The Exhibitor (Jun-Nov 1941)

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PERTINENT REVIEWS — WITH THE X-RAY COLUMBIA Adventure in Drama Washington 86m Estimate: Well made programmer has plenty of selling angles. Cast: Herbert Maishall, Virginia Bruce, Gene Reynolds, Samuel S. Hinds, Ralph Morgan, Vaughan Glaser, Charles Smith, Dickie Jones, Pierre Watkin, J. M. Ker¬ rigan, Tommy Bond, Billy Dawson, Charles Lind, Mary Curriera. Directed by Alfred E. Green. Story: Herbert Marshall, a Senator in charge of the sub-committee setting up the naval appropriations bill, agrees to appoint Gene Reynolds, son of a late pol¬ itical leader who helped Marshall get his start, to a Senate page boy job, on behest of J. M. Kerrigan, another one to whom he owes a political debt. Marshall then discovers that Reynolds is a tough kid. However, Marshall hopes the job will straighten Reynolds out. Reynolds almost walks out on the job when he discovers schooling goes with it, but sticks and likes it. He makes a friend of Virginia Bruce, a radio commentator, who has been rib¬ bing Marshall over the air because he doesn’t give her information she desires. Pierre Watkin, a lobbyist, wants the dope on the big navy bill so he can play the market correctly, but Marshall tells him off. When a confidential conversation be¬ tween two Senators, overheard by Rey¬ nolds, leaks out, the latter is blamed, and Marshall is forced to discharge him. Sore, Reynolds goes to Watkin with information he knows on the bill. Reynolds is rein¬ stated through the efforts of the page boys, but it is too late to stop Watkin. When stocks go up, Marshall is blamed. When things look blackest, Reynolds comes back to take the rap. Marshall is exonerated, and, at a hearing of page boys, Reynolds is forgiven. X-Ray: This is a well-made program¬ mer that has as its theme the regeneration of a tough kid. Its angles on patriotism and Americanism are strong, and these should be emphasized. Until the story gets melodramatic, it is a very touching yarn of a tough kid being remade. The political and war angles should be sub¬ dued, and emphasis laid on the human element, the heart throbs, and the story of the Senate page boys. Gene Reynolds is the principal player, but the others will help on the marquee. Whatever you do, don’t tie this up with war, as its strength will depend on the emotional ap¬ peal, rather than the military. Ad Lines: “The Brave Story of a Boy’s Regeneration”; “A Great Human Story Of a Courageous Youth”; “A Girl’s Faith Re¬ stored His Faith”; “You’ll Sob . . . You’ll Thrill ... At the Story of the Little Men of Washington — the Senate Page Boys”; “Washington is a Boys Town Too. . . . The Senate Page Boys Town.” For last-minute features and shorts, too late to classify, see page 766 of the Blue Section of this issue. Time Out musical comedy For Rhythm 75m Estimate: Musical with specialties for the duallers. Cast: Rudy Vallee, Ann Miller, Rose¬ mary Lane, Allen Jenkins, Joan Merrill, Richard Lane, Stanley Andrews, The Three Stooges, Brenda and Cobina, Six Hits and A Miss, Eddie Durant’s Rhumba Orchestra, Glen Gray and His Casa Loma Band. Directed by Sidney Salkow. Story: Rudy Vallee meets Richard Lane, a talent agent who has Rosemary Lane, top flight singer, under contract. The men form a partnership to sell television pro¬ grams, aided by Allen Jenkins, piano player and general handy man. During auditions we see and hear Joan Merrill, the Three Stooges, and the rest of the specialty groups. On the night of an im¬ portant broadcast, Rosemary is missing and Rudy and Allen, in their search for her, meet Ann Miller and so a star is born. X-Ray: While this one is of the usual plot standard, the tunes and specialty talent are the important factor. Joan Mer¬ rill warbles with grace and charm, and Ann Miller is outstanding with her tap dancing, justly deserving top billing. Rudy Vallee is still trying hard to be a screen actor. Song numbers include “Did Any¬ one Ever Tell You,” “As