Canadian Film Weekly (Jun 20, 1945)

| THE PICK OF THE PICTURES | VOICE of « — the CANADIAN MOTION PICTURE INOUSTOY REVIEWS INFORMATION RATINGS Vol. 10, No. 25 REVIEWS FROM FILM DAILY, NEW YORK $2.00 Per Annum Roughly | Speaking with Rosalind Russell, Jack Carson Warner Bros. 128 Mins. PLEASANT, HIGHLY ENTERTAINING PICTURE IS DOMINATED BY ROSALIND RUSSELL. The autobiographical material in Louise Randall Pierson’s book, “Roughly Speaking,” is the basis of a warm, human film that plays on a variety of emotions. The production is certain to draw a favorable reaction from virtually every type of audience, dealing as it does with people easy to recognize and understand and with matters that have to do with family life. The film, produced on an ample scale by Henry Blanke, employs comedy and drama to good purpose in a rambling and loosely woven screenplay devised by the author of the book herself. The story wanders aimlessly though entertainingly over a span of 40 years, beginning in 1902. The film is for the most part an amiable account of the ups and downs of the Pierson family recorded in kaleidoscopic fashion. In a way the picture is a lesson in courage and faith since nothing that darkens her path dampens the spirit of our heroine. She keeps looking ahead and striving forward no matter what misfortune befalls her or her family. ; Rosalind Russell is irrepressible as the central character. Hers is a performance that is pleasant if nothing else. Jack Carson gives a serio-comic portrayal as the man she’s married to after divorcing Donald Woods. The picture boasts a large cast of players all but a handful of whom have brief roles. Michael Curtiz has directed competently, emphasizing the lighter moments of the story. CAST: Rosalind Russell, Jack Carson, Robert Hutton, Jean Sullivan, Alan Hale, Donald Woods, Andrea King, Ray Collins, Kathleen Lockhart, Cora Sue Collins, ‘Ann Todd, Andy Clyde, Arthur Shields, Helene Thimig, Greta Granstedt, Ann Doran, Hobart Cavanaugh, Ejily Malyon, Craig Stevens, John Alvin, Mary Servoss, Francis Pierlot, Manart Kippen, George Carleton, George Meader, Frank Puglia, John Qualen, Chester Clute, Irving Bacon, Barbara Brown, Sig Arno, “Ann Lawrence. CREDITS: Producer, Henry Blanke; Director, Michael Curtiz; Screenplay, Louise Randall Pierson; Based on book by Louise Randall Pierson; Cameraman, Joseph Walker; Art Director, Robert Haas; Musical Score, Max Steiner; Sound, Dolph Thomas; Film Editor, David Weisbart; Set Decorator, George James Hopkins; Special Effects, Roy Davidson, Hans Koenekamp; Musical Director, Leo F. Forbstein. DIRECTION: Good. PHOTOGRAPHY: Good. Belle of The Yukon with Randolph Scott, Gypsy Rose Lee, Dinah Shore RKO-International 84 Mins. CONSISTENT ENTERTAINMENT IS OFFERED BY LAVISH TECHNICOLOR EYE-FILLER. International Pictures’ latest omering is a hybrid that scatters its appeal. While one can never be certain of its mood, the production, holding the eye with its Technicolor lavishness, is consistently entertaining. An important asset is the fine production accorded the film by William A. Seiter, who also functioned as director. The film, apparently intended as a spoof on the Alaskan theme, offers such diversified talents as those of Randolph Scott, Gypsy Rose Lee, Dinah Shore, Bob Burns and Charles Winninger. It is on the potency of these names . that rests much of the picture’s allure. The picture is in the vein of a musical although with certain melodramatic aspects. The lively story has Scott as a shady operator in the Yukon who is transformed into an honest man by Miss Lee, who, along with Miss Shore, entertains in a dance hall owned by him. The tale has been told with due regard for comedy. Burns and Winninger, as a couple of Scott’s stooges, furnish the comedy. CAST: Randolph Scott, Gypsy Rose Lee, Dinah Shore, Bob Burns, Charles Winninger, William Marshall, Guinn “Big Boy” Williams, Robert Armstrong, Florence Bates, Edward Fielding. CREDITS: Producer, William A. Seiter; Director, William A. Seiter; Screenplay, James Edward Grant; Based on story by Houston Branch; Cameraman, Ray Rennahan; Art Director, Perry Ferguson; Set Decorator, Julia Heron; Sound, Corson Jewett, Arthur Johns; Film Editor, Ernest Nims; Musical Score, Arthur Lange; Musical Director, Arthur Lange; Songs, Johnny Burke, Jimmy van Heusen; Dance Director, Don Loper. DIRECTION, Good. PHOTOGRAPHY, Fine. e e e "Cisco Kid’ Again “Song of the Border,” the next Monogram produced “Cisco Kid” film will star Duncan Renaldo and will be directed by Lambert Hillyer. Yzekln, Tonight and