Showmen's Trade Review (Oct-Dec 1949)

"IHOWMEN'S TRADE REVIEW, December 3, 1949 ! [nstitute, she gets into some madcap situajiions when she tries frantically to prove her ;tory, that she was picked up by a one-man ': ubmarine. Comment: Audiences will do much more ■ h^n chuckle at this frothy comedy; the susL eptible will roar. Laughs are frequent and ijiearty from the opening shots, which set the jituation on which the comedy hinges: the ibsolute integrity of the Buyer's Research nstitute. Slogans on truth and honesty are Jet in the concrete of the building and into 1 he floor of the foyer. Within the building, %eird and zany contrivances are testing a ' ange of products from paint brushes to .hoes, and it is clear that the slightest defect 'In a product will bar it forever from the ' jrized approval of the institute. When direcor Jane Wyman, who personifies the prinriples on which the organization stands, is ';twarded the championship plaque of the Liars i-jZlub for 'her story of where she spent the jiight when she was lost in a storm on Long ilsland sound, the fun becomes riotous. Those (responsible for the special effects deserve '[;redit for an ingenuity that sets an atmosbi>here conducive to laughter. Jane Wyman j,lind Dennis Morgan are a strong comedy ij:eam, getting full value from every line and :|utuation, while Eve Arden gives close supijlDort. Tom Tully pulls a big share of laughs \is the fumbling detective who uses everyf'i:hing from can-openers to dynamite, in his WjfiForts to help Miss Wyman prove her story. Robert Douglas is excellent as the eccentric nillionaire who has difficulty giving away enough money, and Allyn Joslyn scores as ' Jane Wyman's stuffy fiance. Producer Harry (jKurnitz has turned out a beautifully set ipomedy, with fine production values throughiout Able direction by Michael Curtiz holds jjthe pace of the picture at high pitch to the ':end. This .zany package of fun should play i^to good grosses in all situations. 1 Strangers in the House (French dialog — English titles) liLopert Films Drama lOO mins. i AUDIENCE SLANT: (Family) Adroitly !!Conceived, directed and acted drama of juvenile delinquency in Paris which is made solidly interesting and occasionally exciting audience fcire by the late Raimu's brilliant acting flair. BOX-OFFICE SLANT: A "must" for art |,and foreign-film theatres, where it should [Jcash in solidly, and worth dualling in firstjruns and neighborhoods. Exhibitors should build campaigns on the name and fame of 'Raimu and that of Murder-Mystery Novelist r Georges Simenon. ^1 Cast: Raimu, Juliette Faber, Jacques Baumer, Jean ||!Tissier, Lucien Coedel, Noel Roquevert, Helena ManIjson, Andre Reybas, Mouloudji, Marc Dolnitz, Tania a Fedor, Jacques Denoel. Pierre Ringel, Jacques Gretillat. (•Credits: Directed by Henri Decoin. Adapted from the „ Georges Simenon novel by Henri-Georges Clouzot. Photographed by Kruger. English titles by Herman G. W einberg. Plot: Raimu, once the most brilliant lawJyer in Paris but now a drunken hermit ' (caused by his wife's leaving him for an;other man 20 years before), regains some of Ihis brilliance when his young, long-neglected ■^daughter becomes embroiled with a gang of !|youthful delinquents and is implicated in the •i murder of a man they had badly injured with la stolen auto and kept hidden in Raimu's home. Raimu quietly investigates the murder, . learns the victim had been blackmailing the ( gang, and appears in court for his daughter's 'Adam and Evelyne' Jock MacGregor's prediction (STR, May 21, 1949) of high grosses in Britain depended upon the great popularity there of Stewart Granger and Jean Simmons, but while the success may be less smashing here, both performers are well known. Furthermore, it's Granger's best material in some time and Simmons reveals a definite flair for comedy. The story is about a gambler who finds himself playing father to a young girl brought up in an orphanage; love and reform ensue. "Adam and Evelyne" is good light fare with nothing peculiarly British about it but the accents. A J. Arthur Rank presentation. Released through UniversalInternational. 92 mins. lover, leader of the gang, who is charged with the murder. Raiimu pins the crime on a jealous youth secretly in love with his daughter. Comment: An adroitly conceived, directed and acted drama of present-day youthful delinquents in Paris which the extraordinary acting ability of Raimu makes into a solidly interesting and occasionally exciting picture. The murder-mystery story is not the best in which Raimu has been seen in America but it demonstrates anew the late great actor's flair for characterization and is decidedly to be seen by his admirers. The group of young delinquents — Juliette Feder, Andre Reybas, Mouloudji, Marc Donitz and the others — give a good account of themselves, helping to sustain audience