Box office digest (May-Dec 1946)

8 BOX OFFICE DIGEST Scoops Field on Hot Subject "0. S. S." (PARAMOUNT) The Digest’s Box Office Estimate: 150% \\ ritten and produced by Richard Maibauin Director Irvin" Pichel Tlie Players: .Alan Ladd, Geraldine Fitzgerald, Pat Knowles, John Hoyt, Gloria Saunders, Richard Webb, Richard Benedict, Harold Vermilyea, Don Beddoe, Onslow Stevens, Gavin Muir, Egon Brecher, Bobby Driscoll, Julia Dean. Crane Whitley. Photography Lionel Linden Time 107 minutes “O. S. S.” is an alphabetical designation rapidly becoming familiar to the stay-athome public as the book and magazine presses unroll their umpty-lUou an^ vmrds about Uncle Sam’s Office of Strategic Services and its invaluable work during the war. Paramount’s picture is the first celluloid treatment to reach the market, and should (REPUBLIC) The Digest's Box Office Estimate: 85% Produced, directed and written by' Ben Hecht Co-producer-director and photographer Lee Cannes The Players: Judith Anderson, Michael Chekhov, I van Kirov, Viola Essen, Lionel Stander, Charles “Red” Marshall, George Shdanoff, Billy Gray, Juan Panalle, Lou Hearn, Ferike Boros, Constantine, Ferdinand Pollina, Polly Rose, Jim Moran, Freda Flier, Miriam Schiller, Miriam Golden, Grace Mann, Alice Cavers, Nina Haven, Arleen Claire, Celene Radding, Allan Cooke, John Stanley. Time 90 minutes Republic has spent lavishly in money and technical facilities to give Ben Hecht full play on the screen for one of those producerdirector-writer omnibuses. The result is a picture with many of the attributes of class, but also a picture that must be sold to reach cash in accordingly. There is considerable that is interesting and quite a bit that is thrilling in this factual-fiction expose of the battle front companion of the homefront F.B.I. With Alan Ladd and Geraldine Fitzgerald for the marquee the seat-selling values should be automatic, with the rich exploitation possibilities in Paramount’s scoop only magnifying the returns. The story contrived to bring this fascinating subject to the screen is apparently satisfied to be a moderately interesting spy plus romance formula yarn, with producers placing their emphasis on the factual in the training and the terrific risks taken by the O. S. S. and the natural result of some exciting action before the picture is concluded. Alan Ladd is thoroughly at home and adeptly skillful in handling the role of leader of an O. S. S. band at work underground in France. Miss Fitzgerald is pleasingly con all of the audience section at which it has been aimed. For it is strictly a three-ring Hecht show. He is not encumbered with marquee selling player names, nor is his story in any danger of being cheapened by having too wide mass popularity. Ballet, presented with glitter and technical correctness, is the background of Hecht’s yarn. And more than the physical aspects of ballet are concerned, for the psychology and emotions of its exponents and those who surround them definitely are the story. It is an intriguing story premise, but the plot developed therefrom too frequently takes on the air of being alternate exercises in dialogue and terpsichore. Ivor Kirov is seen as a near-mad dancer, killer of his first wife and seemingly due with inevitableness to do the same by Viola Essen, the ballerina who loves and worships him vincing as his partner in risks. John Hoyt does an outstanding job as a Nazi, and other important spots are well handled by Patric Knowles, Harold Vermilyea, Onslow Stevens, Gloria Saunders, Richard Webb, Richard Benedict and Don Beddoe. Over-all production guidance by Richard Maibaum, who also wrote the original story, is a credit to the important theme, while Irving Pichel’s direction gets full values from the dramatic possibilities. Exhibitor s Booking Suggestion : Natural for exploitation, but blessed with good star values, too. . . . Previewed May 6th. WHAT THE OTHER FELLOWS SAID: REPORTER: “Follows an unfortunately familiar path.” VARIETY: “A natural for profitable ex ploitation.” Job; Must Be Sold now. The ever present menace to the second wife is a strong strain of suspense which Plecht tells in a structure that shows the building of a ballet, with one particular dance that has elements of being a fatal moment to M iss Essen having particularly powerful impact. Judith Anderson, as a ballet star of yesteryear, carries off the acting honors of the piece, with Kirov and Essen shining in their dancing, and Miss Essen registering effectively also as a dramatic actress. Lionel Stander’s role as a poet is so overloaded with speechifying as to be an irritant in the picture. Exhibitor’s Booking Suggestion : Problem picture. . . . Previewed May i6th. WHAT THE OTHER FELLOWS SAID: REPORTER: “Needs strong selling.” VARIETY: “Lacking almost entirely in popular ingredients.” \Y Spectre of the Rose Class Live Exploitation Idea Don t Gamble With (MONOGRAM) The Digest's Box Office Estimate: 85% Producer Jeffrey Bernerd Director William Beaudine The Players: Kane Richmond, Bernadene Hayes, Peter Cookson, • Gloria Warren, Charles Trowbridge, Frank Dae, Addison Richards, Phil Van Zandt, Tony Caruso, Bill Kennedy. Photo graphy William Sickner Time 68 minutes Jeffrey Bernerd should have another exploitation money-maker on his Monogram list with “Don’t Gamble With Strangers.” Backing up the ballyhoo that will be built on the title is a picture that will satisfy in its Love exposition of the gambling fraternity, and supply an acceptable portion of fast-moving melodrama in the process. Kane Richmond and Bernadene Hayes do above average jobs in the top roles. They are card sharps who have teamed up, after a cleverly conceived meeting on shipboard, to take over a small town. They do pretty well at their racket, too, and might still be at it if Richmond were not such a heel. His greed brings on the melodrama, building up to his own murder, and a rather hurried clearing up of the story for the fade-out. William Beaudine’s direction is experienced and fast-moving. His pace smooths many, if not all, of the script’s rough corners, and his exposition of the gambling angle that will be the real appeal has been handled to full advantage. Richmond continues to register the fact that he is embarked on a new career to the top. Miss Hayes wraps up her role. Support is excellent, Peter Cookson, young Gloria Warren, Frank Dae and Charles Trowbridge accounting for the best opportunities. Exhibitor’s Booking Suggestion : Neat little exploitation package. . . . Previewed May 14th. WHAT THE OTHER FELLOWS SAID : REPORTER: “Should be no gamble at am box office.” VARIETY: “Shapes up as sure-fire stuff for Monogram market.”