Variety (Apr 1949)

W^wday^ April 13, 1949 The BarWeys of Broadway (SONGS—COLOR) • Hollywood, April 9. Mptro release o£ Arthur Freed produc- 11 » stiM Fred Astalre. Ginger Hoeers; i''S;,rf. Oscir Levant, Blllie Burke. fi^M Francois. Gale Bobbins. Directed i'vThViieS Waltirs. Original screenplay, S'^i.,, f'omden. Adolph Green! camera Sfechn^cXr>f Harry Stradling; songs, Hirrv Warren. Ira Gershwin; dances. Hob- Vrf Alton; Astaire's dances, Hermes Pan; Susie Lcnnie Hayton! arrangements. : Selinger, Robert Tuclcer; editor, ffiat Akst. Tradeshown April 6, '49. nffing time, 10» MIN8. ^ ^ , . , V .k Birklev Fred Astairc J"V Berkley G'ngcr Rogers 2'™ Mni/r Oscar Levant UvinUin Belney Bmie Burke ffiene I«ay. •.• G«»e Bobbins OaMUes Pierre Barredout • . ■ , MatH*"' Jacques Francois wfc. inrlee •" George Zucco SSrt FelSier . Clinton Sundberg pJmela Drlscoll • ■ Ine7 Cooper rSSS Amboy Carol Brewster £J5™ " Wilson Wood Fred Astaire and Ginger Rogers together again will give "The Bark- leys of Broadway" an auspicious launching at the boxofflce. It's an ace dance fest, presenting them at their terpsichorean best against a Sreduction background that is letro at its lushest. However, "Barkleys" lacks the one popular ingredient that would have practically guaranteed socko . business in any situation. The songs are ordinary. It has every- thing else that could be asked for aii hour and- 49 minutes of enter- tainment, making the lack of tune flash more noticeable. . Reuniting of the screen's most complementary dance team has the , couple gliding their way through five dance numbers with the grace and apparent spontaneity that is their trademark when appearing together. Their work has a beguil- ing rhythm that makes "Barkleys" a feast of motion; Sixth dance number is done solo by Astaire. It is the combination of special effects and Astaire hoof- ing in a dance with shoes that spelU/ binds into standout terping. Tagged "Shoes With Wings On," it was di^ reeled by Hermes Pan* with danc-. ing shoe effects by Irving G; Ries; As a couple; Astaire and Miss Rog- ers start their footwork with a scene within a scene dance, run off behind the title cards. Some fast : precision work is used for their second terp spot, while the third is: . built around the mild comedy tune of "My One and Only Highland Fling," which the pair gives some ■ Importance. George Gershwin's "They Can't Take That Away From Me," used in a previous Astaire-Rogers suc^ cess, is revived for a sock ballroom dance scene and finale brings in a ■rapid tapping of "Manhattan Down- . beat." Among songs, besides "Fling," are "You'd Be Hard to Re- place," "Weekend in the Country," all cleffed; by Hafry Warren and Ira Gershwin. ^ Added scoring comes from two piano solo spots, for Oscar Levant, . who works over "The Sabre Dance'■ effectively and gives a showy, con- densed keyboarding of Concerto No. I in B Minor. There's a credit- able job of musical direction by Lennie Hayton with Conrad Sal- iiiger doing the orchestrations and _^JLQbertJ!ucker_-theLjrocal_arrangis^. ments. Charles Walters does an excel- lent job of direction in putting the players through the paces of the Betty Gomden-Adolph Green script, while spacing in the dance num^ bers. Plot is light, but ties together neatly in depicting a more or less standard story of a Broadway star team of man and wife who have a misunderstanding, separate while the wife tries dramatics, and then get back together for. the finale. Dialog is good and the cast is vei-y competent in getting over the light material. . . Levant bites into his lines with a sharpness that plea^ies. Billie Burke P'ayS/a scatterbrained society dame and Gale Robbins displays advan- tageous curves as an eager under- study. Jacques Francois furnishes the third comer of the triangle in the romantics as