Variety (Nov 1939)

14 VARIETY FILM REVIEWS FOUR WIVES Hollywood, Nov. 20. Wnrner release of Hal B. Wo1ll» pro- Kucilon. .Stni'K Lane .Sisters and Gnle TiiRe: features Claude Itnlns, .TeRrey Lynn, l^cUlle Albert, John Carllcld. Directed by Mlehncl CurtlK, Sciecnitlay. Julius J. and I'hltlp G. Epstein and Maurice Hanlinc: sUBKCsted hv the book. '.'^Istor .\ct.' by Fannie Hur.'it; c-nmera, Sol PolMo; music.' Mai .Stclncr. Previewed Nov. 20. 'Sll. at WB Hollywood. nunnInK tlme^'IlO .MINS. Ailam-Lcmp Claude halns "Tfell.t Dollz Jertrey Lynn ...John GarHcl.l .Frank .McHuKti ....May Robson dale r.iKe Dirk Foran eddlc Albert Knowledge radio programs, Is aimed to attract Kyser's air and stage fol- lowing. If he can do that, picture will do more than normal biz in direct proportion to his popularity in each locality. Strictly as a picture attraction, for regular film audiences, it's a moderate entertainment which will satisfy as a' bill-topper. Story is a most glib one on which to launch Kyser's try in films. Signed, on his radio rep, to make a picture in Hollywood, he gets the shuffle on story. Put wise to maneuvers of producer Adolphe Mcnjou to have Kyscr cancel his contract and let the studio out of the \l'r- ^'Zon r°"Z: SJ::::::;HeS;7ors-em I coin commitment, band leader turns ,Mr«. RidReneid Ver.i Lc>vi31 the tables and winds up with the Ann Leinp.. .I'risoiiia i.ini> „j Menjou without a picture. .Itoscm.Try j.:ine ^ ■ . .Lola i.nne There are few pretenses to offer Kyser as a film actor, but at that he grooves acceptably into the role of playing himself. He is not averse to personally pointing out along the way that he is far from the screen- able type. However, the maestro displays comedy ability far above the ordinary for screen newcomers in two good laugh sequences. First Ml.^key llordcn. lien Crowley Aunt Ktla Knini.i Lcnip .' Krne.<<t Dr. Clinton Forrest, Jr Kny Ijemp Thea Lemp... Direct sequel to 'Four Daughters,' this one contains all the sentimental hiimanness and family wholesome- ness of its predecessor. Decidedly interesting as a whole, despite over- length and slow stretches that break it down on unwinding, 'Four Wives' will ride along on the momentum and - , , ,■ ^ ^ , interest of the first in the series to is his- Komco and Juliet balcony excellent boxofflce. scene over a Venetian canal hazard, Story picks, up the characters of, in the screen test scene. His other the daughters a few months after the | routine and getup for the press gar- climax of the latter film. There's den party is neatly put together for the music master, Claude Rains, fa-1 several laughs, ther of the girls; Aunt May Robfon I The five songs in the picture are continuing to mother the family;. all sung by various members of the Dick Foran and Frank McHugh, re spective husbands of Gale Page and Lola Lane, gossipy Vera Lewis, and the widowed Priscilla Lane .-.nd eligible Rosemary Lane. Jeffrey Lynn is still around, persistently courting Priscilla and Eddie Albert joins the family group as a young medic who eventually marches to the altar with Rosemary. Story's chief motivation Is actuated by the girls' interest in maternal problem?. After Miss Page figures she is that way, an obstetrician de- clares she can have no children. Sis- ter Priscilla turns' up as a prospective mother fwith the deceased John Gar- field of 'Four Daughters' the father). Having accepted a proposal by Lynn, she tries to call it oft, to accept the eventual suggestion from Dr. Albert that she marry and forget the past. After Lola adopts a baby she, too, eventually becomes a mother, deliv- ering twins. Priscilla elopes with Lynn; her premature baby is saved via a blood transfusion by Lynn be- fore he starts on his successful con- cert tour. Rosemary snags Albert for the finish, to find the four girls hap- pily married. Picture is replete with intimate family episodes, marital problems and maternal discussions. It's good, wholesome adult fare, although the references to and discussions on ob- stetrics