National Box Office Digest (Jan-Dec 1945)

12 BOX OFFICE DIGEST “Picture of Dorian Gray” . . Heavy for Masses (MGM) The Digest’s Box Office Estimate: 150% Producer Faridro Berman Director -.Albert Lewin The Players: George Sanders, Hurd Hatfield, Donna Reed, Angela Lansbury, Peter Lawford, Lowell Gillmore, Richard Fraser, Douglas Walton, Morton Lowry, Miles Mander, Lydia Bilbrook, Mary Forbes, Robert Grieg, Movna Macgill, Billy Bevan, Renie Carson, Lillian Bond, and Devi Dja and her Balinese Dancers. Photography Harry Stradling Time iv 111 minutes “The Picture of Dorian Gray” is going to be one of those booking headaches. It has been so superbly produced ; it concerns Oscar Wilde, the mention of whose name sends titillations through the “smarter set.” It hints at things that might just as. well be left — well, anywhere, .< as long as the celluloid shortage continues. “The Picture' of Dorian Gray” is a fine producing job by the skillful Pan Berman. The wonder is that anybody should decide to make a picture of the erotic tale. The result, on the screen, is the extraordinarily good “The Unseen” (PARAMOUNT) The Digest’s Bax Office Estimate: 105% Associate producer John Houseman Director Lewis Allen Tbe Players: Joel McCrea, Gail Russell. Herbert Marshall, Phyllis Brooks, Isobel Elsom, Norman Lloyd, Mikhail Rasumny, Elisabeth Risdon, Tom Tully, Nona Griffith, Richard Lyon, Victoria Horne, Mary Field. Photography John F. Seitz Time 87 minutes Director Lewis Allen has shown a skill in the handling of “The Unseen” that gives bright promise for his future contributions to the screen. The John Houseman production for Paramount emerges under the combined talents of writers, producer, players and Allen to high ranking in the tricky field of class chiller fare. The picture will have universal appeal to the fans who delight in their shivering, and added prestige and money value through the fact of its intelligence. So thoroughly gripping is the suspense and production skill that Berman and Leo would give any picture, and the answer to the $64 question is why all the fuss? If a few of our exhibitor readers are not up on the facts of life we might interject the reportorial information that “The Picture of Dorian Gray” is the creation of a degenerate, Oscar Wilde, who got his brain wavings into print, and thus achieved the lable of “classic” from the sort of people who think that if you are “daring” then it follows that you must be classic. Watered down — diluted would be the better word — for the screen, “The Picture of Dorian Gray” is still a pitiful figure on the human stage. Talkative beyond endurance, screwey as all hell, not at all the sort of guy, in himself, and his fellows, that you want around a home. Box office will be a dud in general runs where common ordinary healthy human beings will be tired by the talk and will never realize the insinuations. For the first runs, shrewd producer Pan Berman may have picked a flash winner, because the psuedointellectuals think there are hidden wonders in Oscar Wilde, and Leo the Lion will go to town on the selling. . . Quality the mystery of the yarn, its playing and direction, that no reviewer will yield to the temptation to tell you the solution to its puzzles. He can give you the background : Joel McCrea is the widower, with two unusually bright children. Gail Russell is a new governess arriving to handle the children. Then — AH-ha !-there is a house next door, boarded up for years since the death of its owner, and kept permanently closed by his widow. Also, there were circumstances about the death of McCrea’s wife which were suspicious. There is a doctor, Herbert Marshall, intimate with McCrea and his precocious children. That — the house next door, the people involved, and later the police, make for the gol durndest of eerie suspense, impending tragedy, and what you may desire. Joel McCrea’s role, requiring the most clever shading for the values he secures, is one of the best things he has done for the screen. Miss Russell, handling the puzzled role as governess, is It is about time we tell you something about the picture. First of all, it is a superb production job. Producer Berman, Director Lewin, and the lush resources in talent and money of MGM, have combined for one of the memorable picture-making jobs of the year. And then about the acting — Hurd Hatfield, whose role might be called a “pansy” in any but a family trade publication, delivers an impressive characterization in a characterization that was as difficult as it is disagreeable. George Sanders finds himself at home spouting the verbiage about love, marriage, and life, that is Oscar Wilde. Support is the choice of our British acting colony, grand troupers all. Exhibitor’ s Booking Suggestion : We have tried to say it all above. . . . Previewed Feb. 15th. WHAT THE OTHER FELLOWS SAID REPORTER: “The magnificence of production can hardly be approached by any picture that has ever been made.” VARIETY : “This is one of the most daring of screen enterprises.” Mystery Thriller unusually effective. No words are needed to say that Herbert Marshall delivers solidly to the general fine result. Surprise of the picture are the youngsters — Nona Griffith and Richard Lyon on the credit list — but in reality the children of Beebe Daniels and Ben Lyon, well known favorites of yesteryear here and currently as strong in England. The children carry important parts, unusually important to the psychological impact of the entire shudder, and their contributions are outstanding. All in all, “The Unseen” is an item on the Paramount list bringing credit to all concerned, Producer Houseman, Director Alien, scripters, players and technicians. Exhibitor’s Booking Suggestion : On the quality list for horror subjects. . . . Will satisfy the nuts but also please the intelligent. . . . Previewed Feb. 1 6th. WHAT THE OTHER FELLOWS SAID: REPORTER: “Has tbe unmistakable stamp of quality . . . every prospect of meeting with wide public approval.” • • I The Red Cross Works AH the Time