an effete French dtamatist. Other* back the prin- cipals capably. Arthur Freed has dealt out the production values with a lavish hand. Beautiful settings, smart costumes, lush color photography ^ , by Harry. Stradling, are among some of the. appurtenances that give Barkleys" a de luxe appear- ance to back up the shownianly teaming of Astaire and Miss Rog- Brog. Miniature Reviews "The Barkleys of Broadway" (Songs-Color). (M-G). Re- unites Fred Astaire and Gin- ger Rogers. Big b.o. "Sorrowful Jones" (Par) Good b.o. prospects for re- make of "Little Miss Marker." «r"i?*» i*""" <MG). Typical Wallace Beery comedy for the Beery-Marjorie Main fans. "Manhandled'* (Par). Good suspense melodrama slated for okay reaction at the general ,b.,o. • "Too Late for Tears" (UA). Slowly^paced m el o dr a m a. Spotty-.business outlook. "iVie Big Sombrero" (Songs- Color) (Col) Latest Gene Autry entry; solid where his pix go over. "Dedee" ("Dedee D'Anvers") (Vog). Sexj French import with good exploitation possibilities, ^orroH'ful Jones (SONGS) Hollywood, April 12. Paramount release of Robert L, Welch production. Stars Bob Hope, Lucille Ball; leatures William Demarest. Bruce Gabot, Thomas Gumez, Mary Jane- Saunders. Di- rected by Sidney Lanfield. Screenplay. Melville Shavelsun. Edmund Hartmantt. Jack Rose: adapted from story by Damon Hunyon and a screenplay by William Ri Lipman. Sam Hellman, Gladys Lehman; camera. Daniel L. Fapp; songs. Jay Liv- ingston. Bay Evans; score, Robert Em- mett , Dolan; editor. Arthur Schmidt. Tradeshown April 11. '49. Running time, «7 MINS. Sorrowful Jones.....,, Bob Hope Gladys: O'Neill.......... ..Lucille Ball Regret ,.. )' . .: .. . William Demarest Big. Steve Holloway Bruce Cabot Reardon.. , ......, .Thomas Gomez Once Over Sam. ........ Tom Pedi Orvillc Smith......,. ,.. Paul Lees Doc Chesley.. .■.. ..... Ifouseley Stevenson Big Steve's Bodyguard:... Ben Welden Psychiatrist.. . Emmett Vogan Martha Jane Smith. Mary Jane Saunders Time . hasn't dimmed Damon Runyon^s Broadway fable of a tightwad bookie and a little girL A film success when first made in 1934 as "Little Miss Marker," it still has plenty of b.o. life in its repeat production as "Sorrowful Jones." The comedy is warm, played with a lot of heart, and is slated for a br.oad audience appeal. Bob Hope tailors himself to the Runyon character with great suc- cess. It's a quieter type of Hope hoke well fitted to the part's de- mands and he does it with evident relish. There's the same .apparent affection: for the yam on the part of all concerned with its maldn^. That flavor gets through to the au- dience and considerably widens the film's chances. Scripters Melville Shavelsonj Ed- mund Hartmann and Jack Rose have supplied a generous amount of quips for Hope to dash off as the plot/goes about'its business of telling what happens to a pinch- penny bookmaker when, he takes custody of a little girl as security for her father's bet in the bookie's parlor. Script is loaded with Run- yonese and characters, but yam's appeal-is-broader-than just,toi-deni=-- Indie Grooms 'King' Hollywood, April 12. Newly formed Pyramid Produc- tions, headed by Manning J. Post, win start its career with "Every Man a King," a yarn oiE doings in i-aiitortiia and Texas. Original screenplay is by Eu- gene Vale, who also get* a per- centage of the profits. zens of its "big street'' locale. A good part of the success of "Marker" was due to moppet Shir- ley Temple's appearance as the a,p- pealing youngster. "Jones" has^ a cute kiddie, too, in the person of Mary Jane Saunders. Youngster is free of usual precociousness of screen adolescents and plays her role with a naturalness that makes it very effective, Scenes with Hope, particularly when he does scratch sheet lyrics to "Rock-A- Baby" while singing the young- ster to