and babies along broad lines, make it unsuitable for the younger generation and kid trade. Portrayals of characters In the family group are excellent all along the line, and each measures up to the high standard set in the previous picture of this, series. The Lane sisters and Gale Page. Rains. Lynn, Albert, Robson, McHugh and Foran are a most capable and well-balanc^ cast, each effective here. Priscilla Lane carries the bur- den of the motivation with sympa' thetic interest. There are plenty of family intima' cles and humor developed in the script and direction. The symphonic overture, Mickey Borden's (Garfield) theme, comes near the close and runs nearly five minutes. It's a fine .■sym- phony number, by Max Rabinowitch, but cuts in to slow up the story oace considerably. Reminder of John Garfield, aside, from the many refer ences in the dialor. is brought back by two brief double-exposure shots, during the footage. Although Tour. Wives' will click merrily at boxofflce,'there are times when it looks like everyone was^try- Ing too hard to top the spontaneity of its predecessor, consuming t'jo much footage in' the attempt. Pic- ture is provided with well-rounded production values in all departments, the photography particularly top notch That'« Right —You're Wrong Miniature Reviews (WITH SONGS) Hollywood, Nov. 14. RKO release of David Butler pro<luvtlon. Stars Kny Kyaer nnd .\dolphe Menjou; fen- tiires May Robson, ' Lucille Ball, K. K. Horton. Directed liy David Duller. Screen- play by William Conselman and James V. Kern; story by Butler nnd William Con- splmnn; camera, Ru.ssell Mettv; special ortecls, Vernon U Walker': editor. Irene Morra; asst. director, Fred A. Fleck; sonRs by James V. Kern. LcW Porter. Johnny IJinKe, Hy Heath. Walter Donaldson. Sam .Slept,. Charles Newman. Dave Franklin, Jerome Ilralnin, Alinn Roberts; eonir atnu- ln(f, E<Ullc I'rinz, Previewed at rnnlngea, Nov. 14, '30. Running time, 91 .MINS. Kay ,...Kay Kyser NIacey Delmore Adolnhe .Menjnu Grandma May Robson Sandra .Sand Lucille Hall Chuck Deems Dennis CKeefo Tom VIllaKc Edward Everett Horton Mai .Stamp Roscoo Karns J. D, l^orbes Moroni Olsen Dwight Cook Ilobart CavannuKli GInny Glnny SImma Harry Harry .babbitt Sully '. .Sully Mason Ish tdi Kablbble Miss Cosgrnve Dorothy Lnvett MI.1S nrlKhton Lillian West Thomas Denla Tankard Kyscr troupe. Most certain .to hit top pop rating is 'Chatterbox' (by Jerome Brainin and Allan Roberts) which Ginny • Simms and Harry Babbitt handle in good rhythm and swing. Second best tune is The Answer to Love' (Sam Stept and Charles Newman) and the other numbers include 'The Little Red Fox' (by James V. Kern, Lew. Porter, Johnny Lange and Hy Heath).; 'Fit To Be Tied' (Walter Donaldson); and Happy Birthday to Love' (Dave Franklin). The songs are all above par, put over in shownianship style by Kyser and his gang. Story unwinds slowly at the start but, after it gains momeintum, pro- vides sufficient interest and enter- tainment factors to carry it through to the final sequence—radio broad- cast of Kyser's program. Early passages are handicapped in trying to develop story factors, rather than smacking audiences—most of whom will be Kyser fans—with band and entertainment specialties, in the fore- section of the picture. As it shapes up, musical numbers and specialties 6f Kyser are mostly in the last half. But when he goes into the final sequence presenting a radio broad- cast, it's fast and snappy entertain- ment of high calibre. . Script pokes much fun at Holly- wood personalities and inside situa* tions, most of it lost on the average auditor. For example, the screw- ball writing team of Village and Cook (Horton and Cavanaugh) might be Towne and Baker. Writers of various syndicated columns drop n for the Hollywood garden party to accept introductions and be shown to film audiences. Sheila Graham (NEA), Erskine Johnson (INS), Fred Othman (UP), Hedda Hopper (Jones Syndicate), Jimmy Starr (INS) and Feg Murray are around for sufficient footage to be recog- nized. In providing the musical entertain- ment, Kyser confines the respon- sibilitles to members of his own ag- gregation, with no outside assistance. The numbers and byplay presenta- tions are topnotch highlights to the picture. 