes into his own again as Houston, giving a performance that is matchless in its conception and execution. Joan Ftontalne is properly pretty and fragile as Eaiza, Gail Patrick is stanch and true as Margaret Lea and theffe is a truly fine char<icterization by Edward Ellis as Andrew Jackson. The others in the cast include 'Victory Jory, Robert Barrat. George Hjiyes. Ralph Morgan, Robert Armstrong, C. Henry Gordon, Janet Beecher and Pedro de Cordoba, and they cotildn't be Im-, proved upon. It's good to have Richard Dix back on the screen in the kind of role he can handle with confidence and the gusto which he put into his memorable performance of "Cimarron's" Yancey Cravat. The role of Sam Houston, in the Capitol's "Man of Conquest," has been made to order for him. He gives us the doughty avenger of the Alamo in a highly sympathetic light. He is a hero of fictional proportions, but a man, for all that. He is a fighter, politician and a man of action who knows what he wants and gets it. George Nichols Jr., who directed the film for Republic Pictures, has done a fine job in catchin,, the spiiit and movement of the times. He keeps the story moving at a fast pace and he handles the big fighting scones with superb generalship. A Faithful Record. The picture is a faithful outline of .Sam Houston's colorful life. It bi'trins with his political campaign f'li governor when his fellow Tenlu'sseean, Andrew Jackson, takes tho stump for him. It takes Sam through hi.s mariiage to pretty IT-year-old Eliza Allen, the unhappy ppv.orl of lirunkcnness follouiag Elizas desertion and his rt-si);nation from office. It skims over the period of his Koivue with the Cherokee Indians an, I follows him through his romance with Margaret Lea and the Btiiiing adventure in Texas when 111', as head of a small army of Tevans, wrested the state from Mexico by defeating Gen. Santa Anna at Jacinto. The Jacinto battle scene is thrillIngly done. Santo Anna is lured into position and, at the psychological moment, Houston strikes with hi.s inferior force to the battle cry of "Remember the Alamo." The cast supporting Richard Dix IS an able one. Edward Ellis gives ■ n nnprcssive picture of Jackson, as campaigner and President. Joan Fontaine is a pretty, petulant Eliza and Gail Patrick is lovely in the moio sympathetic role of Houston's second wife. i The balance of the excellent cast' includes Victor Jory as Travis; Robert Barrat as Davey Crockett; George Hayes as Sam's faithful fneiid, Lannie Upchurch; Ralph Morgan as the peace-loving Stephen ■ Austin, who tried to keep the Americans of Texas from open rebellion against the Mexicans; Robert Armstrong as Jim Bowie, and C. Henry Gordon as the Mexican Cciieral, Santa Anna. There is a sweep and bigness to the latter part of the picture that Is tremendously impressive, and the whole historical setting, from Tones.soe to Washington to Texas, Is intensely interesting. This is the most important picture that Republic has made for soveral years and the rejult justifii'S the time, trouble and money expended on it. — ... i^tv,o^m.c\i <xc me I ★ ★ ★ ★ I THEATRE