Every Night with Rita Hayworth Columbia 92 Mins. EYE-FLATTERING TECHNICOLOR MUSICAL ROMANCE SHOULD GIVE STRONG ACCOUNTING. Handsomely produced by Victor Saville in Technicolor, “Tonight and Every Night” is a satisfying musical romance in which Rita Hayworth has ample opportunity to exercise every facet -of her talent. The film presents its story so divertingly and in such attractive trappings that the familiarity of it all will prove practically no handicap to the enjoyment of the production. The picture works out the backstage formula in an atmosphere of wartime. The action transpires mostly in a London theater which prides itself on never having missed a show despite the blitz. The film makes much of the show-must-go-on spirit. The romance is between Miss Hayworth, an American; who is star of the show, and Lee Bowman, an RAF officer. There are the usual misunderstandings and the joys and pains that accompany love-making on the screen. Whatever doubts Miss Hayworth may have about the man she loves, are completely dispelled before the footage has run out. The film boasts some beautiful production numbers and sympathetic direction by Saville. CAST: Rita Hayworth, Janet Blair, Lee Bowman, Marc Platt, Leslie Brooks, Professor Lamberti, Dusty Anderson, Stephen Crane, Jim Bannon, Florence Bates, Ernest Cossart, Philip Merivale, Patrick O'’Moore, Gavin Muir, Shelley Winter, Marilyn Johnson, Mildred Law, Elizabeth Inglise, Aminta Dyne, Joy Harrington, Ann Codee. CREDITS: Producer, Victor Saville; Assistant to Producer, Norman Deming; Director, Victor Saville; Screenplay, Lester Samuels, Abem Finkel; Cameraman, Rudolph Mate; Film Editor, Viola Lawrence; Art Directors, Stephen Goosson, Rudolph Sternad, Lionel Banks; Set Director, Frank Tuttle; Special Effects, Lawrence W. Butler; Musical Director, M. W. Stoloff; Dance Directors, Jack Cole, Val Raset; Songs, Jule Styne, Sammy Cahn; Sound, Lambert Day, William Randall. DIRECTION, Good. PHOTOGRAPHY, Excellent. Vol. 10, No. 25 June 20, 1945 HYE BOSSIN, Managing Editor Address all communications—The Managing Editor, Canadian Film Weekly, 25 Dundas Square, Toronto, Canada. Published by Film Publications of Canada Ltd., 25 Dundas Square, Toronto, Ontario, Canada. Phone ADelaide 4317. Price 5 cents each or $2.00 per year. Entered as Second Class Matter. Printed by Eveready Printers Limited, 78 Wellington Street West, Toronto, Ontario. Patrick The Great with Donald O’Connor, Peggy Ryan Universal 88 Mins. YOUNG O’CONNOR AGAIN SHINES IN MUSICAL COMEDY THAT SHOULD MAKE A HIT WITH ALL. The last Donald O’Connor film to be made by Universal before the youthful star’s induction into the Army, “Patrick the Great” is musical comedy entertainment certain to capture the public fancy in a big way. The picture is every bit as good, if not better, than any in which he has appeared, not one dull moment existing in the whole of it. For gay and spirited fun the production is unqualifiedly recommended to all and sundry. O’Connor performs valiantly to keep the picture constantly diverting. He and Peggy Ryan romp through situations loaded with laughter. The two youngsters have every fellow player chipping in to the limit to make “Patrick the Great” as delightful a show as one could wish for. The exuberant O’Connor sings, dances and clowns his way through a story about a father and son competing for the starring role in a big Broadway musical. Dad already is established as a star; son is just beginning to feel his way, although his talent is unquestioned. How pop clears the way for his offspring is engineered in most amusing fashion. The swell Bertram MillhauserDorothy Bennett script which Frank Ryan directed with great competence has O’Connor dividing his interest between two gals, Miss Ryan and Frances Dee, but dad, Donald Cook, takes the latter off his hands to add to the romantic content of the production. Howard Benedict capably discharged his duties as producer. CAST: Donald O’Connor, Peggy Ryan, Frances Dee, Donald Cook, Eve Arden, Thomas Gomez, Gavin Muir, Andrew Tombes, Irving Bacon. CREDITS: Producer, Howard Benedict; Director, Frank Ryan; Screenplay, Bertram Millhauser, Dorothy Bennett; Based on story by Jane Hall, Frederick and Ralph Block; Cameraman, Frank Redman; Musical Score, Hans J. Salter; Art Directors, John B. Goodman, Abraham Grossman; Sound Director, Bernard B. Brown; Set Decorators, Russell A. Gausman, E, R. Robinson; Film Editor, Ted J. Kent; Dance Directors, Louis Da Pron; Songs, Sidney Miller-Inez James, Charles TobiasDavid Kapp, DIRECTION, Good, PHOTOGRAPHY,