Box office digest (May-Dec 1946)

BOX OFFICE DIGEST 7 "Without Reservations'' Socko Hit For RKO and Lasky (RKO-RADIO) The Digest’s Box Office Estimate: 185% Produced by Jesse L. Lasky Director Mervyn LeRoy The Players: Claudette Colbert, John Wayne, Don DeFore, Anne Triola, Phil Brown, Frank Puglia, Thurston Hall, Dona Drake, Fernando Alvarado, Charles Arnt, Louella Parsons. Photography Milton Krasna Time 107 minutes A Mervyn LeRoy Production With Mervyn LeRoy at the directorial reins, the producing team of Jesse L. Lasky and his associate, Walter McEwen, have given RKO a picture that will undoubtedly be one of the top money grossers of the year, and far and away beyond the shadow of any doubt provide some of the most hilariously enjoyable evenings any theater audience will encounter. The picture is a triumph for Claudette Colbert, and for her staunch male colleagues in the fun and frolic, John Wayne and Don DeFore. From the opening scene to the closing one it is a snow ball of delightful situations, always chucklesome, frequently of the bellylaugh and rib-aching variety. LeRoy toys with his situations in high glee, revels in the keen talents of his troupers. " Henry V" (TWO CITIES FILMS-UA) The Digest’s Box Office Estimate: 110% Producer-director Laurence Olivier In association with the Editor Reginald Beck The Players: Laurence Olivier, Robert New ton, Leslie Banks, Renee Asherson, Esmond Knight, Leo Genn, Felix Aylmer, Ralph Truman, Harcourt Williams, Ivy St. Heler, Ernest Thesiger, Max Adrian, Francis Lister, Valentine, Dyall, Russell Thorndike, Michael Shepley, Morland Graham, Brian Nissen, Gerald Case, Janet Burnell, Nicholas Hannen, Robert Helpmann, Freda Jackson, Jimmy Hanley, John Laurie, Niall Mac Ginnis, George Robey, Roy Emerton, Griffith Jones, Arthur Hambling, Frederick Cooper, Michael Warre, Frank Tickle, George Cole, Vernon Greeves, Jonathan Field, Ernest Hare. Photography Robert Krasker Time 134 minutes The fairly well known dramatist, William Shakespeare, gets another opportunity to show what he can do for the lowly motion picture box office with this spectacularly big British production of his “Henry V.” In the Fundamental story basis has the inherent value of the transcontinental journey that reminds of Colbert and Gable in “It Happened One Night,” and Arthur and Wayne in “Lady Takes a Chance.” It’s a great springboard but it isn’t automatic. You must see the picture to realize what the talents here combined contribute as few others could have. Miss Colbert is presented as the author of a best-selling novel, about to be screened. Her journey is at the request of the Hollywood producers, among whose problems is the fact, as we are naively told, that they can’t get Cary Grant for the leading role because of prior commitments and it may be necessary to star an unknown as her hero. This idea doesn’t sit so well with Claudette — until she boards the train and finds herself opposite two Marine fliers, Wayne and DeFore. Captain Wayne quickly becomes her eye image of the sought-for leading man. There is the situation, and there are your human props. It is helped along when the Marines’ disparaging remarks about her novel cause Miss Colbert to seek refuge under the alliterative name of “Kitty Klotch.” That change of identity, and the desire of the authoress not to lose sight of her fliers, brings on the complications that lusty and lush person of Henry VIII he did pretty well both for box office and for one Charles Laughton. In “Midsummer Night’s Dream,” American-made by Warners, he fed box offices spottilly. Now he has another chance. United Artists states that present plans are for road show treatment of the exhibition, with heavy accent on tie-ups — clubs, schools, etc. But this does not preclude the certainty of eventual picture theater showing of any production that represents a two million dollar investment. And it is doubtful if Mr. Shakespeare will ever receive production treatment more lavish in scope, more sincere in adherence to its creator’s spirit. “Henry V” is in rich Technicolor for one thing, it has been produced and directed by Laurence Olivier for a shrewd approximation of stage charm with motion picture expanse and pace. It is trouped as a labor of love by a dazzling British cast. Olivier’s name will help the American box office, and his performance as an actor challenges his remarkable achievements as pro ensue. We travel on a streamlined laugh special from then on by way of complications in New Mexico, a night in jail, and the fun doesn’t end when we arrive in Hollywood. Romance between Claudette and John has slyly accompanied us. At the film capital, incidentally, opportunity is given for brief, and interesting, snatches of Louella Parsons, Cary Grant, Jack Benny and Dolores Moran. We have said enough to make it only repetition to praise Miss Colbert’s enchanting performance again, to record that John Wayne has never been seen to more ingratiating advantage, and that Don DeFore is a worthy member of the great entertainment trio. Support is excellent, outstanding contribution coming from Anne Triola, as a pestiferous ga-ga. She wraps up her scenes. Milton Krasna’s photography is, in his customary fine style. Exhibitor’s Booking Suggestion : Socko hit. . . . Previewed May 7th. WHAT THE OTHER FELLOWS SAID: REPORTER: “Headed for smash box office.” VARIETY: “Will get box office response wherever the customers are interested in love and laughter.” ducer and director. It is difficult to believe that this superb production was made in England in the closing years of war. It is asking the impossible to call for a more colorful, convincing Henry V than that of Mr. Olivier. It is a late date to retell the story of a Shakespeare play, so perhaps the records will be satisfied with a reminder that it covers the period when an English king crossed the Channel battle-bound to press his claims to the throne of France, the martial elements being balanced by the romance with Princess Katherine. A clever conception gets the picture under way — from opening scenes taking place on the stage of the famous Globe Theater, with the limitations and picturesqueness of the 1 7th Century theater, we move on to conventional picture backgrounding. Spectacular possibilities of the battles with the French are used to the utmost advantage. WHAT THE OTHER FELLOWS SAID: REPORTER: “Truly magnificent as a theatrical experience.” VARIETY: “Top entertainment . . . good for packed houses.” Gives Shakespeare Another Chance BOX OFFICE Digest Annual GOING TO ** PRESS!