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THE PICK OF THE PICTURES
‘ a VOICE of the CANADIAN MOTION PICTURE INDUSTRY
REVIEWS INFORMATION RATINGS
Vol. 18, No. 14
Where There’s ee
William Bendix Paramount
ANOTHER HOPE BOXOFFICE SCORER: GENERALLY IN THE FAMILIAR GROOVE.
Like “My Favorite Brunette” and a couple before that, this latest opus of Bob Hope’s falls into the familiar humor pattern of the harried individual who is chased hither and yon into a few dozen situations from which he milks the comedy content quite dry.
When Hope plays at it, attempted: assassination can be funny, very funny, and it is here.
The motivation for this Hope
ful hops off when a king of a.~
fictional empire -in Central Europe is ‘the victim of an attempted assassination. His only heir is a character in New York by name of “Michael Valentine,” which is also Hope, a disc jockey.
Immediately a squad of loyal
retainers is despatched to La-
Guardia Field and from there they seek to locate Hope who is quite unaware of what is in store for him. This means he is thwarted from his marital plams with Vera Marshe who has the backing of her brothers—all cops— to see that Hope marries her, but
properly.
Signe Hasso is the King’ s Gen
eral. She immediately intrudes
’ her military personality on Hope.
and from just about that point on the chase begins with the underground movement, . Seeking Hope’s demise, very much in evidence via cloak, gun and dagger. : About this time the well known chase works are thrown into the boiling pot that makes up the story and after many a hairbreadth escape Hope manages to convince his captors, in the latter case Miss Hasso and her cohorts, that he is not their king. A last minute airborne wireless message reports that the king will survive and there is no need for Hope.
Hope, it is alsorevealed is not
the -man who will inherit the throne in any case, and he and Miss Hasso dissolve into a romantic, concluding satisfactory
clinch.
CAST: Bob Hope, Signe Hasso, William Bendix, George Coulouris, Vera Marshe, George Zucco, Dennis Hoey, John Alexander.
CREDITS: Producer, Paul Jones; Director, Sidney Lanfield; Screenplay by Allen Boretz, Melvin Shavelson; Based on on a story by Melvin Shavelson; Photography, Charles B, Lang.
IRECTION, Good. EA PHOTOGRAPHY, Good,
75 Mins.
Sitting Pretty |
with Robert Young, Maureen O’Hara ; . Clifton Webb 20th-Fox & Mins.
THIS ONE ENDS CURRENT COMEDY STARVATION AND SHOULD
HAVE THEM COMING FOR LAUGH NOURISHMENT: IN DROVES; EVERY BIT A NO. 1 COMEDY.
In case it is not general knowledge the audience has been suffering from a malady called comedy starvation. Lack of laugh
. ter is a symptom. But, along comes “Sitting Pretty.”” Normal
cy is restored. The enjoyment of laughter prevails once again. And how it was needed!
It’s a merry business. It'll doa
merry business. That’s for sure. Suburbia is on the receiving end of this session of fun poking.
‘Suburbia is the place, gossipers
and tale carriers the targets.
Advertising for a babysitter in the Saturday Review of Literature, Miss O’Hara, wife to Robert Young and mother of three youngsters, engages Webb. She thinks him to be a woman since his name is “Lynn Belvedere.” He comes, makes her live up to her end of the deal and inserts himself in their household on Hummingbird Hill.
Richard Haydn, whose forte is crosspollinating iris and main interest snooping and. carrying tales, gathers pollen and arrives at conclusions which his small mind leaps at. 4
Webb succeeds. The boys love .
him. He is a genius. He says so himself. He soon dominates the household mouthing epigrammatic advice and generally poking the local citizenry with verbal rights to their mental level which he thinks quite low. And on top of all this he says he hates children.
Silently Webb, with a quill pen, has been writing a satire on suburbia and it is published, creates no mild sensation. About to be sued for libel, he reveals Haydn’s unknowing participation.
When the hue and cry .dimin
ishes it is expected that Webb will depart. Not likely. It will be a trilogy. Besides, Miss O’Hara is expecting. He'll be around.
CAST: Robert Young, Maureen O’Hara, Clifton Webb, Richard Haydn, Louise Albritton, Randy Stuart, Ed Begley, Larry Olsen.
CREDITS: Producer, Samuel G. Engel; Director, Walter Lang; Screenplay, F. Hugh Herbert; Based on a novel by Gwen Davenport; Photography, Norbet Brodine.
