The Exhibitor (Jun-Oct 1939)

THE EXHIBITOR Servisection 4 Suedo, Jimmy Wilman, Tom Dunne. Di¬ rected by Harry O’Donovan. One of the most pleasing comedy efforts to find its way here from Eire is this breezy film, that had a fair-sized matinee audience laughing from beginning to end. Jimmy O’Dea, a sort of Irish Jimmy Savo, carried off the lead with the utmost of efficiency. He is an itinerant medicine salesman, who steps into the path of jewel thieves Ken Warrington and Julie Suedo. O’Dea gets a lift in the crooks’ car and, when he leaves, takes the bag carrying the loot instead of his own cough medicine. There is always the suspense concerning when and how the right bag will be opened and there’s always a hearty laugh whenever O’Dea or any of the myriad other grand comedians are around. O’Dea helps capture the crooks and wins bar¬ maid Myrette Burke for his spouse. Hazel Hughes and Ronald Malcomson carry off the straight romantic role adequately enough. But this is real Irish humor for real Irish audiences. Estimate: Top Irish product. Just Like a Woman Family J Comedy Drama (Alliance Films) 73M (English Made) Gertrude Michael, John Lodge, David Burns, Jeanne de Casalis, Hartley Power, Arthur Wontner, Felix Aylmer, Henry Hewitt, Ralph Truman, Fred Emney, An¬ thony Ireland. Directed by Paul L. Stein. “Just Like a Woman” is one of those breezy, fast-moving strips of unimportant celluloid, which manges to maintain inter¬ est throughout, despite occasional lapses in action. It falls into the nabe-dualler classification and should be well received by those who view it. Heading the cast are three names familiar to American audiences: Gertrude Michael, John Lodge, David Burns. The story is built around the situation evolving from the fact that Lodge and Michael are representatives of competing jewelry firms, both of which are after a string of valuable black pearls. Although the two double-cross each other without the slightest bat of an eyelash, love wins out in the end, when circum¬ stances straighten out for everyone. Burns is okay in a fair-sized comedy role. Estimate: Fair English program. Lost on the Western Front Family Drama 83m. (Standard) (English-made) Paul Cavanaugh, Marcelle Chantal, Garry Marsh, Olga Lindo, Alistair Sim, Evelyn Roberts, P. Kynaston Reeves, Den¬ ier Warren, Denise Sydney. Directed by Maurice Elvey. An interesting reminiscence of World War I, done with convincing photography, “Lost on the Western Front” concerns the return of Garry Marsh and his French wife (Marcele Chantal) to the scene of their meeting and of Marsh’s company’s stand in the war. The occasion is com¬ memoration of the famous rescue, with which Marsh was the hero. Paul Cava¬ naugh, supposedly killed in the fracas, turns up, and complications arise when he and Chantal decide to requite their right¬ ful love. Chantal, however, is persuaded to remain with Marsh for their daughter’s sake and the film ends with a dramatic revenge and renunciation scene. Estimate: Exploitable dualler. Mirele Efros (Credo Pictures) Family Melodrama 87m. Berta Gersten, Michael Rosenberg, Ruth Elbaum, Albert Lipton, Sarah Kroner, Moishe Feder, Louis Brandt, Paula Walter, Jerry Rosenberg, Ella Brouner, Rubin Wendroff, Jacob Mestel, Moishe Schorr, Eugene Sigaloff, Clara Deutschman. Di¬ rected by Josef Berne. The screen version of Jacob Gordin’s near-classic of the Yiddish stage lacks some of the finish of the flesh production, according to some of the more expert on¬ lookers, but, according to the enthusiastic reception accorded the film, this critic is satisfied that it should do more than its share of business among the Jewish movie fans. Briefly, the story is that of the seemingly everlasting conflict between widowed mother Berta Gersten and im¬ perious daughter-in-law Ruth Elbaum. Before the two get together at a Bar Mitzvah celebration, there are plenty of tears shed in the audience. The comedy is capably taken care of by Michael Ros¬ enberg, one of the Yiddish stage and screen’s favorite fun makers. Estimate: Should pull tears and cash. My Husband Is Lost Adult Comedy Drama 87m. (Ho Perduto Mio Marito!) (Esperia) Nino Besozzi, Paola Borboni, Enrico Viarisio, V anna Vanni, Nicola Maldacea, Vittorina Benvenuti, Romolo Costa. Di¬ rected by Enrico Guazzoni. The Italian movie people are in the throes of a sophisticated comedy cycle, this entry being one of the several enter¬ taining ones. An Italian audience showed appreciation for this yarn in which Paola Borboni sets her hooks for her cousin, Nino Besozzi, and gets him to marry her after a merry chase all over Italy. Enter¬ ing into the activities is Vanna Vanni, a