Canadian Film Weekly (May 2, 1945)

@ ® THE PICK OF THE PICTURES | Vol 10, No. 18 Frisco Sal with Susanna Foster, Turhan Bey Universal 94 Mins. LUSTY ROMANTIC TALE OF BARBARY COAST SHOULD PLEASE MOST AUDIENCES. “Frisco Sal’ is an offering liberally endowed with life, colorfulness, excitement and _ heartiness—virtues that suffice to place ‘the film in the winning column. Another factor very much in the production’s favor is the rendition of several song numbers by Susanna Foster, who once more finds herself teamed romantically with Turhan Bey. The picture’s primary weakness is its story, an old stereo ‘typed affair that strains the cre dulity. Fortunately the film’s good qualities are strong enough to push the story into the background. Lucky also that the commotion whipped up by Producer-Director George Waggner turns the attention very much away from the plot. The locale is San Francisco’s Barbary Coast before the turn of the century. Deposited there is Miss Foster, a New England lass in search of a long-lost brother. Her quest brings her in contact with Bey, operator of a gay spot, and Alan Curtis, head of a racket outfit who is feuding with him. Curtis tries to break up the girl’s romance with Bey without success. Bey and Curtis make their peace when it is disclosed that the latter is Miss Foster’s brother. Art Directors John B. Goodman and Robert Clatworthy and Set Decorators Russell A. Gausman and Ted von Hemert deserve most of the credit for the film’s atmospheric excellence. CAST: Susanna Foster, Turhan Bey, Alan Curtis, Andy Devine, Thomas Gomez, Collette Lyons, Samuel S. Hinds, Fuzzy Knight, Billy Green, Ernie Adams, George Lloyd, Bert Fiske. CREDITS: Producer, George Waggner; Director, George Wagener; Screenplay, Curt Sloomak, Gerald Geraghty; Cameraman, Charles Van Enger; Musical Director, Edward Ward; Art Directors, John B. Goodman, Robert Clatworthy; Sound Director, Bernard B. Brown; Set Decorators, Russel A. Gausman, Ten von Hemert; Film Editor, Edward Curtiss; Dance Director, Lester Horton. DIRECTION, Okay. PHOTOGRAPHY, Good "Medal for Benny’ To Be Boosted Paramount's national advertising campaign on the company’s forthcoming release “A Medal for Benny” will embody ideas submitted by a dozen of the country’s leading theatre advertising executives as a result of a coast-to-coast “round table” discussion by mail just concluded by R. M. Gillham, Paramount director of advertising. ODETTE LSE RIPE E SLES WD FLED EE Murder, My Sweet with Dick Powell, Claire Trevor, Anne Shirley RKO 95 Mins. FORCEFUL MELODRAMA EFFECTIVELY PRODUCED, SHOULD GO OVER DESPITE ITS CONFUSION. The Raymond Chandler ‘Farewell, My Lovely,” novel has been turned into strong melodramatic entertainment under the guidance of Executive Producer Sid Rogell and Producer Adrian Scott. The film carries a punch and its story has been worked out interestingly if not too clearly. The production has so much in its favor that one can be charitable about its confused story line and its overdependence on talk. Its dark mood is one of the most impressive things about the film. Under the biting direction of Edward Dmytryk the film weaves a tale of terror as it follows the experiences of a private detective in solving a murder case involving a woman who, in marrying 2 man of wealth, hid her smelly past. There are so many convolutions to the tale that one can’t easily set the plot down in confined space. Dick Powell delivers his best performance as the dick. As the villainess Claire Trevor takes full advantage of the best role she’s had in a long time. Anne Shirley is good as Miss Trevor’s stepdaughter. There are plenty of other fine performances. CAST: Dick Powell, Claire Trevor, Anne Shirley, Otto Kruger, Mike Mazurki, Miles Mander, Douglas Walton, Don Douglas, Ralf Harolde, Esther Howard. CREDITS: Executive Producer, Sid Rogell; Producer, Adrian Scott; Director, Edward Dmytryk; Screenplay, John Paxton; Based on novel by Raymond Chandler; Cameraman, Harry J. Wild; Special Effects, Vernon L. Walker; jArt Directors, Albert S. D’Agostino, Carroll Clark; Set Decorators, Darrell Silvera, Michael Ohrenbach; Sound, Bailey Fesler; Musical Score, Roy Webb; Musical Director, C. Bakaleinikoff; Film Editor, Joseph Noriega. DIRECTION, Good. PHOTOGRAPHY, Good. Manning Missing Flying Officer Fred Manning, formerly with RKO in Vancouver before joining the RCAF, has been reported missing over Europe. POLLO PL PLS tt) PPPs ls J UY UY YY ji9j—>9—;|7; REVIEWS FROM FILM DAILY, NEW YORK National Velvet with Mickey Rooney, Elizabeth Tayolr MGM 125 Mins. TOP GROSSES ARE IN STORE FOR TECHNICOLOR CORKER THAT DEPARTS FROM THE USUAL. The screen version of the Enid Bagnold novel promises the exhibitor plenty of ‘velvet.’ Departing from the customary, the production is one of the entertainment delights of the year that captivates with its freshness, its human touch, its simplicity and its gentleness. The picture is in every respect an impressive offering that employs Technicolor eloquently. Set in England, the picture, a distinct achievement for Producer Pandro S. Berman, relates with unusual warmth the sentimental story of a roving youth of uncertain character who undergoes a transformation under the influence of a young girl ‘with whose family he seeks temporary refuge. The force that links the boy and girl is the latter’s consuming love for a horse won by her in a raffle. They groom the horse for the Grand National, which the animal, ridden by the girl, wins in a thrilling sequence only to be disqualified when it is discovered that the jockey is a female. The production, atmospherically and pictorially compelling, has been directed with feeling and understanding by Clarence Brown and acted with distinction by a cast headed by Mickey Rooney as the boy and Elizabeth Taylor as the girl. Good as he is, Rooney is overshadowed by Miss Taylor, who gives a melting performance. CAST: Mickey Rooney, Donald Crisp, © Elizabeth Taylor, Anne Revere, Angela Lansbury, Jackie Jenkins, Juanita Quigley, Arthur Treacher, Reginald Owen, Norma Varden, Terry Kilburn. CREDITS: Producer, Pandro S. Berman; Director, Clarence Brown; Screenplay, Theodore Reeves, Helen Deutsch; Based on novel by Enid Bagnold; Cameraman, Leonard Smith; Musical Score, Herbert Stothart; Recording Director, Douglas Shearer; Art Directors, Cedric Gibbons, Urie McCleary; Set Decorators, Edwin B. Willis, Mildred Griffiths; Special Effects, Warren Newcombe; Film Editor, Robert J. Kern. DIRECTION, Excellent. PHY, Excellent. PHOTOGRA REVIEWS INFORMATION RATINGS $2.00 Per Annum Having Wonderful Crime with Pat O’Brien, George Murphy, Carole Landis RKO 70 Mins. MYSTERY COMEDY FALLS FLAT; ONLY THOSE WITHOUT DISCRIMINATION WILL GO FOR IT. “Having Wonderful Crime” is a mystery comedy that doesn’t come off, although it tries awfully hard to make something of itself. The film represents synthetic entertainment that strikes a false note in its attempts to be smart and nonchalant. What the film has primarily in its favor is loads of action that will lull many patrons into forgetting the picture’s numerous faults. The production is entertainment that only those without discrimination will accept without quibbling. The film, substituting noise and confusion for sense, tells a story of no great interest. The plot, never too clearly defined, concerns the attempt of a trio of amateur sleuths composed of Pat O’Brien, George Murphy and Carole Landis, to solve the disappearance of a magican under suspicious circumstances. There’s quite a to-do over the magician’s trick trunk. When the guy is found dead suspicion rests on several persons. O’Brien finally hooks the murderer. The production is no credit to Robert Fellows, who produced, or Eddie Sutherland, who directed. CAST: Pat O’Brien, George Murphy, Carole Landis, Lenore Aubert, George Zuceco, Anje Berens, Richard Martin, Charles D. Brown, William “Wee Willie” Davis, Blanche Ring, Josephine Whittel. CREDITS: Producer, obert Fellows; Associate Producer, Theron Warth; Director, Eddie Sutherland; Screenplay, Howard J. Green, Stewart Sterling, Parke Levy; Based on story by Craig Rice; Cameraman, Frank Redman; Special Effects, Vernon L. Walker; Art Directors, Albert S. D'Agostino, Al Herman; Set Decorators, Darrell Silvera, Claude Carpenter; Sound, Jean L. Speak; Musical Score, Leigh Harline; Musical Director, C. Bakaleinikoff; Film Ediotr, Gene Milford. DIRECTION, So-so. PHOTOGRAPHY, Good. tere y ia “ ‘ otf nie LZ py eg Shea AIP ie y hain “ hie. eerie eer eer