'Little Red Fox' develops into a narrative production number in front of the band, many of 'em stepping down to take part in the fun. Staging is credited to Eddie Prinz, The final sequence, recreating a broadcast of his weekly' show, has four contestants in front of the mike for Kyser's quiz contest. It's par' ticularly interesting stuff to radio listeners. Incidentally Kyser guessed one wrong himself during the quiz by agreeing the tune 'Sonny Boy' was originally in The Jazz Singer,' but Kyser's patter is so fast few will catch the error. Menjou, co-starred with Kyser, carries the burden of the film pro- ducer role in a breezy fashion. Others support for the. Hollywood dressing include May Robson, Lucille Ball, Dennis O'Keefe Horton, Roscoe Karns, Moroni Olsen end Hobart Cavanaugh, all competent. 'Four Wives* (WB). Sequel to Tour Daughters,' v/ith sub- stantially the same cast, excel- lent b.o. 'Thai's Blfht—You're Wrong' (RKO). First picture for Kay Kyser and band. Likely enter- tainment for regular runs. 'Geronimo' (Par). Lusty and thrilling western of top calibre, set in Indian campaigns of the '80s. 'Secret of Dr. Klldare* (M-G). Third in Kildare series, top- flight programcr with substan- tial entertainment factors. ■On the Nlgbt ot the Fire' (GFD). Diana Wynyard-Ralph Richardson melodrama a click for British b. o.'s; okay U. S. fare. •Tower of London* (U). Spine- tingling horror picture. .»A top dualer, exploitation helping. 'City in Darkness* (20th). Charlie Chan mystery meller below par for the series. 'All Women Have Secrets' (Par). An under average dualer. 'Beasts ot Berlin' ('Hitler- Beast of Berlin') (PDC). Low- budget shocker aimed to cash in on topical appeal has B.o. 'Smashing the 'Money Ring* (WB). A Secret Service meller for the double bills. 'Kid Nightingale* (WB), Tale of a warbling prizefighter that is so silly it's passable. A bottom dualer. 'Tbe Mill on the Floss' (Stan). English-made that should do okay in America for an import. .'Television Spy' (Par). Ac- tion dualer for the juve and masculine trade primarily. •MUsIng Evidence* (U). G- man meller that will get by. Prestoii Foster and Irene Her- vey paired. Secret of Dr. Kildare Hollywood, Nov.. 17. Metro-Goldwyn-Mayer production and re- lease. Features Lew Ayrcs, Lionel Harry- more. Directed by Harold S. Rucquet. Screenplay by 'n*lllla Goldbcck nnd Harry JtusUln. based on story by Max Brand; camera. Alfred Gllka; editor. Frank Hull. Previewed at Wealwood VlllnRe, Nov. 17, '.-lU. RunnlnK time, 8S MINId. Dr. James Kildare Lew Ayres Dr. Leonard .Glllcaple Lionel liarrynioro l*iiul MeKsengcr Lionel Atwlll Nancy Messcnser Helen Gilbert Wayman Nat l^endletoii Mary Lament Lnralne Day Norn .Sara Haden Dr. Stephen J^lldare :>amuel S. Hinds .Mrs. Martha Kildare Kmma Dunn Dr. 3. J, Carow Waller KInRsforil John Archley , Grant Mitchell Molly Byrd Alma Krufrer Charles llerron.. Hubert Kent .Sally .....Marie Illak^ Mrs. Robcrls .Marllm O'Drlscoll Nosey".. .■. Neir I'ralir Cr.novcr GeorKC Reed Kay Kyser's first picture, 'That's Right—'You're Wrong,*'based on the Elogan of bis KoUege of Musical GERONIMO Hollywood, Nov. IS; Paramount production and release. Fea- tures Preston Foster, Ellen Drew, Andy Devlne, Gene Lockhnrt, William Henry, Ralph Morgan. Direction and screenplay by Paul H. Sloane. Camera. Henry Sharp; editor, John Link; asst. director, George Tenipleton. Previewed at Paramount, Los Angeles, .Nov, IS, '30. Bunnlng time, tID Capt Starrett Frcaton Faster Alice Hamilton i..;., Ellen Drew .Sneezer , .