Boxoffice (Jan-Mar 1941)

Opinions on Current Productions, and Cxploitips for Selling to the Public FEATURE REVIEWS Adam Had Four Sons F Drama Columbia ( ) 80 Minutes Rel. Feb. 15. '41 Robert Sherwood's first production under the Columbia aegis is a finely made and impressive motion picture, incorporating sufficient proven entertainment elements to indicate profitable patronage. It appears probable that the ’ feature will require smart merchandising to garner, in initial showings, the grosses to which it is entitled. Once it be* gins to receive the benefits of the word-of-mouth acclaim that obvious merit will engender, the film should have no difficulty in hitting its full stride. For the acute sentimentalists and romanticists the picture is irresistible bait, since it specializes in love of various varieties — the love of a man for his motherless sons, the suppressed and undeclared ten1 der passion which two fine characters feel toward each other over a long period of years, and the impetuous love of youth. The cast, although light on established names, is splendid throughout. Warner Baxter, in a part ideally suited to his matured talents, re-establishes his position as one of filmdom's better actors. Ingrid Bergman, who shares top honors with him, appears to incalculably greater advantage than in her previous roles. The story, an adaptation of Charles Bonner's novel, "Legacy," deals with the raising of four boys by a father and beloved governess during the turbulent period between 1907 and the end of World War I. Gregory Ratoff's effective direction displays understanding. > Ingrid Bergman, Warner Baxter, Susan Hayward, Fay Wray, Richard Denning, Helen Westley, Robert Shaw. EXPLOITIPS: The fact that this was made from a bestselling novel, "Legacy," should not be overlooked in the exploitation campaign. Make the obvious tieups with bookstores and public libraries. Warner Baxter is the top marquee and advertising name. Stills showing Baxter driving an antiquated "horseless carriage" can be worked into tieups with automobile dealers. Use the picture title as the basis of a stunt whereby every father with four sons is admitted, with his offspring, free. CATCHLINES: It Was a Stirring Novel . . . This Story of a 9 Man Who Fought to Keep His Family Together . . . And It Makes a Great Picture. The Strawberry Blonde F CZ* FN (559) 91 Minutes Rel. Feb. 22, '41 A full measure of laughs, a few tears, a large helping of romance and a dash of bittersweet nostalgia are expertly blended against authentic backgrounds, atmosphere and music of the Gay Nineties to compound a story, which, jer,s entrusted to a sterling cast, emerges as a film treat for which her Jgreat popularity and profit may be confidently prophesied. The picture is considerable of a triumph for the Cagney family. William, of that clan, turned out his second productional assignment, and delivered a topnotch job in mounting the vehicle. James, sharing star billing with Olivia de Havilland and Rita Hayworth, romps home with the acting honors in a part which fits his talents like a pair of hand-made boots, although the aforementioned Misses both score effectively. The supporting cast, ideally typed throughout, adds its sizeable bit to the gay proceedings. Cagney is cast as a struggling dentist who married Miss de Havilland on the rebound after Miss Hayworth, in the title role, and with whom he fancies himself still in love, was stolen from him by his arch-enemy, Jack Carson, who further framed him into serving a term in prison. Carson comes to him for emergency dental work and Cagney sees his opportunity for revenge. The story is then told through flashback technique which brings to Cagney a realization that he has been the more fortunate and happier of the two. Raoul Walsh's direction is noteworthy. James Cagney, Olivia de Havilland, Rita Hayworth, Alan Hale, Jack Carson, George Tobias, Una O'Connor. EXPLOITIPS: Stage a "Gay Nineties" party on opening night, requesting patrons to come in costumes of the period, and serving beer and pretzels. Try to locate a tandem bicycle and have it ridden around the streets. For throwaways use cutouts of "handlebar" mustaches with picture billing imprinted on the back. Also distribute buttons saying "Oh, You Kid" and similar turn-of-the-century witticisms. Spot a "barbershop quartette" in the lobby or have it do a turn on the stage. CATCHLINES: Come on Back to the Good Old Days . . . And Waltz Once More With the Strawberry Blonde. 9 7 1 1 9 6 0 Blondie Goes Latin Columbia ( ) 70 Minutes F Comedy Musical Rel. Feb. 27, '41 What may well be the savior of the Blondie series is this effort, which takes the edge off the domestic tomfoolery of the Bumsteads and puts a great deal of the emphasis on music — three pop tunes, and three Latin rhythmsessions. Blondie (Penny Singleton) finds it an excuse to dance, which was her forte before pictures. Tito Guizar sings a couple of pampas specials, and Ruth Terry does the others. Story starts the Bumsteads for a South American vacation, but Dagwood (Arthur Lake) is sent off the boat at the last minute. He sneaks back, unknown to his wife, and tries to hide from her as drummer in the ship's orchestra. By choosing Ruth Terry's stateroom to hide in, the possibilities for comedy and misunderstanding are easily evident. This Blondie has some snap to it, without losing touch with the family trade which has followed the series. Penny Singleton, Arthur Lake, Larry Simms, Tito Guizar, Ruth Terry, Jonathan Hale, Danny Mummert, Irving Bacon. EXPLOITIPS: Build up interest here by outfitting the theatre staff in the motif of the film, bannering the bosoms of the cashiers with notice that "Blondie Goes Latin" is coming up. Strolling lobby musicians, in full regalia, doing the Latin tunes from the picture will serve to instill the idea both before arrival of the film and after it gets going on the screen. Calling attention to the fact that it is Blondie's first musical should be imperative, and the music stores should not be forgotten in tieups. CATCHLINES: The Bumsteads Set to Music Is Something . . . Especially When Dagwood Doesn't Like the Arrange ; re\ ments. hn^ Tap Your Feet, Hold Your Side! See Blondie Off on Her Boatridel d Til •‘Yir Golden Hoofs F Comedy Drama 20th-Fox (130) 68 Minutes Rel. Feb. 14, '41 Considerable of an improvement over the last two or three Jane Withers vehicles is reflected in this treatise on the sport of harness-racing, which should slide nicely into the program groove, particularly in those sectors where the Withers name is a marquee magnet. It is designed to appeal to horse-lovers and features some spectacularly-handled shots of sulky races. Jane, now virtually full-grown, has dropped most of her ebullient antics, carrying herself with a more subdued and pleasing demeanor. Worthy of mention is the screen return of Charles (Buddy) Rogers, acquitting himself very creditably; while the comedy honors are garnered by a little colored lad, Phillip Hurlick, in the role of a stable boy. The breeding farm where Jane is a trainer of trotting horses is purchased by Rogers, who is in the game for profit and wants to discard the trotters in favor of saddle horses. The animosity between him and Jane is lessened when, under her tutelage, he learns to drive the trotters and finally becomes a full-fledged harnessracing fan. Lynn Shores directed. Jane Withers, Charles (Buddy) Rogers, Buddy Pepper, George Irving, Phillip Hurlick, Cliff Clark, Katharine Aldridge. EXPLOITIPS: Ideal ballyhoo would be a sulky and harness horse, walked around town by a girl resembling Jane Withers. At strategic spots around the neighborhood place big pairs of gilded hoofs. Advertise the film on the sporting pages of newspapers. Prepare heralds and throwsheets in imitation of racing forms. Check with your 20th CenturyFox exchange on commercial tieups made for the film. / CATCHLINES: Something New Is Thundering Down the In ^ome Stretch . . . The Story of a Youngster and Two Gal'melant Horses. Here They Come . . . America's Champion Pacers and Trotters . . . Breaking All Excitement Records. 32 BOXOFFICE February 22, 1941 29