The Exhibitor (1949)

February 16, 1949 THE EXHIBITOR the moat out of an okeh script, and the film should draw better-than-average business in every situation. There are quite a few real dramatic moments, and Lamour gets an opporunity to sing a couple of tunes, including ‘Dancing For Nickels And Dimes’ and ‘This Is The Beginning Of The End’.” The film is based on a story by Samuel G. Engel and Hal Long. Tip On Bidding: Usual reissue price. Ad Lines: “A Cast Of Favorites Return In One Of Their Screen Successes”; “A Truly Great Film Drama Brought Back For Your Reenjoyment”; “One Of The Greatest Gangster Melodramas Of All Time.” Show Them No Mercy Melodrama (950) 74m. (Re-release)" Estimate: Reissue can be sold. Cast: Rochelle Hudson, Bruce Cabot, Cesar Romero, Edward Norris, Ed Brophy, Warren Hymer, Herbert Rawlinson, Rob¬ ert Gleckler, William Davidson, Frank Conroy, Charles C. Wilson, Edythe Elliott, William Benedict, Orrin Burke, Paul McVey, Boothe Howard. Produced by Ray¬ mond Griffith; directed by George Mar¬ shall. Story: A young couple, Edward Norris and Rochelle Hudson, with a baby, bump into kidnappers when they stumble upon their hideout. Cesar Romero, gang leader, and his men, Bruce Cabot, Ed Brophy, and Warren Hymer, are forced to hold them as hostages. They learn the money they have stolen is marked, and that G-men are closing in on them, so they decide to use Norris’ few dollars for expenses dur¬ ing the planned escape, saying they will be forced to take Norris, Hudson, and their baby along with them. However, Norris and Hudson watch for their opjjortunity, finally overpower them, and, when the G-men arrive, they find their work al¬ ready done for them. X-Ray; When first reviewed in The Servisection in November, 1935, it was said: “Another entrant in the G-men series, this will have to depend on sensa¬ tional selling to cause any stir. With kid¬ napping as the background, with the usual “Crime does not pay” ending, it is pro¬ duced in the company’s best fashion, but is handicapped on the marquee division. The film is based on a story by Kubec Glasman. ^ Tip On Bidding: Regular reissue price. Ad Lines: “An All-Time, All-Thrill Ac¬ tion Smash!”; “Raw! RutWess! The FBI Moves In For The Kill!”; “Death To Kid¬ nappers As The FBI Takes The Offensive.” U.-INT. Red Canyon (Color by Technicolor) Estimate: Good western. Western 82m. Cast: Ann Blyth, Howard Duff, George Brent, Edgar Buchanan, John Mclntire, Chill Wills, Jane Darwell, Lloyd Bridges, James Seay. Produced by Leonard Gold¬ stein; directed by George Sherman. Story; Ann Blyth, out riding her father, George Brent’s, best thoroughbred, meets horseless Howard Duff, and sells him one of Brent’s horses. Duff refuses to accom¬ pany her, and Blyth tricks him out of his newly-bought horse. Walking back. Duff has words with Brent, and, while getting his horse, boasts he will capture a wild horse. Black Velvet. Demoted stage driver Edgar Buchanan goes with him, and they capture the horse. They also meet Duff’s horse-thieving family, but his accurate shooting dissuades them from taking Black Velvet. Duff sprains his back while breaking Velvet, and, while getting sup¬ plies in town, Buchanan lets out the news. Blyth comes arunning, the horse takes to her gentle ways, and she trains Black Velvet for the big race against her father’s prize racer. Brent learns the news before the race, and forbids her to ride, but she rides for Duff even after he dis¬ closes his identity, and wins. Duff’s father, John Mclntire, discloses his identity to sheriff Chill Wills, and Duff wounds Brent, escaping a posse. He doubles back, and kills his outlaw kin, attempting to steal Black Velvet, and, after taking Blyth, Duff releases Velvet, and happily accepts Brent’s apologies. X-Ray: Based on the Zane Grey novel, “Wildfire,” this is a fast-moving, skillful blend of surefire elements, beautiful color, wild horses, a .race, plenty of shooting, Blyth chasing Duff, and lots of landscape. Chill Wills and Buchanan handle the standard humor, and good direction by George Sherman gets the most out of all situations. The screenplay is by Maurice Geraghty. This should go well where westerns do. Tip On Bidding: Better program price. Ad Lines: “Full Of The Fury Of Wild Horses And An Untamable Beauty Who Knows How To Lasso Her Man”; “Could The Blood Of His Own Kin Be Thicker Than His Love For One Of His Sworn Enemies?”; “In Magnificent Technicolor, The Hard, Bitter Story Of The West, ‘Red Canyon’,” FOREIGN My Last Mistress (Leo Cohen) (French-made) (English titles) Estimate: Good sophisticated French entry. Cast: Sacha Guitry, Aime