sleep, are heart-warming; Lucille Ball was a slick choice for the femme lead, interpreting Runyon's idea of a Broadway doll with considerable skill to make it entirely believable. William De- marest's Regret, Bruce Cabot as the big shot, and Tom Pedi as Once Over Sam, fit smoothly into the goings-on.: Thomas Gomez is excellent and other good char- acters: are spotted by : Paul Lees and'Houseley Stevenson. Sidney Lanfield's affectionate direction gets all to be had from the story and the players, making it very satisfactory entertainment. Robert L. Welch's production guidance is in the same vfein, keep- ing the film glib, but warmly hu- morous. A foreword narrated by Walter WincheU kudos Runyon and the. people he brought to life in his writings. Jay Livingston and Ray Evans, in addition to special lyrics .■ for "Rock-A-Bye Bangtail," cleffed "Havin' a Wonderful Wish," effec- tively torched by Miss Ball. There's an able score by Robert Emmett Dolan; topnotcli lensing by Daniel L. Fapp; concise editing under SU'- pervision of Arthur Schmidt; plus other expert contributions to hold up tlie technical credits. Brog. Big jack Hollywood, April 12. Metro release of Gottfried Reinhardt production. Stars Wallace Beery, Rich- ard Conte. Marjorie Main; features Ed- ward Arnold, Vanessa Brown, Directed by Richard Thorpe. Screenplay, Gene Fowler, Marvin Borowsky, Osso Van Eyssi story, Robert Thoeren; camera. Robert Surtees: score, Herbert Stotdart; vdHor. George Boemler. Tradeshown April .7,:'49. Running time; 8S »nii8. ' Big Jack Horner .. ...... . Wallace Beery Dr. Alexander. Meade....., . Richard Conte Flapjack Kate ;..:....,..: Marjorie Main Mayor Mahoney...........Edward Arnold Patricia Mahoney .\ . Vanessa Brown C. Patronius Smith Clinton Sundbere MathiaSf Taylor. .Charles Dingle Saltlick Joe Clem Bevans Bud Valentine . . ...Jack Lambert WiU Farnsworth:.. . .. . .. WUl Wright Teddy. i Wm. •TSaV! PhUUpS Pokey.. ..-.Syd Saylor Comedy in the WiiHace .-Beery manner, plus an 'assist .'froin Mar- .iorie Main/is sufficient to sustain. "Big Jack'' in the general situation where his following is strongest. Story is ii setup for Beery to run through the type of mugging his fans most enjoy, but otherwise is a. rather trite affair, depending on a ghoulish, blood-thirsty humor to get by. Production values: given it by Gottfried Reinhardt are ade- quate but add no flash. Plot has a pseudo-serious angle based on the doctor role played by Conte and the antirsurgery com- plex of the public in the early '80s. To practice:, surgery and improve his. healing. Conte turns to grave- robbing. He's caught but saved from a hanging by Beery's outlaw gang; which wants him to treat the chief's wounded leg. Beery tries to keep Conte with the gang, but he escapes and sets up a new prac- ] tice. His work on cadavers enables him to strike a blow for surgery when he saves a woman's life in an operation, as well as his own neck from an angry mob. Mixed in with Conte's problems are a number of antics as Beery practices his own profession with crude skill. The players, plus Richard Thorpe's fast directorial pace,: do a miglity job of resur- recting some chuckles out of the script material supplied by Gene Fowler. Marvin Borowsky and Osso Van Eyss from a story by Robert Thoeren. Several situations get over because of Thorpe's broad, directorial slugging and the trouping. Edward Arnold, Vanessa Brown and others in the .cast are acceptable. While , this one will get by. Beery needs stronger vehicles if he is to sustain: his position at the family boxoffice In the future. Adequate production mounting has been given standard lensing and other technical treatment. Brog. Manhandled Hollywood, April 12. Paramount release of William H. Pme- William C. Thomas production. Stars Dorothy Lamour, Sterling