The Exhibitor (Jun-Oct 1939)

Servisection 3 20th CENTURY-FOX Family The Gorilla (944) Comedy 66m. The Ritz Brothers, Bela Lugosi, Anita Louise, Lionel At will, Edward Norris, Patsy Kelly, Wally Vernon, Joseph Calleia, Paul Harvey, Art Miles. Directed by Allan Dwan. When, years ago, Ralph Spence penned his hilarious comedy murder-mystery, he told the story of zany detectives who tried to catch a notorious killer calling himself "the gorilla.” In 1927, and again in 1931, First National screened the work, and today 20th Century-Fox has given the play a third filming, as a vehicle for the Ritz Brothers. The comedy of Harry, Jimmy, and Al Ritz is coarse, rough, and slap¬ stick (and, naturally, will be welcomed glee¬ fully by the brothers’ followers) and sufficiently mad and intense as to clash with the superbly suspenseful scenes revolving around the threat on the life of Lionel Atwiil. Of the effectiveness of the comedy and the mystery aspects there can be no disputing, but at the same time the blend¬ ing of the two is nil, so that the seriousness of the one is not assuaged by the farce of the other, and the comedy fails to inject a note of levity into the graver portions of the narrative. Nor does the ultimate capture of the Gorilla (Joseph Cal¬ leia) and the revelation that Atwiil was effecting a gigantic hoax to that end, add solace. Sliding panels, mysterious closets, the ominous comings and goings of Bela Lugosi, as the butler, add to the eeriness. Patsy Kelly does a sustained and clever job of the hysterical maid, while what little amatory interest there is is carried by Anita Louise and Edward Norris. Art Miles dons the ingagi costume. Whatever there is in "The Gorilla” for the exhibitor will, of course, depend 99.44 percent on the Ritz Brothers. Estimate: Depends on the Ritzcs. UNIVERSAL Family Ex-Champ (3010) Melodrama 72m. Victor McLaglen, Tom Brown, Nan Grey, William Frawley, Constance Moore, Donald Briggs, Samuel S. Hinds, Marc Lawrence, Thurs¬ ton Hall, Charles Ha! ton. Directed by Philip Rosen. Although Universal doesn’t want this typed as another prize-fight picture, it has to be tabbed just that. Although there are a few new twists to it "Ex-Champ” is a formula yarn dealing with the squared-circle. However, there are enough heart throbs and enough action to satisfy the duallers — and it has Victor McLaglen. The pic¬ ture is an okay topspotter for the smaller situ¬ ations, but will have to be relegated to a strong supporting role elsewhere. McLaglen, playing the title role, takes miscast boxer Tom Brown under his wing. His snooty son, Donald Briggs, gambles unsuccessfully with one of his Wall Street client’s funds and gets mixed up in a jam. To straighten things out, McLaglen advises Briggs to bet against Brown in the big fight. Plans go haywire all around, but it ends up with Brown winning the fight and Nan Grey; Briggs winning his bet; McLaglen happy; and the audience more than satisfied. Estimate: Strong dual attraction. My Man Godfrey Comedy 93m. William Powell, Carole Lombard, Eugene Pallette, Alice Brady, Gail Patrick, Mischa Auer, Alan Mowbray, Jean Dixon, Robert Light, Frank¬ lin Pangborn, Grady Sutton, Ed Gargan, James Slai’in. Directed by Gregory La Cava. First reviewed in July, 193 6, this was a box office record breaker, a comedy that clicked every¬ where. It is being released by Universal as part of a twin biller — "My Man Godfrey” — "The Old Dark House” — in some spots. This review appears for the record only. Estimate: Good program. The Old Dark House Melodrama 74m. Boris Karloff, Melvyn Douglas, Charles Laugh¬ ton, Gloria Stuart, Lilian Bond, Raymond Massey, Ernst Thesiger, Eva Moore, Brember Willis. Directed by James Whale. Released in 193 2, now being re-issued as part of the "My Man Godfrey” — "Old Dark House” combination, this now has names which didn’t mean much seven years ago. Surprisingly, this doesn’t show its age as much as one might think, and it has names. It’s another of those what-takes-place-in-the-mysterious-mansion school of thrillers. Estimate: Sell the names. WARNERS-FN The Kid From Kokomo (363) Family Comedy Drama 92m Pat O’Brien, Wayne Morris, Joan Blondell, May Robson, Jane Wyman, Stanley Fields, Maxie Rosenbloom, Sidney Toler, Ed Brophy, Winifred Har¬ ris, Morgan Conway, John Ridgely, Ward Bond, Paul Hurst. Directed by Lewis Seiler. Apparently Warners decided to make a fight picture to end all fight pictures when they started grinding away. This is not strong enough to stand on its own legs, but should be able to do a fair business if teamed up with a nice supporting film on a dual bill. There are enough name (comedy) players to. carry it through for fair returns in the provinces. Pat O’Brien leaves town when his fighter, Maxie Rosenbloom, crosses him, wins a scrap instead of taking the prescribed dive, with his trainer, Ed Brophy, he goes to the sticks to sign up a scrapper, but returns with Wayne Morris. In order to keep him, they fake May Robson, a drunken kleptomaniac, as his long