Boxoffice (Jan-Mar 1941)

(< " • ' ft Spearheads : (Continued from preceding page) full stride with no difficulty. Acute romanticists and sentimentalists probably will find it irresistible, since the script by William Hurlbut and Michael Blankfort, from Charles Bonner’s novel, “Legacy,” specializes in love of several varieties. Gregory Ratoff displays understanding and restraint in an effective piece of direction. Furthermore, the cast is a splendid one. Warner Baxter re-establishes himself as one of filmdom’s better actors in a part ideally suited to his mature talents; while Ingrid Bergman, sharing top honors, appears to incalculably greater advantage than in her previous Hollywood assignments. Spiced with dry humor, the required rustic backgrounds and romance, RKO Radio’s “Scattergood Baines” should prove a solid hit, in its own unassuming way, with the millions who are fans of Clarence Budington Kelland’s famous fictional character. First in a proposed series to be produced by Jerrold T. Brandt’s Pyramid Pictures, it is a distinct triumph for him. Brandt, together with Frank Melford, his production executive, merit praise for the An Aim to Please — Whenever corpulent Director Alfred Hitchcock feels in the mood to drop into the Hawaii Theatre in Hollywood this specially built, streamlined and tailor-made seat will be waiting for him. Nearly three times the size of the ordinary theatre seat, it was reserved for Hitchcock when “Rebecca,” which he directed for David O. Selznick, opened at the theatre recently. Seat, built by Kroehler, has a reinforced steel back, reinforced cushions on steel supports, and the parts are electrically welded instead of bolted. successful manner in which they ensnared the atmosphere of Coldriver, “Scattergood’s” home town, and for delivering a package of well-made, wholesome entertainment. Christy Cabanne directed; Michael L. Simmons and Edward T. Lowe wrote the script. The title role was made to measure for Guy Kibbee, and his delineation of the shrewd Yankee philosopher should delight all who have read the Kelland stories and listened to the radio program. Metro’s “The Trial of Mary Dugan,” remade after 12 years, remains effective dramatic entertainment, well written, performed and directed. Deftly handling the top roles are Laraine Day and Robert Young, while supporting assignments are pleasingly fulfilled by Tom Conway, John Litel and Marjorie Main. Edwin Knopf, who produced, also contributed the major portion of the script, written from the Bayard Veiller play. Norman Z. McLeod handled the directorial reins with his accustomed competence. * * * * Quite an improvement over the last two or three Jane Withers vehicles is 20th Century-Fox’s “Golden Hoofs,” a treatise on the sport of harness-racing, which should exert considerable appeal in those sectors where the Withers name is a marquee magnet. Jane, now virtually fullgrown, has discarded most of her ebullient mannerisms and carries herself with a more subdued and pleasing demeanour. Worthy of mention is the screen return of Charles (Buddy) Rogers, acquitting himself very creditably; while comedy honors go to a little colored lad, Phillip Hurlick. Produced by Walter Morosco and Ralph Dietrich, it was directed by Lynn Shores. Producer Robert C. Sherwood has planed out for New York to launch preparations for his second film effort. His initialer, “Adam Had Four Sons,” is being released by Columbia. * After a week of conferences here with Samuel Goldwyn in which the possibility of his handling the producer’s advertisingpublicity account was discussed, Lynn Farnol, former United Artists exploiteer, has returned to New York. * Billy Grady, Metro talent scout, is in New York looking at the new shows and players. * Frank Donovan, producer of the “Picture People” and “ Information Please” shorts for RKO Pathe, planed in from New York for conferences with local executives. With New York Behind — After broadcasting from the east for four weeks, Edward G. Robinson (right), star of Rinso’s “Big Town” program, and Ona Munson, his leading lady, arrive back in Hollywood to resume ether activities from the west coast. Ben Grauman Kohn scripted from a story by Roy Chanslor and Thomas Langan. * * * Tex Ritter returns to the time-honored formula for crooning cowhands in “Ridin’ the Cherokee Trail” and his new adventure, consequently, is much better than the chapter which immediately preceded it. As middle-scale western fare, the Edward Finney production, released by Monogram, will serve in the market for which it was made. Musical moments are supplied by Ritter and the Tennessee Ramblers. Spencer G. Bennet directed from a script by Edmond Kelso. Jack L. Warner, vice-president in charge of Warner production, has left for a long vacation in Arizona. He returns some time in March to attend studio meetings for which home office executives will come west. ★ Charles Coburn planed to Seattle to attend a two-day session of the annual University of Washington Theatre Conference. * Frank Freeman jr., now in active service with the navy and stationed at San Diego, has been assigned to the first organized division for local defense. Previously he was in the Jack Moss production unit at Paramount . . . Mickey Rooney has checked out for a three-week vacation in Honolulu. <2l mama tki 32 BOXOFFICE :: February 22, 1941