Haydcn, Dan Duryea; features Irene' Hervey, Philip Reed. Harold Vermilyea, Alan Napier, Art Smith. Irving Bacon. Directed by Lewis R. Foster. Screenplay. Foster and Whitman Chambers; based on story by L. S. Goldsmith; camera. Ernest Laszlo: <editor. Howard Smith. Tradeshown April II, r49. Running time. DR MINS. Merl Kramer, ......Dorothy Lamour Joe Cooper .....Sterling Hayden Karl Benson .. Dan Duryea Mrs. Alton Bennet.... Irene Hervey Guy Bayard Philip Reed Dr. Redman .Harold Vermilyea Mr.' Alton Bennet. ...... Alan Napier Detective Lieut. Dawson...... Art Smith Sgt. Fayle...... ..Irving Bacon VnJH REViBWS 11 Scott of the Antarctic "Scott of the Antarctic" (Rank), which was the Com- mand Performance film last fall, was tradeshown in New York last week, and is be- ing released in the U. S. by Eagle Lion. Pic was reviewed in Variety from London Dec. 8, 1948; by : Myro, who tabbed 4t as not falling into the "top , category of boxoffice suc- cesses, and its appeal will be restricted to audiences inter- ested in a chapter of British history." Filmed in Techni- color, it relates Scott's ill- fated expedition to the South Pole. Film's greatest asset is "the superb casting of John Mills in the title role," says the re- viewer who also noted that shots of the Antarctic wastes with all their terrifying beauty were magnificent. eral quaint touches via alleged comedy twists and always finds time to croon a tune about the out* doors. If anything, there is too much of this ballading, good as it is. Accidental discharge of a siX'^' shooter by a juvenile cowboy saves Autry's face and the cattle." Elena Verdugo, as the rich MeX'^ ican femme, .shows possibilities, having the added asset of being something of a dancer. Support is standard, with Neyle Morrow's awkward juvenile firstrate. ; The Cinecolor wavers several times. Best Autry songs are "Adobe Hacienda,': "No Word Did I Hear" and "Thankful for Small Favors." Wettr. writing and direction which, with expert playing, adds to general good flavor film has. Irene Her- vey, Philip Re^ and Alan NapleJr form a secondary romantic tri- angle. Harold Vermilyea is a crooked psychiatrist, while Art Smith and Irving Bacon are as- tute homicide men. It's not all meller, footage being lightened somewhat with a running gag con- cerning the lack of brakes on the police car and other touches that will pay off. Technical assists are all expert, including Ernest Laszlo's lensing, Darryl Calker's score, the art di- rection and set decorations. ■'■ . ■. : . ■■;:. ■■• Brog. Too Lat« for Tears Hollywood, April 8. United Artists release of Hunt Strom- berg production. Stars LizabeUi Scott, Don DeFore. Dan Duryea; features Arthur Kennedy, KrisUne Miller, Barry Kellev. Directed by Byron Haskin. Screenplav. Roy Huggins, from his Satevepost serial; camera, William MeUor; music. Dale Butts; editor, Harry Keller. Previewed April 7, '49. Running time, 99 MINS. Jane Palmer.. . iLizabeth Scott Dan Blake ..... ..,..... .Don DeFore Danny Fuller. Dan: Duryea Alan Palmer...... i,.. .Arthur Kennedy Kathy: Palmer,............Krlstine MUIer Lieut. Breach...........'vBarry Kelley "Too Late for Tears" is a meanv dering, slowly-paced melodrama that fails to come off. At best, Bedee - (Dedee D'Anvers) V (FRENCH) Vog release: of Sacha Gordlne produe* tion. Stars Simone Slgnoret. Marcel Fag- liero; features Bernard Blier, Dalio. Di- rected by .Yves Allcgrct, Screeii'>lay, AUegret and Jacques Sigurd from story ; by Ashelbe;. camera. '^Jean Bourgoin;'. music, Jacques Besse; English titles,:. I Charles Clement, Noel Meadow. Pre- I viewed in New York; April 13, '49. Run- ' ning time. 93 MIX». Rene Bernard Blier Dedee. .Simone Slgnoret. Francesco. Marcel Pagllero' Marco "...i J. .. ...... Dalio . Germaine.,,, .Jane Marken (In French, isrnptfsh Titles) With: the