lost mother. She starts taking Morris for all he has, so O’Brien and Joan Blondell dig up Stanley Fields to ex¬ pose Robson. She convinces the fighter that Fields is his old man. One complication follows another, the climax coming when Morris falls in love with Jane Wyman and brings his "family” to meet hers. In the finale, he is supposed to go into the tank to save his "mother’s” honor, but kayoes Rosenbloom for the title. Estimate: Fair programmer. MISCELLANEOUS Death Goes North (Warwick) Family Action Drama 61m. Edgar Edwards, Sheila Bromley, Dorothy Brad¬ shaw, Jameson Thomas, Walter Byron, Arthur Kerr, James McGrath, Vivian Combe, Reginald Hincks, Rin-Tin-Tin, Jr. Directed by Frank McDonald . With no pretense of being anything more than filler for action houses, "Death Goes North” is a commendable entrant which pleasingly offers a murder mystery in a north-woods lumber-camp setting, with the culprit being finally disclosed by the Royal Northwest Mounted Police. Sheila Bromley is being harrassed by Walter Byron and Arthur Kerr, who would, via the disaster route, force her to sell out. When her uncle arrives from England, he is murdered, and when a Mountie private is about to nab the culprit the second murder is committed. Then Edgar Ed¬ wards really goes into action, and, with the aid of Rin-Tin-Tin, Jr., ultimately disclosing that Jameson Thomas (who had identified the first victim as the secretary) is really the secretary in love with derelict Dorothy Bradshaw. Messrs. Byron and Kerr, against whom the finger of suspicion was constantly pointed, are guiltless in the murders, but pay society’ debt for their machinations against Bromley. Director Frank McDonald did a nice job in pacing the story and the entire cast — including the dog — give substantial performances. Estimate: Better-than-average independent action drama. Let’s Pretend We’re Sweethearts (Wagner) Comedy Family Drama 68m Lola Lane, Lawrence Gray, Chic Chandler, George Meeker, Richard Tucker, Irene Ware, Shaw and Lee. Directed by Roland Reed. This one is adapted from the A.E.F. over¬ seas revue, "Comme Ca,” and adds up as a pleas¬ ant mixture that should do nicely for dual bills in the neighborhoods. Having the advan¬ tage of a cast which is well known in major pictures, this further benefits from songs and comedy. Lola Lane, Lawrence Gray, Chic Chandler comprise a vaudeville team that is broken up when the men enlist in the World War. Most of action takes place in France, where Gray forgets Lola, falls for Irene Ware. There are spies, air raids, etc., before Chandler gets couple together again, doing their old stage act for the soldiers. Lane sings several numbers, including title tune and "Comme Ca.” Chandler has most of the comedy. Estimate: Better than average independent. The City Family Documentary (Civic Films) 44M Directed by Willard Van Dyke, Ralph Steiner. Supervised by Oscar Serlin. Original Outline by Pare Lorentz. Commentary written by Lewis Mumford. Music by Aaron Copland. Narration by Morris Camovsky. Not since "The River” has there been anything as pertinent and as interesting as this film drama¬ tizing the need for better housing and better city planning. Working on the premise that humans need sunshine, instead of smoke; fresh air, instead of crowded city streets, etc., the producers of this excellent document show the contrast between the big city slums, factory towns and the health¬ ful atmosphere of a model community. At times, the sight of how some people live is depressing, but a note of encouragement is sounded when one realizes that "the model community” is nearer than ever before. Lewis Mumford’s power¬ ful commentary is delivered forcefully by Morris Carnovsky. Much credit for the mood setting must go to the music of Aaron Copland. This can be exploited for better returns than "The River” because it hits home to more people than the government-produced film. Estimate: Excellent; can be exploited. My Son Family Drama with Music (Jewish Talking Picture) Gustav Berger, Fannia Rubina, Jerry Rosen¬ berg, Herman Rosen, Rose Schwartzberg. Directed by Joseph Seiden. Combining several of the good old Yiddish drama tear-jerking sequences, with an equal amount of modern screen formula, director-pro¬ ducer Joseph Seiden has managed to concoct one of the most pleasing of the recent Jewish releases. It introduces young Jerry Rosenberg as the son of two stage stars, who battle each other for the spotlight. Besides acting as the magnet to draw his parents — Gustav Berger, Fannia Rubina — together, young Rosenberg shows he has something on the ball in the way of talent. For the youngsters, there is music, comedy. For their elders, there is drama, romance, etc. Check this as an American-made Yiddish production guaranteed to more than please Jewish-American audiences. The English titles are satisfactory. (Not to be confused with the announced pro¬ duction by Edward Small of "My Son! My Son!” the Howard Spring novel.) Estimate: High-rater for Yiddish consump¬ tion.