interest among the grown-up cast members. Prosecutor Jacques Baumer and Jacques Gretillat as the judge, are especially worthy of praise. Direction and photography are excellent. Raimu's artistic standing makes "Strangers in the House" — one of his latest, if not his last, picture — a "must" for art and foreign-film theatres where it should cash in solidly, and worth dualling with a Hollywood production in first'run and neighborhood houses. Exhibitor's should build their campaigns on the name and fame of Raimu and of Georges Simenon as France's greatest writer of murder and mystery novels. The Facts of Love Oxford Films Comedy 80 mins. AUDIENCE SLANT: (Adult) Comes close to top-flight Sydney Box production efforts and will amuse and entertain all who see it with its light comedy, evoking chuckles and belly laughs at some of the near-risque dialog. BOX-OFFICE SLANT: Once in the theatre, audiences will enjoy this comedy. That leaves to exhibitors the task of getting them in. There is no American draw in marquee names and managers should stress heavily the comedy, the children's desire to learn more about love at first hand and the fact that Sydney Box was also the producer of "Quartet" and "Don't Take It to Heart." Cast: Gordon Harker, Betty Balfour. Jimmy Hanley, Caria Lehmann, Hubert Gregg, Jill Evans, Henry Kendall, Dinah Sheridan. Megs Jenkins. Noel Gordon, Guy Middleton, Aubrey Mallalieu. Credits: Produced by Sydney Box. Directed by Henry Cass. Screenplay by Muriel and Sydney Box from a story by Denis and Mabel Constanduros. Photography by Ernest Palmer and Nigel Huke. Plot: Gordon Harker and his wife, Betty Balfour, unable to get either their son or daughter to accompany them on a Mediterra 27 iicaa cruise, unknown to their children, go instead to a former vacation spot, having postcards 'mailed from the vessel. Daughter Carla Lehmann refused to go, just having become engaged to Hubert Gregg, and son J'mniy Hanley has become fascinated by Jill Evans who, very willing to teach him the facts of love, takes him to a houseboat where they run into her husband looking for grounds for divorce. Carla and Hubert start out to learn a few pre-marital facts about love, but the unexpected return of the parents leads to many comedy situations. Comment: This is a second-drawer Sydney Box production effort, which is not far below top-flight Box pictures, and will amuse and entertain all who see it. There are a number of delicious light comedy situations, just skirting the risque, and others broad enough to garner some belly-laughs, as it did when caught at the New York Embassy Cinema. Direction and photography are first rate. The acting of Harker and Miss Balfour as the parents, makes for delightful comedy, though their English accent, along with that of the rest of the cast, is a little thick for American ears, which miss many words. Built for laughing purposes, the film sidesteps any serious consequences to the children's quest for love information, but gives to the dramatic situations that evolve upon the return of the parents a light, often droll, touch that keeps chuckles and laughs chasing each other over the faces of patrons. All members of the cast turn in very good performances. Prelude to Madness (Italian Dialog— English Titles) Lux Film Drama 79 mins. AUDIENCE SLANT: (Adult) An intelligent adaptation of a tragic story, perhaps too slow for some but with romantic appeal for women. BOX-OFFICE SLANT: Rather good for discriminating audiences with the names of Tolstoy and Beethoven to help. Cast: Roldano Lupi. Clara Calamai, Jean Servais. Credits: Director, Gianni Franciolini. Scenario, Guide Piovene and Ivo Perilli. From "The Kreutzer Sonata" of Leon Tolstoy. Music includes the "Kreutzer Sonata" of Ludwig van Beethoven. Photography, Carlo Montuori. English adaptation and titles. Clare Catalano. Plot: A prominent doctor becomes increasingly jealous of his wife's association as an accompanist with a famous violinist and in a desperate climax that keeps the audience wondering whom he will try to kill, does away with the lady and himself. Comment: This one has the names of Tolstoy and Beethoven to help it, for it is taken from the former's story "The Kreutzner Sonata," which calls for the latter's music. More restless audiences may find it moves too slowh^, but to discriminating ones it will appear intelligent treatment of very perceptive material. The romantic complication extends the appeal among women. The performers are very good. The same material received good treatment in France in 1938 and was used in French and Russian silents, all of which attests its popularity. Just a Big Simple Girl (French Dialog — English Titles) Famous Pictures Drama 100 mins. AUDIENCE SLANT: (Adult) Very Gallic in its writ and sardonic humor, this short-lived, torrid love story between an {Continued on Page 29)