The Exhibitor (1950)

EXHIBITOR July 5, 1950 X-Ray: This compares favorably with other entries of this type, and it will serve as an interesting lower half entry. Most of the famous people of the past half century both living and dead and events are included. Considerable emphasis is placed on present day problems, and the finale consists of a strong plea for na¬ tional defense and world-wide awaredness. The rest of it contains a great deal of nostalgic appeal for the older adult audience and curiosity lure for the others. This was written by Alfred Butterfield and Thomas H. Wolf. Tip On Bidding: Lowest bracket. Ad Lines: “See The Picture That Couldn’t Be Made For A Half Century . . . ‘50 Years Before Your Eyes’ “Here’s Your Chance To See How History Was Made”; “The Story Of Our Time Brought Before You.” MISCELLANEOUS Documentary With Clean Hands Drama 50m. (International Ladies Garment Workers Union) Estimate: Good documentary with lim¬ ited appeal. Cast: Sam Levine, Arlene Francis, Joseph Wiseman, Louis Sorin, Alexander Scorby, Rudy Bond, Haskell Coffin, Roily Bester. Produced by Jack Arnold and Lee Goodman for the ILGWU; directed by Jack Arnold. Story: After four decades of union membership in the ILGWU, cloakmaker Sam Levine applies for retirement pen¬ sion, and pauses to reminisce. Levine in¬ tersperses an explanatory narration, and emphasizes his desire for freedom when mistreatment of co-worker Joseph Wise¬ man by sweatshop boss Louis Sorin in¬ cites his protest, and results in his firing. Wiseman quits, and they picket in the successful general strike. They march in the protest of the Triangle Shirt Waist Company fire which killed 146 women, and the union movement grows. Collective bargaining and better union conditions are traced, including Wiseman’s unionpaid rest cure for TB at a sanitorium. Eventually the communists create discord via excessive demands and a strike, and the depression comes. The years, how¬ ever, find Levine a staunch unionist and wife Arlene Francis an understanding helpmeet. Union benefits are outlined, and the retired Levine welcomes a new member. X-Ray: This impressive offering should hold wide appeal for union and educa¬ tional audiences, and may fit neatly on the lower half in labor-conscious situations. Performances are good, and interest and pace are maintained evenly throughout. Morton Wishengrad wrote the screen play. Ad Lines: “See, The History Of The Growth Of A Union In ‘With Clean Hands’ “The Story Of The Sweat And Tears Building Of The ILGWU”; “He Had To Decide Early Whether He Would Fight For Honesty And Freedom ‘With Clean Hands’.” FOREIGN Heart And Soul Drama (Cuore) 90m (Crest) (Italian-made) (English titles) Estimate: ' Appealing Italian import. Cast: Vittorio De Sica, Maria Mercader, Giorgio De Lulle, Nario Bernardi, Arturo Gragaglia, Fiore Davanzati, Augusto Mastrantoni, Armando Migliari, Ave Ninchi. Produced by D. Forges Dav¬ anzati; directed by Duilio Coletti. Story: Told in flashback style, this has spinster school teacher Maria Mercader thinking of the past when a former pupil visits her with his offspring. Mercader over -romanticizes the none-too-honest intentions of army lieutenant suitor Giorgio De Lulle in 1894, and doesn’t realize the affection felt for her by fellow teacher, Vittorio De Sica. De Sica hews to his political ideals by morally lambast¬ ing the Italian campaign against Abyssinia despite the opposition of influential poli¬ ticians. He is suspended, and Mercader is brushed off by De Lulle, though invited to an officers’ ball by him. Mercader manages to get De Sica reinstated through the influential father of one of her pupils. All the pupils welcome De Sica back and do well on their examinations. Mercader and De Sica always aid the pupils and eventually become engaged but don’t marry as De Sica goes off to war, and dies. X-Ray: Able performances by De Sica and Mercader and a group of appealing children lend this betterclass import a great deal of charm. The pace is a bit studied, but interest is maintained throughout, and this should get better art house returns. De Sica approximates his directorial name draw with this perform¬ ance, and the title is an asset, too. This was based on the Edmondo De Amicis novel, “Cuore,” and bears the MPA pro¬ duction code seal. Ad Lines: “Vittorio De Sica Stars In His Greatest Role In ‘Heart And Soul’ ”; “The ‘Heart And Soul’ Of Children’s Inno¬ cence And Spirit”; “The Charm And Appeal Of The Edmondo De Amicis Novel, ‘Cuore,’ Brought To The Screen.” Blood And Fire Religious Drama 95m. (Oxford) (Swedish-made) (English titles) Estimate: