Canadian Film Weekly (Apr 21, 1943)

THE PICK OF THE PICTURES | REVIEWS INFORMATION | RATINGS i} Vol. 8, No. 17 COAST-TO-COAST COVERAGE April 21, 1943 “China Stings: -Saludos’ Swell Canada 41 Take All-Time Record (Continued from Page 1) The 1941 figure was $3,710,304 higher than that of 1940 and broke the Canadian record of $38,479,500, set in 1930. Ontario, the most populated province, obtained $19,140,826 from its 412 theatres and Quebec, next in population, with 204 theatres, took in $8,236,930 as a result of 33,026,304 admissions. All grosses are exclusive of the amusement tax. Other information yielded by the report: British Columbia (122 theatres) —Receipts: $4,145,945. Admissions: 17,129,877. Manitoba (111 theatres) — Receipts: $2,475,949. Admissions: 10,619,374. In order of receipts and admissions, after the above-mentioned provinces, were Nova Scotia, Alberta, Saskatchewan, New Brunswick and Prince Edward Island. Nova Scotia showed the greatest gain, 20 per cent, and Alberta showed a 12 per cent rise, due mainly to population increased by the building of the Alaska Road. Ontario, Quebec and New Brunswick jumped 10 per cent; Saskatchewan, Manitoba and British Columbia, 4 per cent. Thirty-one per cent of the total Dominion seating capacity of 531,281,074 was used in 1941, a gain of one per cent over 1940. There was a slight increase in the use of the single bill. All six Prince Edward Island theatres maintained their single-bill policy. Single bills are strongest in Saskatchewan and New Brunswick. The per capita expenditure for screen entertainment was $3.63, ahead of the $3.35 average of 1940 but under the $3.77 of 1930. There were 69 branches of exchanges open in 1941. Total revenue from film rentals was $12,368,446, which was $923,279 ahead of 1940. There were 762 people employed by the exchanges. The 1,244 theatres, 12 more than the previous year, were owned by 994 persons and employed 8,722. Their total annual wages were $7,523,735, + “CHINA” PARAMOUNT (Running Time: 78 Mins.) Paramount has a real thriller here on a subject at peak interest right now because of the press space given the visit of Madame Chiang Kai-shek to this continent. It is designed to thrill the patron and win his sympathy. It does both in a big way. Most certainly the later reels, which deal with a raid by Chinese guerrillas assisted by white men, have more sock than anything the screen has offered in a long time. Though undistinguished in story, the picture has a high grade of realism and pictorial honesty. It permits the widest view yet of hand-to-hand battling and when the weapons reach their destination the patrons will jump in their seats. The attitude of the Japanese to captured women is also made plain. Alan Ladd, supported by William Bendix and Loretta Young, turns in a top-notch performance. He plays an unscrupulous peddler of gasoline to the Japanese, hiding behind his American passport. Jeers and fists are his reply to those who would discourage him. This part of the story is as nonsensical as the latter part is real. It is inconceivable that the Chinese, crafty and brave every minute in their resistance tc the Japs, would stand for the semi-gadistic nonsense of anyone, particularly a fellow selling gasoline to the enemy while driving his truck through Chinese territory. They do in the picture. Mr. Ladd’s eventual conversion to the cause of China doesn’t make up this libel on the Chinese. Probably the best performance in the picture is that of William Bendix, whose justconcluded visit should help the Canadian boxoffice. This time he plays a good-natured lug, a partner of Ladd but out of sympathy with him on the Chinese question. Bendix is won over when he picks up the inevitable Chinese orphan, leaving it later with the family of a Chinese girl, one of those being given a lift by Ladd. The Chinese girl has deserted to return home. Ladd is persuaded to return for her. He finds the child SALUDOS AMIGOS DISNEY-RKO (Running Time: 43 Mins.) This report of the Disney Boys in South America is easily the most novel screen adventure of the season. It is a travelogue that leaves all past ones far behind and its lively good humor reflects the friendly reception the North Americans got. They came, they saw, they conga’d—-and they produced something distinctly original. The film is a pot luck of technique and ideas. It starts off with Technicolor photography of the tourists and what they see. Then they interpret the sights in their own medium, animated cartoons. Disney transplants Donald Duck and Goofy to Latin America backgrounds, thus providing extremely funny comparisons. Donald Duck runs into his counterpart, Joe Carioca, effusively friendly but a kind of cocky cockerel who gives the scene-stealing fowl a run for the footage. The film contains something for all juvenile and adult tastes. There are photographs and drawings of famous South America scenes, such as Lake Titicaca and the Rio de Janeiro carnival. There is Latin rhythm a-plenty. And there are several distinct short subjects, one presenting a family of mail planes in Dumbo fashion. The art work is really something to remember. Some slightly wonderful paintings of the native scene by a Brazilian artist are shown during a visit to his studio. And the Disney boys draw their own impressions right in front of you. This revelation of the Disney method in action is much more interesting than that offered in a previous attempt. and her guardians murdered and the girl ravished. That converts Ladd, who joins the Chinese. Loretta Young, as the American leader of Chinese girls, provides the love interest. Miss Young is a seasoned actress. Among the Chinese Philip Ahn is the only one known te the general public. John Farrow directed and obtained, for the most part, oustanding results, NFB Runs Trade Union Circuit (Continued from Page 1) co-operation with the industrial and trade union circuit of the National Film Board. The local organization is headed by George Lebau, of the department of adult education, University of Manitoba. About 150 films varying in length from 10 minutes to one-half hour are available for showing. The movies deal with all aspects of the war effort of the United Wations and experiences of labormanagement committees. All are sound films. Projectionists Ask Pay Boost (Continued from Page 1) city is $40 for 30 hours weekly, $43 for 33 hours, and $46 for 36 hours, with adjustments in some cases. The union contends that real wages, as according to the present buying power of the dollar, are lower than at any time since the war. Present contracts renew themselves automatically unless notice of cancellation is given by cither party 30 days in advance of expiration. . Now AS FOR THE PAST 30 YEARS For Satisfaction In Theatre Equipment PERIGNS COMPANY LIMITED 2