Canadian Film Weekly (Oct 10, 1945)

THE PICK OF THE PICTURES Vol. 10, No. 41 Captain Eddie with Fred MacMurray, Lynn Bari 20th-Fox 107 Mins. RICKENBACKER STORY IS RATED AS TOPNOTCHER DESERVING OF BIG GROSSES. The making of an American hero has been managed superlatively well in this film based on the life of Eddie Rickenbacker, the USA’s topranking ace of World War the first. Treated with strong emphasis on the human values, “Captain Eddie” is made of the stuff that merits a grand reception at the boxoffice. The subject has heen handied with nice touches of drama and humor, not overlooking the importance of romance as a drawing card. It offers entertainment of a highly popular nature. “Captain Eddie’ represents Winfield R. Sheehan’s last effort. He had made himself heard from once more with a picture that is definitely a worthy achievement. Assisted by Christy Walsh, Sheehan had lavished on the Rickenbacker saga a production of high calibre. Rickenbacker’s story is told by flashback method as he and his crew lie adrift after their plane makes a forced landing in the Pacific. Our hero’s wooing of the woman who became his wife is easily the most entertaining —and most amusing—portion of the film, which ends with Rickenbacker’s rescue when death seems imminent. Rickenbacker is played capitally by Fred MacMurray, while Lynn Bari is competent as his love. Lloyd Nolan, Thomas Mitcheil, Charles Bickford, and Darryl Hickman (as young Rickenbacker) are some of the other standouts. CAST: Fred MacMurray, Lynn Bari, Charles Bickford, Thomas Mitchell, Lloyd Nolan, James Gleason, Mary Philips, Darryl] Hickman, Spring Byington, Richard Conte, Charles Russell, Richard Crane, Stanley Ridges, Clem Bevans, Grady Sutton, Chick Chandler, Swayne Hickman, Nancy June Robinson, Winifred Glyn, Gregory Muradian, David Spencer, Elvin Field, George Kitchell, Boyd Davis, Lon Carner, Mary Gordon, Joseph J. Greene, Olin Howlin, Robert Malcolm, Leila McIntyre, Harry Shannon, Virginia Brissac, Peter Michael, Peter Garcy, Fred Essler, Lotte Stein, Earle Dewey, William Newell, Anne Loos, Franklin Parker, William Forrest, Tom Dillon, John Dehner, Georges Renavent, Paul Marion, Howard Negley, George Chandler, Joe Devlin, Walter Baldwin, Robert Homans, Dorothy Adams. CREDITS: Producer, Winfield R. Sheehan; Associate Producer, Christy Walsh; Director, Lloyd Bacon; Screenplay, John Tucker Battle. DIRECTION, Fine. PHOTOGRAPHY, Fine. hs a —_ VOICE of the CANADIAN MOTION PICITUSE INDUSTOF REVIEWS FROM FILM DAILY, NEW YORK Two O0O’Clock Courage with Tom Conway, Ann Rutherford RKO 66 Mins. CONWAY’S NAME HELPS WEAK MELODRAMA LONG ON DIALOGUE AND SHORT ON ACTION. “Two O’Clock Courage” is a negligible melodrama that is long on dialogue and short on action. It is commonplace stuff that stands a chance only with audiences that exercise little discrimination in choosing their film entertainment. Besides presenting a plot that has not been too clearly expounded, the production insults the intelligence far more than it is necessary. Tom Conway’s association with the Falcon pictures should operate to the advantage of the offering, although the exhibit is not one of that series. Conway has lost his memory as result of a blow on the noggin. The fear that he may have been involved in the murder of a play producer spurs him on to find out who he is. In this he is aided by Ann Rutherford, a taxi driver. In an attempt to help the police solve the case and clear himself he gets another smack on the head that causes him to recover his memory and remember some facts having an important bearing on the case. By that time the number of murders has been increased to two. An actress fearing blackmail is the culprit. The film as directed by Ben Stoloff and written by Robert E. Kent makes a farce of the newspaper profession and crime detection. Conway does well under the handicap of a poor script. Miss Rutherford does the best she can with her role. Richard Lane as a Hollywood version of a reporter is supposed to provide laughs. CAST: Tom Conway, Ann Rutherford, Richard Lane, Lester Matthews, Roland Drew, Emory Parnell, Bettejane Greer, Jean Brooks, Edmund Glover, Bryant Washburn. CREDITS: Producer, Ben Stoloff; Director, Anthony Mann; Screenplay, Robert