If You Didn’t Know,” “Time Out For Rhythm,” “The Gentleman Prefers to Dance,” others. Ad Lines: “Top Stars of Stage, Screen, and Radio Topping Their Greatest Per¬ formances”; “Take ‘Time Out For Rhythm’ . . . You’ll Love It”; “The Screen’s Big Personality Parade In the Year’s Big Mus¬ ical Romance!” METRO Billy the Kid Western (137) 95m (Technicolor) Estimate: Formula western with excel¬ lent scenic background. Cast. Robert Taylor, Brian Donlevy, Ian Hunter, Mary Howard, Gene Lockhart, Lon Chaney, Jr., Henry O’Neill, Guinn Williams, Cy Kendall, Ted Adams, Frank Conlan, Frank Puglia. Directed by David Miller. Story: Into a cattle war comes Robert Taylor (Billy The Kid) joining up with Gene Lockhart, brains of the cattle rust¬ ling gang and big shot of the town. Bob meets Brian Donlevy, foreman of Ian Hunter’s ranch, on the raiding list, and, after the two men spar for time, they fall into friendly chatter about old times and their childhood days and here it is devel¬ oped through dialogue that Bob is tough and against law and order because his father was shot in the back and killed. Brian persuades Bob to meet his boss, who takes a fancy to Bob and tries to regen¬ erate him, with the aid of Mary How¬ ard, the boss’ sister. On the day of the girl’s birthday and the announcement of her betrothal to Brian, Ian Hunter is shot in the back and all the men rise up in wrath. Brian, sworn in as deputy U. S. Marshal tries to keep things within the law, but Bob’s temper gets the best of him. After escaping from jail, where he is put for safe-keeping, he finally gets the men who killed Ian, but is killed in turn by Donlevy. X-Ray: Seemingly despite everything Metro could do, this is still just another western with a beautiful scenic back¬ ground. There is enough riding and action to please western fans, and the Taylor addicts will be satisfied, but for the class houses and more discriminating patrons this is likely to be only moderately suc¬ cessful. Acting honors go to Brian Don¬ levy, who does a swell job. Ad Lines: “Billy the Kid — He Never Forgot a Kindness — He Never Forgave a Wrong”; “The Year’s Most Thrilling Out¬ door Picture”; “The Most Thrilling Tech¬ nicolor Action Since ‘Northwest Passage,’ and Made By the Same Company!”; “Rob¬ ert Taylor In His Most Exciting Role.” MCI^OGEAM Silver Stallion w™ Estimate: Should satisfy the open air fans. Cast: David Sharpe, LeRoy Mason, Chief Thundercloud, Thornton Edwards, Walter Long, Janet Waldo, Fred Hoose, Thunder, Black Jack, Boots, the Police Dog. Di¬ rected by Edward Finney. Story: David Sharpe, LeRoy Mason, and Chief Thundercloud are forced to become horse thieves, with Sharpe, the kid, rescu¬ ing a colt from a fire. The colt grows up to be a silver stallion. Sharpe is search¬ ing for the man who framed his brother. Love comes into his life when he sees Janet Waldo, and he determines to go straight. But his two mates object, and they raid the Waldo ranch, stealing the horses, in league with Walter Long. How¬ ever, Sharpe determines to get the horses back, splits with his pals, finds Long is the man he seeks, kills him, and then kills Thornton Edwards, a renegade. Mean¬ while, Thunder, the silver stallion, has had his fight with a black stallion, and also wins. Sharpe makes up with his pals, and the three decide to give themselves up to the law. X-Ray: Main result of this will be to show that David Sharpe is good material for a western series. He can ride, fight, and is supposed to be as fast or faster on the draw than most of the Hollywood contingent. Otherwise, the story is form¬ ula, with plenty of stock shots, and a couple of horse fights to boot. Western fans will be satisfied, even though it was apparently made on a modest budget. Ad Lines: “The Giants Of the Plains In a Terrific Death Struggle”; “Man vs. Man and Horse vs. Horse”; “He Rode to Pay For His Brother’s Life”; “Meet David Sharpe — the Fastest Draw in Pictures”; “Ride and Thrill With the New Hero of the Plains.” June 11, 1941 763