Okeh Swedish import. Cast: Sonja Wigert, Anders Henrikson, George Fant, Inge Waern. Directed by Anders Henrikson. Story: Attracted to flashy George Fant, in her teens, Sonja Wigert has become his mistress, and has served as a lure for his unsavory sideline jobs. While street-walk¬ ing, Wigert meets Salvation Army mem¬ ber Anders Henrikson, and receives an invitation to seek the Army’s aid and solace. Henrikson is urged by fellow member Inge Waern, a youthful medium of God, not to leave but to stay, and do his forthcoming great mission. When Wigert leaves Fant after a “job” and a beating, she comes to the Army. Henrik¬ son 'sees' her as his mission, but, after much counsel, Wigert denounces his in¬ terest as lust, and leaves. Henrikson leaves the order, but upon meeting Wigert gives her shelter, and keeps her with intention of marrying her. Fant beats up Henrikson, and soft-soaps Wigert into trying to con¬ vert him after she has joined the Army. However, Fant keeps Wigert locked up under threat of harming Henrikson. Hen¬ rikson and Waern take Wigert back when Waern’s power through God renders Fant helpless. Henrikson later returns to con¬ vert Fant, and talks down Fant’s shoot¬ ing threat but is later killed by Fant, who converts. X-Ray: An unusually frank and honest treatment has been given a familiar theme in this exploitable import, handicapped by a crude and contrived script and a plodding pace. Good performances by Henrikson, Wigert, and the others give this considerable appeal for religious areas but it must be noted the inclusion of some sordid scenes and the title lend this a sensationalism selling angle, too. Bertil Malmberg wrote the screen play. Ad Lines: “See The Unusual Story Of The Crucifixion Of A Man Of Faith In ‘Blood And Fire’ ”; “They Said She Was Bad All Through,” “His Undying Faith Survived The Ordeal Of ‘Blood And Fire’.” City Of Torment Drama 84m. (Films International) (German-made) (English titles) Estimate: Fair German import with limited appeal. Cast: Hans Alber, Lotte Koch, Paul Edwin Roth, Otto Gebvehr, Elsa Wagner, Heidi Scharf. Directed by Josef von Baky. Story: Past middle-aged Hans Alber returns from the war to his wrecked Ber¬ lin apartment, and attempts the hard, honest life awaiting the return of soldier son Paul Edwin Roth. Alber sees gentle widow Lotte Koch struggle to maintain herself and her child, and falls in love. Alber joins the black market group after making a successful smuggling trip past the police, and soon becomes a wealthy black marketeer. Roth returns with a temporary blindness, and, when cured, cannot stand Alber’s black market deal¬ ings. Koch agrees with Roth, and Alber is then left to regain their love by choos¬ ing the right path or continuing his ways. X-Ray: Post-war readjustment has been better treated in other foreign films but this does contain some good footage of devastated Berlin. Performances are fair and in the obvious vein, and the best work is done by the camera. Gerhard Grindel wrote the screen play. Ad Lines: “See The Stunning Devasta¬ tion Left Of The ‘City Of Torment’ — Ber¬ lin”; “He Had To Choose Between The Easy Living Or The Decent People”; “The Defeated People Present Their Picture . . . ‘City Of Torment’.” The Shorts Parade TWO REEL Comedy WAITING FOR BABY. RKO— Comedy Special. 19m. Suzi Crandall and Robert Neil, newlyweds, find it difficult to get up mornings to get Neil off to his job. He is told that a baby is the best way to wake up on time. Crandall buys a new type of alarm clock, and phones him the good news. He thinks she is going to have a baby before she can explain, and he enrolls in an expectant father’s class. He buys a doll for home practice, and Crandall thinks he is going crazy, and summons her parents. It all works out in the end when he is told the truth about the clock, which cries like a baby when it goes off. FAIR. (03405). Color Musical HALFWAY TO HEAVEN. ParamountMusical Parade Featurette. 19m. The familiar device of a modern-day Aladdin’s Lamp is utilized in this pleasant reissue. Johnnie Johnston is featured as a trumpet¬ playing bandleader in financial straits who gets the lamp back when trying to redeem his hocked trumpet. He wishes for his trumpet so the band can fulfill an engage¬ ment, and genie Betty Rhodes supplies it. He then wishes for a night club of his own, which she also brings, and, for his last wish, Rhodes stays on earth to be his very own. Songs heard include “Halfway To Heaven,” “With My Eyes Wide Open,” and “Mama Don’t Allow.” An adept acro¬ batic roller-skating quartet performs, too. GOOD. Servisection 4