E. Kent. DIRECTION, Fair. PHOTOGRAPHY, Okay. Easy to Look At with Gloria Jean, Kirby Grant Universal 64 Mins. MODEST ENTERTAINMENT DISHED OUT BY MELANGE OF COMEDY ,AND MUSIC WITH YOUTHFUL APPEAL. “Easy to Look At” is an inconsequential melange of comedy and music with a strong appeal to the young and family audiences. The picture has much liveliness but doesn’t strain too hard to be plausible. The picture shows up best when Gloria Jean, the star of the proceedings, is vocalizing, something that she does more than well. The young actress lends her voice to some four numbers, among them “Cielito Lindo.” Another item that gives the film a lift is a rendition by the Delta Rhythm Boys of “Is You Is, Or Is You Ain’t My Baby?” which serves as the theme of a production number. Miss Jean, who doesn’t show to good advantage in the acting department largely as a result of the indifferent direction of Ford Beebe, comes to New York to seek a career as a costume designer. How she gets her break comprises the burden of the story. In the process she falls in love with Kirby Grant, head of the theatrical costume firm into which she wangles herself through a bit of trickery. The film has been passably produced by Henry Blankfort, who also did the screenplay. CAST: Gloria Jean, Kirby Grant, George Dolenz, J. Edward Bromberg, Eric Blore, Mildred Law, Leon Belasco, Maurice Cass, Delta Rhythm Boys. CREDITS: Associate Producer, Henry Blankfort; Director Ford Beebe; Screenplay, Henry’ Blankfort; Cameraman, Jerome Ash; Art Directors, John B, Goodman, Robert Clatworthy; Sound Director, Bernard B. Brown; Set Decorators, Russell A. Gausman, E. R. Robinson; Film Editor, Saul A. Goodkind; Musical Director, H. J. Salter. DIRECTION, So-so. PHOTOGRAPHY, Okay. Quebec Convention Officials of France Film are planning to invite Quebec exhibitors to a convention to be held soon in Montreal. Vol. 10, No. 41. Oct. 10, 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. REVIEWS INFORMATION RATINGS $2.00 Per Annum The Great John L. with Greg McClure, Linda Darnell UA-Crosby 96 Mins. INITIAL OFFERING OF CROSBY OUTFIT IS RATED FINE ENTERTAINMENT OF WIDE APPEAL. Bing Crosby Productions makes its bow with an extremely diverting picture that stands to prosper beyond the ordinary. Dealing with one of the fabulous names of the world of fisticuffs, the film is certain to be red meat for the men. The patronage of the women is accounted for by the marked attention given to the romantic side of Sullivan’s life. Not to be overlooked is the prestige of the Crosby name. A world of life and color has been injected into this account of the lusty career of Sullivan. The ups and downs of the onetime heavyweight king have been depicted interestingly with the proper touches of drama and sentiment. The film is an arresting tale of a _ prize-fighter’s climb to the top, his tasting of the world’s adulation, his transformation into a has-been largely through drink and physical neglect, and his eventual redemption. Although it is a familiar story, it still is attention-holding as related in “The Great John L.” Romantic conflict has been made to play an important part in Sullivan’s fistic fortunes. Throughout the film our hero is torn between two loves—one, the sweetheart of his early days, the other, a star of musical comedy. He makes the mistake of marrying the latter in a pique, but her death releases him to return to his true love. The picture has been produced effectively by Frank R. Mastroly and James Edward Grant, while Frank Tuttle has supplied firm direction. A newcomer, Greg McClure, handles himself rather well as Sullivan. Physically he is perfect for the part. His fight scenes have been staged excitingly. Linda Darnell and Barbara Britton are good as the women in Sullivan’s life. Lee Sullivan, Otto Kruger, Wallace Ford, George Mathews, Robert Barrat and J. M. Kerrigan are others deserving to be singled out. CAST: Greg McClure, Linda Darnell, Barbara Britton, Lee Sullivan, Ott« Kruger, Wallace Ford, George Matthews Robert Barrat, J. M. Kerrigan, Joe} Friedkin, Harry Crocker, Hope Landin Fritz Feld, Simon Semenoff, Frank Mc Cowan, CREDITS: Producers, Frank R. Mastrely, James Edward Grant; Associate Producer, Milton Carter, DIRECTION, Good. PHOTOGRAPHY,