tawdry. Antwerp water- front as a background, "Dedee" unreels a sordid tale of a loose gal who tires of her unhappy exists ence and seeks to get away from it all through marriage to a sea captain; This French import has good exploitation possibilities whose clientele lean toward earthy films. Cast in the title role, Simone Slgnoret mingles with the sailor customers of Bernard Blier's cafo hard by the quayside. Her youth- ful features and lissome figure make her the spot's ace attraction as compared to her frowzier co- workers. At best this is a seamy life. Doorman Dalio, with whom she rooms, makes it even more un- pleasant by continuallv mistreating her. When Marcel Pagliero, skipper of a freighter, striked Miss Slgno- ret she gives Dalio the brushoff. Thus spurned, he murders his rival and in turn is adequately handled by the girl and cafe operator whose law apparently is an "eye for an eye." Much of the early footage merely serves to develop the f™^'//Jnw''wP°,*.*.^i f^^ru?""*' 'coarse, ribald atmosphere oi the ^"L^" ''"^^ cafe and its geographical surround- "Manhandled" is a forthright melodrama that goes about its busi- ness in a manner that will satisfy in the general market. The pace is fast, the performances good, and , the overall effect shaped to please i in the average situation. Familiar cast names and a title that prom- ises melodramatics are other credit factors that will aid. Plot is a concoction of mayhem and thievery that has been unra- veled with the proper amount of thrills and suspense by Lewis R. Foster's direction. He also script- ed with Whitman Chambers from a story by L. S. Goldsmith. Backr ing the.- story are excellent pro- duction values, In keeping with lo- cales and characters concerned, by William H. Pine and William C. Thomas. Script strikes a number of tan- gents but no attempt is made to fool the customers as who did what and how. Basically, it concerns a bold scoundrel, who's out to turn a buck anyway he can, and what happens to a number of people he, uses to advantage along the Way before getting his come-Uppance. Although Foster has used a lot of footage (96 minutes) to tell his story, it-doesn't let'down, but could , have been made more compact, i Dan Duryea gives a smooth read-: I ing to his role as the small-time 1 chiseler who doesn't niind black- I mail, theft or murder if it's to his I advantage. Dorothy Lamour does I exceptionally well as a dupe Dur- ' yea uses along hts crooked trail 1 and the two supply a top thrill I moment in a rooftop battle. Sterl- ! ing Hayden does an easy job as an insurance investigator tracking i down some missing jewels and ro- i mancing Miss Lamour^ ; Attention has been given to ' other characters in the plot by aid its boxoffice chances. Roy Huggins' Satevepost serial posed a good idea for a picture, but his script wanders through 99 min- utes without ever attaining the pace or suspense necessary for good melodrama. Plot deals with a grasping woman. When chance tosses $60,000 into her lap, she murders and lies to keep it, but in the end, after murdering her hus- band and a fellow conniver, she goes to her ovm sorry death. ' Byron Haskin's direction is spotty in handling the material under Hunt Stromberg's production su- pervision, and the cast does little to assist in bringing yam to life. Lensing of players, particularly Lizabeth Scott and Krlstine Miller, is not good, another factor in dull- ing the illusions that are attempted. Miss'~Scott~has a good moment or two as the heavy, but overall effect is below her usual level. Dan Dur- yea's character as cohort of Miss Scott's in chicanery hits a good stride in film's first half, but loses toughness and menace in the latter half, resultiifg in some. unconscious comedy in scenes between the two. Don DeFore fills a rather thank- less spot as the man who brings Miss Scott to justice and wins the hand of Miss Miller. Arthur Ken- nedy, the husband, and Barry Kel- ley, police detective, round out the credited cast. Technical assists on the produc- tion, such as settings, music score and art direction, are all compe- tent, but editing leaves film over length. Brog. geographical i .