young lady whose beauty evoked “oboys and ahs” from the males in the audi¬ ence. ' There are no English titles. Estimate: Okay Italian comedy. Adult Historical Drama (Concord Films) g3M Harry Baur, Marcelle Chantal, Pierre Richard Willm, Jean Worms, Carine Nel¬ son, Denis D’lnes, Gabrielle Robinne, Jaques Baumer, Alexander Rignault, Palau, Martial Rebe, Claudio, Jany Holt. Directed by Marcel L’Herbier. The seventh of the motion-picture portriats of Russia’s “Mad Monk,” this French study of Rasputin is said to be the most accurate and dispassionate appraisal of the peasant who was the most powerful per¬ son in the Czar’s palace. Aside from that historical qualification and the fact that Harry Baur in the title role gives one of his greatest performances, this ranks among the truly outstanding films sent here by the French. The picure high¬ lights Rasputin’s career from the time he is first introduced into court until he is assassinated by a nobleman (played by Pierre Richard Willm). Baur’s portrayal of the peasant-monk during his holier mo¬ ments is equalled in excellence by his portrayal of the peasant-monk as the cen¬ ter of wholesale orgies. There are grand performances by all members of the cast. Estimate: Superb Gallic production. Second Bureau (English -made) Family Drama 66m. (Film Alliance of United States) Marta LaBarr, Charles Oliver, Arthur Wontner, Meinhart Maur, Antony Eustrel, Joan White, G. H. Mulcaster, Leo von Pokerney, Burno Burnane, Fred Groves, Fewlass Llewellyn. Directed by W. Victor Hanbury. Another timely and exploitable bit from British shores, “Second Bureau” is an ex¬ citing dramatic experience, which pits German spies against their French col¬ leagues. Although there is nothing “big” about this film, it should make an enter¬ taining addition on dual bills. Glamorous German spy Marta LaBarr trails French espionage agent Charles Oliver to Paris where she attempts to lure him back to Berlin. There is the usual stuff about love, first used as bait, becoming the real thing. LaBarr gives her life to save Oliver from death at the hands of Ger¬ man bigwigs. Lovely LaBarr and Oliver do swell jobs in the leads and receive great support from Arthur Wontner, Meinhart Maur, Antony Eustrel. (Not to be confused with “Second Bureau,” with Jean Murat and Vera Korene, released by DuWorld in early 1936.) Estimate: Okay spy drama. The Surprises of Matrimony Adult Comedy Drama 118m. (Lc Sorprese di un Matrimonion) (Columba) Vittorio De Sica, Elisa Cegani, Umberto Melnati, Assia Noris, Elsa De Giorgi, Ugo Ceseri. Directed by Mario Camerino. From Luigi Pirandello’s humorous novel comes this fairly amusing Italian importa¬ tion, which kept a small audience in good spirits. Absence of English superimposed titles made it pretty difficult for this critic to follow the action, but the gist of it had something to do with “the eternal tri¬ angle.” There’s a happy ending. This is strictly for the Italian audiences, who are already sold on Vittorio De Sica as one of their favorites. Estimate: For Italians only. That They May Live (Mayer-Burstyn) Adu’t Drama 73m. Victor Francen, Line Noro, Marie Lou, Jean-Max, Renee Devillers, Georges Saillard, Paul Amiot, Rollin, Andre Nox , Wal¬ ter, and Les Gueles Cassees ( mutilated veterans of the world war) . Directed by Abel Gance. Produced in France at a time when the present conflict in Europe was only a men¬ acing shadow, this picture never reached censored screens of Europe. “That They May Live” is being released in this coun¬ try where its awful warning may yet avail. Under the inspired direction of Abel Gance, Victor Francen does a magnificent piece of acting, as the soldier who pledges his life to the prevention of another war. In the opening scenes, Francen is shown go¬ ing out with a “death patrol” during the world war. The patrol is wiped out with the exception of Francen who vows to his fallen comrades that, from that day on, he will be their voice, their will. The world moves on, and soon ominous war clouds gather again, Francen, a scientist before the first war, sees his inventions being used to arm his nation for another bloody cataclysm. He is mad with rage and despair and calls upon the millions of war dead to rise and prevent the carnage for which Europe is headed. In the last scene — a harrowing, terrifically effective spectacle — the dead armies of all nations come marching out of their graves to help him keep the world from another war. “That They May Live” is undoubtedly one of the most vital anti-war dramas ever shown in America. English sub-titles are by Pierce van Paassen. Estimate: Spectacular French anti-war piece. 410