National Box Office Digest (May-Dec 1946)

BOX OFFICE DIGEST 1 6 Gives New Life to MGM Hit Series Courage of Lassie'' (MGM) The Digest's Box Office Estimate: 135% Producer Robert Sisk Director Fred M. Wilcox Tiie Players: Lassie, Elizabeth Taylor, Frank Morgan, Tom Drake, Selena Royle, Harry Davenport, George Cleveland, Catherine Frances McLeod, Morris Ankruin, Mitchell Lewis, Jane Green, David Holt, William Wallace, Minor Watson, Donald Curtis, Clancy Cooper, Carl “Alfalfa” Switzer, Conrad Binyon. Photography Leonard Smith Time 92 minutes Producer Bob Sisk and director Fred M. Wilcox give sharp reinvigoration to the popularity of Lassie with MGM's latest Tenchnicolor offering featuring the canine star. The same qualities that have made all Lassie pictures outstanding in appeal to childhood and youth are present, plus intangibles of story value and development that give it no cause for worry on the point of wide adult appeal. The action of the picture spans the full range of possibilities in delightful audience appeal with a canine star, and with the patience and resources of MGM production. We meet our star as a puppy, a bewildered little pup with his eyes barely open to a strange and somewhat terrifying world. He has been accidentally lost in the woods — a woodland populated with animals whom he does not understand, squirrel, fox, crow, bear, fawns, even a frog. The frightened curiosity of the pup meeting his new world is shared by the spectator. Rescued by a little girl, the dog becomes a valued aid with the sheep. But plot moves on, and complications bring Lassie to valiant war dog service in the Aleutians, to tragedy when he has been returned to the States and is accused of “crime,’ and final vindication and happy days. Highlighted, of course, by the uniqueness of its star, this is also a story of consistent interest in itself, developed with the skill of top craftsmanship by Fred Wilcox’s direc tion and the fine human trouping. Lassie’s contribution needs no special mention. Elizabeth Taylor, the youngster who scored so delightfully in “National Velvet,” repeats here. David Holt, Catherine Frances McLeod are capable tykes. Class of the adult support is evident in the names alone — Frank Morgan, Selena Royle, Tom Drake. Harry Davenport and George Cleveland in particular. No review can be complete without a bow to the fine Technicolor photography by Leonard Smith, and the importance of the recognition given on the credit sheet to “Codirector of animal sequences, Basil Wrangel.” Exhibitor’s Booking Suggestion : An audience natural for all ages. . . . Previewed May 1st. WHAT THE OTHER FELLOWS SAID: REPORTER: “Due to be enthusiastieally received.” VARIETY: “Should enjoy same type of popularity and grosses which characterized two previous Lassie films.” Republic Surprise Package The Glass Alibi'' (REPUBLIC) The Digest's Box Office Estimate: 85% Producer-director W. Lee Wilder The Players: Paul Kelly, Douglas Fowley, Anne Gwynne, Maris Wrixon, Jack Conrad, Selmer Jackson, Cyril Thornton, Cy Kendall, Walter Soderling, Vic Potel, George Chandler, Phyllis Adair, Ted Stanhope, Dick Scott, Eula Guy, Forrest Taylor. Photography Henry Sharp Time 68 minutes Here is a better than average meller number for your detective mystery fans. Fortified with a story boasting originality and tight scripting, producer-director W. Lee Wilder has delivered a compressed 66 minute package, taut in interest throughout, frequent in surprises right up to the finish, and played to the hilt by a responsive cast. Wilder, whose previous credits have listed him as “William Wilder,” and who is apparently now seeking further avoidance of family confusion with Billy “Lost Weekend” Wilder, shows deft skill in handling this type of material, both in the shading of his characters and crisp, staccato, tempo of his narrative. No time is wasted on “smart” dialogue, yet the types are sharply delineated. Pace is swift and abounding in twists, yet never confusing. Basic idea is pregnant in possibilities and sure-fire for early capture of audience interest. Douglas Fowley, Los Angeles newspaper man, is a likeable personality, but fundamentally a heel. As is quickly shown when he marries an heiress, knowing — along with the audience — that his chief interest is in the fact that she has a heart ailment dooming her to early death. The bride, Maris Wrixon, lingers on. There’s a girl in Fowley’s past, a gangster’s moll, who comes in handy now. She it is who enables him to commit murder with the tightest possible alibi you ever heard of. But the moll also has a past, and that concerns a small time gangster, who is eventually the guy who messes everything up in the way that provides the picture’s surprise finish and which we refuse to divulge. Paul Kelly keys much of the action as the police lieutenant, friend of Fowley’s but wise to his “heelish” tendencies. Performances throughout are excellent, achieving full values of the characters yet w'ith a minimum of hamming. Kelly and Fowley are step by step in the top male roles, Anne Gwynn scores solidly in the lush gun moll part. Maris Wrixon is naturally a bit subordinated as the heiress-victim, but delivers capably. Jack Conrad, a newcomer being groomed by Republic for future top spots, makes much of the gangster characterization. Production values are on a budget scale, but more than adequate to the story and especially interesting in authentic Hollywood backgrounding. They are enhanced by the top photographic contribution of veteran Henry Sharp. Exhibitor s Booking Suggestion : Worth special checking on your Republic list. . . . Previewed April 26th. WHAT THE OTHER FELLOWS SAID: REPORTER: “This tight and tense melo drama pays off.” VARIETY: “Wholly entertaining meller.” rjCast C^aif . • • • • BOX OFFICE ANNUAL