Clariond, Genevieve Guitry, Duvales, Pasquali, Leon Walther, Maurice Teynac, Georges Lamaire, Mona Goya, Mila Parely, Mar¬ guerite Pierry. Produced and directed by Sacha Guitry. Story: The day before the opening of an art museum exhibition, sculptor Sacha Guitry aids pretty Genevieve Guitry to crash as a model, and she accepts his proposition to pose for him. He proposes marriage after the two become more inti¬ mate, and as she is hesitant he gives her 30 days to decide. Some time later, he lies to her, quarrels, etc. One night they go to a night club where he sends his per¬ sonal card to the singer, and tells his wife he invited her to pose for him. More of the same treatment follows, and soon after she swears never to see him again. He then phones a doctor to discover the ex¬ tent of his eye disease, and is told he is going blind. Meanwhile, the singer, Mona Goya, sees Guitry as he is losing his sight, and she learns his plight. The wife goes to the club, and vengefully declaims Goya’s performance whereupon the latter talks to her, and merely tells her to see him again. She understands his sacrifice and swears her undying love. X-Ray: Replete with witty dialogue and strong performance by the Guitrys, this art house offering is good lightweight en¬ tertainment though the hidden drama is an overdone plot twist. The Guitry fol¬ lowing should be satisfied with this, and the title and story are good selling angles. There are some reeagrkizable impersona¬ tions done by Maurice Teynac and one song, “All Alone Tonight.” The screen¬ play is by Sacha Guitry. Ad Lines; “Sacha Guitry At His Most Beguiling In The Witty ‘My Last Mis¬ tress’ ”; “A Charming, Beautifully Acted French Romance Of A Roue And His Greatest Love”; “Don’t Miss The Gay Guitry In ‘My Last Mistress’.” 4 The Chips Are Down (Lopert) (French-made) (English titles) Estimate; Good Gallic import. Cast: Micheltne Presle, Marcel Pagliero, Charles Dullin, Marguerite Moreno, Fer¬ nand Fabre, Colette Ripert, Jacques Er¬ win, Mouloudji. Directed by Jean Delannoy, Story: Leader of an insurrection against the existing dictatorship, Marcel Pagliero is fatally ambushed by a young country¬ man who turned spy. At about the same time, wealthy Micheline Presle is poisoned by her money-loving husband, Fernand Fabre, who wants her innocent sister and her fortime. Pagliero and Presle meet while being checked into the afterworld, which is really existing in the normal world without the sense of touch or being perceived by live people. Pagliero goes to see dictator Jacques Erwin, and learns the rebellion has been observed all the time, and his live comrades will be slaughtered. He and Presle fall in love, and, through one of the rules allowing people “meant for each other” to consummate their love as living beings, they return to the moment of their “death” with a 24-hour test, after which they may remain alive if their love holds true. Pagliero and Presle, together in life, horrify their friends, and neither can alter the situation though both try, and they do have some blissful mo¬ ments. Pagliero’s friends refuse to heed his advice, and, though convinced at the last moment, it is too late, and Pagliero stays to die with them, killing Presle, too. Meeting again, and asked by a yoimg couple desiring return, they advise them to try life anew. X-Ray: Though rather lacking in action, this suspenseful and interesting philo¬ sophical drama has some good selling angles besides its strong appeal for the more discerning segment of the art house audience. The title is provocative, the performances by Pagliero, of “Open City” fame, and especially Presle are strong and very natural, and the political and ro¬ mantic angles offer possibilities, too. The screenplay is by Jean Paul Sartre, from his novel “Les Jeux Sont Faits.” Ad Lines: “A Smashing Conflict Be¬ tween An Unyielding Revolutionary And The Woman He Loved, Who Belonged To The Other Side”; “Adapted For The Screen By The Great Jean Paul Sartre, From His Powerful Novel”; “An Unforgettable Drama.” Romantic Drama 84m. (Amanti In Fuga) (Siritzky International) (Italian-made) (English titles) Estimate: Mediocre Italian offering. Cast: Gino Bechi, Annette Bach, Carlo Ninchi, Gualtiero Tumiati, Lamberto Pi¬ casso, Gino Saltamerenda, Antonio Crast, Guido Morisi, Franca Marzi. Directed by Giacomo Gentilomo. Story: In 1680, popular singer-composer Gino Bechi learns from an astrologer that he is destined to a youthful, violent death, and that a veiled woman will change his life. He travels to Venice, stopping over at an inn, he is enchanted by the woman. The Lovers Servisection 5 2565