\ndy Devlne Gillespie .' Gene Locklmrt Lieut, Steele William Henry General .Steele....' Ralph Morgan Col. White Pierre Watkin Mrs. Steele .Marjorle Gatesen Daisy Devlne Kitty Kelly Frederick Allison Addison Richards Ueronlmo Chief Thunder Cloud Interpreter Monte Blue President Grant Joseph Crehan Cherrycow Hank Bell ■McNeil Frank Cordell Here is a lusty and actionful melo- drama, based on campaigns of the U. S. Army against the warring Indian chief of the southwest, Geronimo. Elemental in its display of Indian - fighting, chases, and suspense, picture is geared to hit popular appeal. Good boxoffice for the first runs, it will show greater strength in the subsequent runs and action houses. Although the cavalry-Indian chase melodrama is sketched on broad lines for continual suspenseful effect, story is of familiar pattern. William Henry, graduate of West Point in the 80s, is assigned to duty with the Sixth Cavalry at an Arizona outpost His father, Ralph Morgan, is com- manding officer and a stern dis- ciplinarian. Mixed in with the Indian forays is a father-son conflict (similar to incident in 'Lives of a Bengal Lancer') until the boy shows his mettle under fire with eventual capture of Geronimo. There's a dash of romance provided by Ellen Drew as Henry's fiancee which is not too important to disturb the rousing ad- venture ot the yarn. Paul Sloane, who concocted the original screenplay In fictional form, basing it on actual facts of the Geronimo campaign, also directed He provides a generally fast-moving tale of lusty Indian fighting that will amply supply the appetites of the action-minded. Most prominent In the cast is Preston Foster, captain of the post who takes newcomer under his wing. Foster's is a vigorous rough-and- ready character which highlights the story. Andy Devine, as a cartoon sketching Indian scout, provides much comedy with an above par characterizc^tion provided with plenty of meat In the script Itself. Gene Lockhart is a sniveling Indian trader who supplies guns and amr munition to the warriors; Ellen Drew is in for minor footage as ro mantic interest; and Marjorie Gate son is shown briefly as Henry's mother. Ralph Morgan Is handi. capped by poor makeup and photog. raphy in several spots as the post commandant, and stresses his dra- matics too sharply for conviction. Chief Thunder Cloud, as Geronimo, is noteworthy as the w^'''''"^ Apache. ' Picture contains many sweeping panoramas of the western country. Using fine grain positive for most of the release prints shipped to domestic exchanges, picture has an ivory tone that is decidedly pleasing to the eye. In several closeup and near shotSc semblance ot a third dimensional effect is noted. This is first time that any studio has used fine grain post five through various steps of sound' tracik and picture, beyond the origi nal negative-recording stage, to bring improvements direct to thea^ tre screens. Paramount plans to use the fine grain stock for at least one future release following results ob tained here. . Production's elaborate mounting Is super-western in all technical de- partments. Process background work by Farclot Edouart, and photography by Henry Sharp, accentuate pro duction qualities of the picture. Mike. nk Orth Young Doc Kildare, LProfnising young interne, continues under the expert guidance and training of the shrewd and efficient medical genius (Lionel Barry more) in the latest of the Kildare series. Story is a de- cidedly interesting and compact piece ot drama, li.!;htencd through- out by sprightly and humorous sit- uations and lines supplied by Barry- more. Competent performances by Ayres; Barrymore a.nd all meraVicrs of the supporting cast coupled with the smooth direction by Harold Buc- qiiet, picture shapes up as strong program fare that will increase the popularity of the scries. Rates to catch moderate share of key runs, but will generate b.o. strength in the subsequents and nabes. Barrymore, breakin.:; under the strain of overwork, is determined to delve into research on pneumonia with his assistant. Ayres. But when a millionaire asks for help in di- agnosing ill health of his daughter, Barrymore turns the case over to' his assistant to investigate. In- trigued by the eirl's condition, and alarmed at a collapse