DIRECTION, Fine.
PHOTOGRAPHY, Very Good,
Baal s Hagen Girl
with Shirley Temple, Ronald Reagan
Warners 83 Mins. CLASS “A” FARE FOR FEMININE
TRADE: ‘MISS TEMPLE EMERGES A
DRAMATIC ACTRESS OF STATURE.
In this film Shirley Temple emerges from recent trials to give a telling dramatic .performance. Hers is a serious role. She handles herself very capably. Playing straight this time with little or no time for comedy she can easily take her place alongside anything offered:in-the, same genre of recent date.
The legitimacy or illegitimacy of “Mary Hagen” is the issue. The title role is played by Miss Temple. The issue is one created
by small town gossips who take
it on their own to make a case out of a few coincidences.
The hyper-critical audience will ask why the basic truths upon which the misunderstanding is erected were not divulged in the beginning. If they were there would be no story. The simplest explanation would have cleared up the affair. Instead, Ronald Reagan, rather than hang around the small town, runs off for years and returns when Miss Temple
is grown. The accepted story, in| -delibly engraved in small town
minds, is that Miss Temple is his child, the fruit of an illicit romance with the daughter of a local big shot.
On Reagan’s return—it is fine osane world—he is soon’ made aware of Miss Temple’s problem and the onus of illegitimacy which hangs over her. Actually, it is brought out, Miss Temple was legally adopted by Dorothy Peterson and Charles Kemper. The coincidence of arriving on the same train as the problem girl, set tongues a-wagging. In solid dramatic sections the tale builds to near tragedy. Miss Peterson dies without telling Miss
Temple the truth. The ensuing . strain-on Miss Temple leads. her ©
to the river where she attempts suicide. Reagan saves her. Then it turns out he is in love with her and they leave the locality: to take up married life.
CAST: Shirley Temple, Ronald Reagan, Dorothy Peterson, Charles Kemper, Rory
Calhoun, Jean Porter, Nella Walker, Winifred Harris, Ruth Robinson, Lois Maxwell.
CREDITS: Producer, Alex Gottlieb; Director, Peter Godfrey; Screenplay, Charles Hoffman; Based on a novel by Edith Roberts; Photography, Karl Freund.
DIRECTION, Good,
PHOTOGRAPHY, Good.
Night ‘Soiigs
with Dana Andrews, Merle Oberon, Ethel eae
RKO 101 Mins.
SENTIMENTAL ROMANCE WELL PRODUCED, DIRECTED AND PLAYED HAS SPECIAL APPEAL TO THE FEMMES.
“Night Song” is highlighted by the splendid acting of its stars, Dana Andrews, Merle Oberon and Ethel Barrymore and Hoagy Carmichael, one of the featured players. Another important factor is John Cromwell’s knowing direction. Good production credits go to Executive Producer Jack J. Gross and Producer Harriet Parsons.
Miss Barrymore has a field day as an aunt of Miss Oberon, while Carmichael ‘portrays the leader of a honky-tonk band and companion of Andrews.’
Merle Oberon goes slumming and meets Andrews, who is a
blind pianist in a honky-tonk. He
had weathered the war without injury, but was blinded in an accident in San Francisco. He is embittered and is losing faith in a concerto he is composing.
To give Dana confidence, Merle poses as a blind girl, and Miss Barrymore and Carmichael aid her in her campaign. She arYranges a musical competition with $5,000 as the leading prize. * Andrews wins the contest and goes to New York-to have a specialist operate on his eyes: The
operation is a success, but Dana
delays hig return.-to San Francisco and the “blind” girl.
Impatient to see him, Merle goes to New York and is introduced to,Dana under a different name. On the night Artur Rubenstein plays Dana’s concerto at Carnegie Hall, Dana decides to return to the girl in San Francisco. Merle goes by plane and is there waiting for him when he returns to the Bay City.
CAST: Dana Andrews, Merle Oberon,
Ethel Barrymore, Hoagy Carmichael, Jacqueline White.
CREDITS: Executive producer, Jack J. Gross; Producer, Harriet Parsons; Director, John Cromwell; Author, Dick Irving Hyland; Screenplay, Frank Fenton and Dick Irving Hyland; -Adaption, De Witt Bodeen; Cameraman, Lucien Balard.
DIRECTION, Splendid.
PHOTOGRAPHY, Praiseworthy.
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CANADIAN FILM WEEKLY 25 Dundas Sq., Toronto