Canadian Film Weekly (Jul 21, 1943)

a \ " REVIEWS | IMFORMATION | «RATINGS Vol. 8, No. 30 COAST-IO-COAST COVERAGE July 21, 1943 ‘Coney’ Tops. *Bomb'dier’ OK ‘Pilot No. 5’ Anti-Fasecist “PILOT NO. 8’ REGAL (Running Time: 7¢ Mins.) “Pilot No. 5” is a fine picture as much for what it tries to say as for what it shows. It is antiFascist in a realistic way, taking a whack at the Huey Long types in American life and naming them plainly and openly as Fascists. This describing the native forms and proponents of Fascism as what they really are has been covered up by an excessive amount of talk about the glories of Democracy. The other side of life in certain places on this continent and the men who keep it that way has been largely ignored. “Pilot No. 5” has two extremely popular players carrying the story, Franchot Tone and Gene Kelly, and they are ably supported by Marsha Hunt. Then there’s Van Johnson, who did so well in “Human Comedy,” and Alan Baxter. These names give it boxoffice. strength beyond the actual quality of the picture. ‘ Tone and Kelly are young American lawyers serving the purposes of a ruthless, grafting state political machine led by a man with a phoney homespun manner. Marsha Hunt, wooed by both, fights hard to make them see that they are working for native Fascism. Not until tragedy has resulted do they become politically aware and the realization motivates their actions from then on. Kelly, in the film, is of Italian descent and an admirer of Mussolini, His brother, played by Frank Puglia, escapes from an Italian prison, where he had been jailed for serving the Underground. A broken man, he suicides when he cannot make Kelly realize that Fascism is not necessarily shirted men in a foreign land. Puglia. does a fine bit of acting here. The story opens on an American batlefront. Tone has won the nomination to make a sacrifice bombing of a Jap carrier in the lone plane. His comrades discuss his life and the story flashes back. “Pilot No. 5" is a strong picture which just misses top rating because of modest production, “CONEY ISLAND” 20th-FOX (Running Time: $4 Mins.) “Coney Island” is big, boisterous, beautiful and entertaining for almost its entire footage. It is unrestrained highjinks without any strain in playing and plot and its musical numbers are simple and melodious, the studios music masters wisely avoiding over-orchestration. Thus, everything is easy to take, particularly the marvelous Technicolor, which seems to reach out and wrap itself around you. The film’s best bit, of course, is Betty Grable, who reaches 2 new high as a performer. She has improved vastly in every department — singing, dancing and acting. Miss Grable’s talents are definite competition for those famed limbs and you actually pay considerable attention to her even when she is wearing those long dresses of the 90s vintage. Though the story is the same old routine, the boys who play the roles are of wide public interest. There are George Montgomery, Cesar Romero, Charles Wininger and Phil Silvers. The first two take care of the feminine fans and the last two snatch the picture’s acting honors. Thus the studio touched all the bases in what is a boxoffice homer—and 2 long homer at that. The studio can take many 2 bow on production. The Coney Island background is colorful enough in sepia but given hues and expert mounting it becomes & rare experience for the eye. Montgomery and Romero are a couple of shady old pals always cheating each other. Montgomery, bilked by Romero out of the assets with which he established a swell saloon, catches up with him at the resort and wins a share through blackmail. Miss Grable is the star of the joint. A honkytonk singer, she is converted to a society favorite by Montgomery’s showmanship. Both boys want her love but Monty, after much give-and-take, wins out. There are any number of swell production numbers and the old songs get thelr due. Helping things along are Matt “BOMBARDIER” RKO (Running Time: 97 Mins.) Though “Bombardier” deals with USA training and seems slightly longer than necessary to the best interests of the film, it commands attention well until it reaches the section of it dealing with a raid on Japan. Then it becomes as exciting as anything you ever saw. The thrills originate from the escape of captured American aviators who teach the Japs a lesson about giving up lives at the greatest cost. What moves the film throughout is the difference of opinion about the merits of dive bombing from on high. The exponents of each are Pat O’Brien and Randolph Scott. O’Brien, playing the role of an instructor in his usual loud-volume manner, eventually proves that precision bombing is superior. Romantic department is headed by Ann Shirley, O’Brien’s secretary, daughter of a famous aviation figure whose private field has become a military station. Everybody is nuts about Miss Shirley. O’Brien, being too old, is refused. Randolph Scott sacrifices himself during the Japanese raid. So Walter Reed, student pilot and pal of Eddie Albert, Shirley’s brother, wins out. Much of the film takes place before Pearl Harbor but it is interesting technically despite the secondary interest of the. event to Canada. The training of the bombardiers is shown clearly. There is still a live interest in war films, though they are declining. That and the thrilling sequences should bring good business to “Bombardier.” Also in the cast are Barton MacLane, Robert Ryan, Leonard Strong, Richard Martin, Russell Wade, James Newill, John Miljan and Charles Russell. MacLane does well as a tough sergeant, Martin. offers some good Spanish dialect comedy and Miljan, off the screens for a while, makes a short appearance here. Briggs, Paul Hurst, Carmen D’Antonio and a cast of hundreds. O’Connor Hot In ‘Mr. Big’ “MR. BIG” UNIVERSAL (Running Time: 74 Mins.) This is an excellent picture loaded with laughs for the junior trade and plentifully enfertaining for their elders. The studio has been boosting its star, Donald O’Connor, and he comes through in fine fashion. It is above the usual run of Universal’s compact musicals and doesn’t pretend to offer anything but entertainment. O’Connor and Gloria Jean help it make its point. The story, which can be dismissed quickly, is about the annual school show aimed at Broadway producers. O’Connor is the pride and joy of the music and theatre school, a lady-killer with an excess of talent. The patron of the school wants the classics. The kids want swing. Their teacher, Robert Paige, teaches classics publicly and writes swing privately. To guarantee entertainment the studio has inserted Eddie Miller’s Bob Cats, Ben Carter Chorus and the Jivin’ Jacks and Jills. The Carter Chorus is made up of Negro juveniles who sing beautifully. The others are dancing groups. There are ten musical numbers in the show, all of them modestly presented and each well done. Samuel 8. Hinds is the dean and Elyse Knox, his daughter who shares the romance with Paige. With plenty of swing and jitterbugging and with no zoot suits, “Mr. Big’’ will help O’Connor and the studio, as well as please the public. Honor Chas. Maybee, Winnipeg Inspector Charles Maybee, theatre inspector in Winnipeg, who is leaving for new employment, was honored st the Marlborough Hotel of that city by 30 of his friends. A gift was presented to Mr. Maybee by Trevor Davis. Among the speakers were James Leslie, chief wages and conciliation officer for Manitoba, and T. J. Williams, inspector, a Se