Box office digest (Dec 1938-Dec 1939)

DECEMBER 20, 1938 9 "Kentucky” Built For Showmen 20 th CENTURY-FOX (EST. 130%) Associate Producer Gene Markey Director David Butler Screenplay Lamar Trotti John Taintor Foote From the story by John Taintor Foote Stars Loretta Young, Richard Greene Featured: Walter Brennan, Douglas Dum brille, Karen Morley, Moroni Olsen, Russell Hicks, Willard Robertson, Charles Waldron, George Reed, Bobs Watson, Delmar Watson, Leona Roberts, Charles Lane, Charles Middleton, Harry Hayden, Robert Middlemass, Madame Sul-Te-Wan, Cliff Clark, Meredith Howard, Fred Burton, Charles Trowbridge, Eddie Anderson, Stanley Andrews. Photographer Ernest Palmer Technicolor Photographer Ray Rennahan Technicolor Director Natalie Kalmus Art Directors. ...Bernard Herzbrun, Lewis Creber Musical Director Louis Silvers Film Editor Irene Morra Time 95 Minutes Showmanship wrapped up in a Zanuck package, that’s "Kentucky.” Fundamentally you could call it "just another race track story.” But from that point on you would have to start using the adjectives that would describe all the glittering trappings of the cellophane wrapper, and you’d finish with the one word, "Showmanship.” First of all, there is the device of lending dignity to the turf yarn by glorifying the grand old state of Kentucky, land of fair wo men and fast horses. A crisply dramatic Civil War prologue gets this keynote under way with a bang. Then there is eye-filling and breathtaking Technicolor, used with probably the most satisfying effect it has achieved on the screen. Then, under the direction of David Butler, the formula of the plot takes on the strength of a succession of effective scenes, acquiring a suspenseful interest that only such sure-handed direction could have given it. And there is a gem-studded cast. Zanuck and his associate producer, Gene Markey, outdid themselves in spotting each role, to the smallest. Walter Brennan walks off with the acting honors, both because the story’s strength leaned that way, and because of this fine trouper’s genius at infusing corpuscles into a characterization. It is one of Brennan’s best jobs, and if the picture comes within this year’s Academy schedule, the supporting player award is already made. Brennan is the name. But the picture also serves to progress the career of Richard Greene. Given his best opportunity to date, Greene continues to improve in ease and assurance, and his personality is one that will grow on audiences. Loretta Young contributes her own decorative competence, while the players in support, in even the briefest of spot roles, are all so excellent it seems unfair to single out names. Though no review should omit mention of the fact that the colored players present are the most competent selection of negro actors yet made by a producer. Lamar Trotti and John Taintor Foote placed an intelligently adult script in Director Butler’s hands. And over it all there is the spell of the beauties of Kentucky and Kentucky’s horse flesh in Ray Rennahan’s subtly gorgeous Technicolor. The story? Oh, yes. Well the Civil War episode serves to establish a feud between two Kentucky families — one of Yankee ancestry, the other true South. The feud continues to the present day, carried on by descendants Loretta Young and Pvichard Greene, fanned to life by unreconstructed rebel, Walter Brennan. The winning of the Kentucky Derby by the girl’s horse solves all problems and pays off on all bets. And what a race David Butler put up on that screen! Honest, you can rent the bookie concession in your lobby for the run — and there’ll be those to make you bets. WHAT THE OTHER FELLOWS SAID: REPORTER: “Boyoboy, what a treat for lovers of horse-flesh, Kentucky, the Derby, Southern tradition, exciting racing sequences and delicious humor! It’s a knockout from the word go to the very last moment of the big race.” VARIETY: “The beauty of the blue grass region with its celebrated breeding farms and the traditional gallantries of Kenutcky are here blended in a picture of romantic charm, vigorous drama and stirring spectacle.” "Paris Honeymoou” Fine Crosby Picture PARAMOUNT (EST. 135%) Producer Harlan Thompson Director Frank Tuttle Screenplay Frank Butler, Don Hartman Story Angela Sherwood Stars .... Bing Crosby, Franciska Gaal Featured: Akim Tamiroff, Shirley Ross, Edward Everett Horton, Ben Blue, Rafaela Ottiano, Gregory Gaye, Luana Walters, Alex Melesh, Victor Kilian, Michael Visaroff. Photographer Karl Struss Music and Lyrics Leo Robin, Ralph Rainger Musical Director Boris Morros Art Directors Hans Dreier, Roland Anderson Dance Director LeRoy Prinz Film Editor Archie Marshek Time 83 Minutes "Paris Honeymoon” will take high ranking in the consistently above average pictures that have maintained Bing Crosby’s box office standing. Working from a slender farce basis that is a refreshing departure from routine formula, Producer Harlan Thompson and Director Frank Tuttle have blended sure-fire elements of song and comedy in a skillfull manner. It is showmanlike in its direct aim for unmuted belly laughs in its comedy moments, delightful in the intelligent smoothness of its presentation of melodies. The naively winning Crosby personality holds events together through the course of the picture, but it is in the opportunities given an adroitly selected cast that the all-around feeling of satisfaction comes. Akim Tamiroff may have had more important dramatic roles in epics, but he has never turned in a more cer tainly winning performance than his comic deliniation here. He is the mayor of a French village, with ideas inspired by experience in Chicago’s rackets. Franciska Gaal is a demure eyeful and, in Tuttle’s hands, a saucily effective comedienne. Shirley Ross in the thankless "other woman” part, is surprisingly good, almost too appealing for the demands of the part. Which showed intelligence on the part of the producers in the casting. Even Ben Blue, who has not always fared well at the hands of scripters and directors, is handled in just the right way to get every laugh for which he is intended, while not over-reaching. An indication of the cast strength is given in the fact that the tried and true Edward Everett Horton just steps along in the company of peers. It’s a slight story basis — merely sufficient to • The Dun and Brad street of the Industry introduce us to Bing and Shirley on the day of their wedding which is unavoidably postponed because she must journey to Paris to iron out some red tape on a divorce from her previous hubby. Bing journeys along, and to while away the time while the courts do the deed, rents a castle in a village where Tamiroff is the big pooh-bah. This brings him into contact with the local Cinderella, Franciska Gaal, who is domiciled with the bashful Bing for a week as one of her rewards for winning the crown as village queen. From there, Scripters Frank Butler and Don Hartman clothe it with intelligent dialogue, many laughs in the lines, and workmanship in the structure. Frank Tuttle’s unique ability to blend his music and action with sheerly delightful smoothness was never better used, while his handling of the high-spot comedy sequences milks them to the utmost. Robin and Rainger contribute three numbers, the hit possibilities of which can be judged by the fact that votes in equal number for each can be found from the preview audience. Our vote goes for "Joobalai.” WHAT THE OTHER FELLOWS SAID: REPORTER: “ ‘Paris Honeymoon’ has only Bing Crosby to stamp it as out of the ordinary run-of-the-mill film fare. It is scarcely a fitting successor to ‘Sing You Sinners,’ even granting that the latter was tops.” VARIETY: “Frothy and gay, ‘Paris Honeymoon’ emerges from the mill bearing every indication it will reap a harvest equal to if not greater than Bing Crosby’e previous number, ‘Sing You Sinners.” ”