of Barrymore, Ayres resigns as latter's assistant to devote his time to the case, feeling withdrawal of his aid will force Barrymore to Vest. Move accom- plishes both purposes—he diagnoses the case, and Barrymore is revived on a fishing trip. Reconciliation finds the oldster and youngster ready to launch the research on pneu- monia as originally planned. In between, there's continuance ot the romance of Ayres with nurse Laraine Day; visit of Ayres' parents to the city for the father to get a diagnosis of his condition ~ from Barrymore; and a number of hu- morous situations in the hospital routines. Although Ayres capably carries the burden of the title spot as the serious interne and medical student, Barrymore dominates throughout with a characterization that has be- come accepted as his own. Laraine Day steps up several notches with a splendid performance as the nurse, while Helen Gilbert demonstrates her first role in a 'Hardy* picture was not a flash, by providing a sin- cere and effective portrayal of the stricken rich girl. In support, several capable players of former 'Kildare' pictures are in again for continuance of their es- tablished characterizations. Group includes Nat Pendleton. Samuel S. Hinds, Emma Dunn, Walter Kings- ford, Alma Kruger, Marie Blake and Nell Craig. Lionel Atwill, Sara Haden and Grant Mitchell provide further support. Diana Wynyard, as his wife. Lend- ing grace and beauty to the role, she doesn't look like the wife of a 'tiip- peny' barber, and doesn't act like one. Henry Oscar, as the victim, is believable, while other important supporting players are Romncy Brent, Mary Clare, Sara AUgood and Maire O'Neill. Jolo. TOWER OF LONDON Hollywood, Nov. 16. Universal release of nowlantl V.' Lec pr^ duetlun. Stnrs Basil Ralhbone; fenturre HorlH Karlofr. Barbara O'Neill. Lin Hun- ter, Vincent Price. Nan Gre.v. Krnest Cof.h. an. Directed h.v Rowland V. Lee. Orlgl- n.Tl Biiernplny liy Tobert N. Lee: c.imeru (IcorKO Robinson; editor. Kd Curtlss; assl! director. Freil Fi-ank, Previewed at Alexl nndei*, Olendalo, Nov. IC, MO. llunnlnv time. OJ .MINS. " Richard. Duke ot Gloucester,, nasll Rnihbone Mord Boris Knrlntf Queen Blyzahcth... i arhara O'Nell King Edward IV Ian Hunter Duko t'C Clarence. Vincent l'rl<« Ijidy Alice Harlon Nan Crcy Tom Clink Ornest Cosiart John Wynlt ..John .Sulmn lionl Hastings .Ix'o G. Carroll King >lenry, VI Miles Mander Ue.ieon Lionel Ilclmore Anne Neville Rose Hohnrl lloy King Kdward ..Rnnnlil 5tlne1nlr Young I'clnco lllehard,.. John Herbert-llnnd Henry Tudor Ralph Forbes Ouehess Isobcl Frances Robinson Wales O. I*. Hilnlley Lord DeVere John Rodinn I'hlmney .Sweep.... W.Tlier Tetley IJahy Prlnt-e Donnle Dunagan On The Night of The Fire (BRITISH-MADE) London, Nov. 9. Gener.-il Film Distributors release ot G. A S. Film. stars Diana Wynyard, Balpli Ulchardson. Directed by Brian Desmond .?.e«norlo by Blan Desmond Hust. Patrick KIrwan, Terence Toung, from novel by Frederick Lawrence Green; camera, Guenther Krampt. At New Gallery, London, Running time, MlNS, S^,'." ""'l"" Richardson Kit Kobllng... Diana Wynyard .Ilmsey Jones Ilomney Hrent L zzle Crane Mary Clare Plllcgcr... Henry Oscar Jim bmlth. .Dave Crowley Dora Smith; Gertrude .Musgrove '"'Pcctor ...Frederick Leister ,V,""«n Ivan Urandt (.harwoman ;..Sara Allgood Olynls Johns Cast, production, direction and drawing power of the sUrs should put this picture over in a big way in England. It's absorbingly entertain- ing and b.o. should profit consider- ably by word of mouth. Suitably boomed in the U. S., it may go over equally well there, too. With a straightforward story, it's the kind of film either liked very much, or very little. Intensely fas- cinating is the plot progression in the' unravelling of a murder mystery. Picture, adapted from a novel, in- cludes some circumstantial pictorial sequences cleverly substituted for descriptive writing. Ralph Richardson's performance as the harassed criminal is outstanding. He portrays the role of a barber- shop