__.. ings. Were this pared by 10 or 15 minutes the film's action would be speeded. : As the flUe de joie Miss Stgnoret lends realism to the role. Pagli- ero registers as the strong, silent type, while Blier Impresses as the boniface. Dalio succeeds in a credible portrayal ot a piece of human flotsam. Jane Marken is amusing as a buxom trollop/ Yves Allegret's direction is fair as is the camerawork of Jean Bourgoin in this Sacha Gordine production. Gilb. rottl; features"^^ Tli« Big Sombrero (COLOR—SONGS) Columbia release of Gene Autry produc-: tion. Stars Autry. Directed by Frank Mc- Donald. Original screenplay; Olive: Cooper; camera (Cinecolor), William Brad*' ford; editor, Henry Batista. Tradeshown N. Y.. April 7. '49. Running time, t» MINS. Gene Autry... Gene Autry. Bstrellita Estrada......... Elena Verdugo James Garland . ... Stephen Dunne: ,Tuan Vaicaro George J. Lewis I .\nKie Burke. Vera Marshe 1 Luis Alvarado .William Edmunds I Felipe Gonzales........ .Martin GarralaKa Ben McBrlde.; .Gene Stutenroth Tico Neyle Morrow iStacv . Bob Cason Farmer ................. Pierce Dixon Estaban .......... Rian Valente Pablo .................. Antonio Filauri "The Bi? Sombrero" has western In !¥omo'Bella Legge (In the Name of the Law) (ITALIAN) Genoa, March 31. ' Bovere pro; Lux F ilm releaie of Lull -auction.' Stara Masslmb Ui Jone Salinas, Cammo Mastroclhque; Charles Vanel. Directed by Pletro Germi. Screenplay. Aldo Bizzarrl, Federico Fel- llnl, Germi, Giuseppe Manglone. Mario MoniceUl. 'TulUo PineUl; camera, Leonida Barboni.. At Orattacielo, Genoa. Running time, lou snsts. Magistrate Guldo Schiavl Massimo GirottI Baroness Teresa Lo Vasto . Jone Salinas Baron Lo Vasto CamlUo Mastroclnque Don Fill Turl Pandolflnl Lawyer Feranda....... .Peppino Spadaro Town Marshal. I•.. .. Saro Urzi Ciccio Messana. .Ignazlo Balsams Court Recorder....... /.Saro Areldiacono • Lorenzlna ....;.......: ..Nanda. De <iSanti$ Vastianedda. . .. . . Nadla Nlver Paolino .. Bernardo Indellcato Massaro Turl Passalaqua . . Charles Vanel Clean-cut, tightly-knit, and well- rounded, this one is a surefire en- tity for the: art circuit. Filmed in the heart of Sicily, it gives a far different picture of the island from the : olive tree and orange grove impression most people have. Peasants and landowners alike liv- ing by a law of their own—that of the notorious "Mafia,"; an organi-. zation of tough volunteers. Which dispenses its own kind of justice; with a shotgun in place of the law- book. Picture shows what hap- pens when the government sends. a young lawyer-magistrate to the village of Capodarso to take over the job of sheriff vacated by his predecessor. In the key role, Massimo Girot- ti gives his best performance so: far as the young lawyer who runs into trouble from the start at his new post. Camera work gives a I ballads, Cinecolor, Gene Autry and i gofd picture of the and, sun- ; a somewhat different blot. Added . baked Sicilian countryside Musi- together tJiis soells lust another score, which properly high I Autry starrer that will make ex- hibitors happy where his oats operas have a following. An ex-rodeo star sets out to wed a Mexican senorita for her: fabu lights salient points of : action, rates an extra nod. Girotti gets masterful support from a well-chosen cast of Char- acter actors. Jone Salinas is the lous ranch and cattle. Autry sets i baroness with whom the lawyer if riglit, He also, has added sev-1 . (Continued on page 20)