proprietor who, while passing an open window, sees the payroll of a business office on the desk. With no one in the rOom, he steals the money arid with It pays a large debt, contracted by his wife, due a local tradesman. They are new bank- notes which are traced to the grovel- Inj^ shopkeeper, who demands black- mail. In a. struggle, the barber kills hi.s persecutor. Co-starred with Richardson Is Setting the 15th century torture devices in the London Tower amid (he court intrigue of (hat period, 'Tower of London' emerges as a spine-chiller with accent on grue- somcness of the several deaths depicted along the line. As a horror picture, it's one ot the most broadly etched, but still so strong ;that it may provide disturbing nightmares as aftermath. For biz, it will give a good account of itself in runs where pictures of the type attract. Script provides a more than psSs- able interest in the court pageantry and continual intrigue of the period, neatly dovetailed with display of the various instruments of torture in vogue at the time. In some spol.s picture seems to jump and leave characters hanging in the air, ob- viously due to editing of excess foot- age. Reminiscence ot the Frankenstein series is present here, with Karlofl a clubfooted . and misshapen giant who is chief executioner and torturer for the conniving. Basil Rathbone. As in the Frankenstein picture.-:, Karloff' is a weird and ghoul i.<;h character, with makeup accentuating the chill aspects. Story, based on historical fact, delves into the continual court in- trigues during the reign ot King Ed- ward IV. Everyone seems to be in- dulging in undercover manipula- tions except the king, with latter's brother, Richard, Duke ot Gloucester <Rathbone) the mainspring ot n long-range plot to eventually become ruler. One by one, he disposes ot the heirs who stand in his way. His disposals are always via brutal or torturous killings, vividly impressed in the unfolding. After Rathbone becomes Richard III, the king's treasure Is stolen to provide funds for the exiled Henry 'Tudor to make a sufccssful campaign in seizing tho throne. Rathbone. provides a most vivid portrayal of the ambitious Duke who schemes and murders to achieve his ends. Karloff is familiar as a body-twisted giant dedicated to ex- ecuting Rathbone's cruelties. Vin- cent Price is excellent as the weakly Duke ot Clarence while Nan Grey and Barbara O'Neill are in for ro- mantic touches that get lost in the f?eneral overall. John Sutton has the most sympathetic role as op- ponent to Rathbone within the court circles, and provides conviction to ■ difficult part. Rowland Lee has directed deftly, neatly mixing his dramatic ingre- dients for suspenseful values. Pro- duction has many elaborate sets of the Tower' and medieval London, and provides two battle sequences of hand-to-hand fighting. CITY IN DARKNESS Hollywood, Nov. 18. 20th-Fo)t release of John Stono produe- llon. Features Sidney Toler. Directed by Herbert I. Leeds. .Screenplay by Hobtrl Kills and Helen I.,<>gan: besed on pln.v. I.y Glna Kaus nnd Ladlslnus Fodor; based (in charaetcr created by ICarl Derr. BlKger.s; comera, Virgil Miller; editor, Harry Rey- nolds. At Chinese, week Nov. l.'i, MO. Run* ning time. SO MINK. niaille Chan Sidney Toler Marie Duhon Lynn Hurl Tony .Madero Richard Clarke Marcel Harold Hubir Antolne I'edro de Cordoba Charlotte Ronnell Dorothy Tree Prelect ot Police ...r. Henry Cordon I'etrofr Douglas Dumbrllle Belescu NoelMadlson I.iOuls .Sanlelle Leo Carroll Pierre. i^n Chancy. Jr. Max Ix>uls Mercler .<lex- (;eorge Davis Lola Darbara Leonard Landlady., Adrlenne d'.^mbrlcourt Captain Frederik Vogcding Charlie Chan gets tangled in a murder mystery in Paris during the Munich crisis, unravels a spy ring, blocks shipment of contraband, rounds up numerous' suspects, and finally solves the crime with intu- itive deductions, 'City in Darkness is decidedly weak In story factors, and slow in proceeding through to the eventual finish. It s one of the (Continued on page 16)