Independent Exhibitors Film Bulletin (Sep 1934 - Aug 1935)

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8 WEDNESDAY, MAY 22, 1935 AS I SEE THEM . . . Reviews of New Films By ROLAND BARTON BOXOFFICE RATING We have been requested by many exhibitors to use some simple system of indicating our rating of the boxoffice value of the films reviewed below. The "point" system of evaluation, at best, can give you only an arbitrary estimate of a picture's drawing power, so we urge you to read the entire reviews. Some pictures are particularly suitable for certain types of audiences and this must be covered in the detailed criticisms. • Means POOR • • Means AVERAGE • • • Means GOOD • • • • Means EXCELLENT Plus ( + ) and minus ( — ) will be used occasionally to indicate slightly above or below the point rating. Boxoffice Rating • • + THE INFORMER RKO 97 Minutes Victor McLaglen Heather Angel Margot Grahame Walla-e t-ord Una O'Connor Directed by John Ford An artistic achivement that also has enough action and human appeal to make it above average boxoffice. . . . McLaglen gives great performance. . . . Ford's direction tops. . . . Grand show that needs selling — but can be sold! For producing one of the most magnificently filmed stcries ever to emmanate from the studios of Hollywood, Radio deserves a respectful salute. This powerful drama is years ahead of today's screen in subject matter and technique. Actually it is a deeply psycological character study of a despised informer during the Irish rebellion of 1932, amazingly portrayed by Victor McLaglen. Although it must be considered an artistic and serious film because of the courageous manner in which it has been adapted and directed, it still possesses enough of the popular elements in its action and drama to build it as a substantial attraction, worth the effort of any showman to put it across. Vigorously executed by the same hands which fashioned "The Lost Patrol," this is outstanding film fare for men. Its appeal for women is considerably limited, but widespread critical acclaim and the reputation of its author, Liam O'Flaherty, will aid it in the better neighborhoods. PLOT: McLaglen is without money or friends with the sole exeption of Margot Grahme, a woman of the streets, who really cares for him in spite of his thick-skulled mentality. Desperate to give her some money, he turns informer on his best friend, Wallace Ford, who, as a result, is is killed by the Black and Tans, McLaglen collecting the reward. Stricken with remorse, he fills himself with booze trying to forget the visions of his dead friend. When the rebels go in search of the informer, McLaglen is suspected and finally trapped. He escapes, but after a thrilling chase is shot down. Dragging himself to a church across the street, he dies, after begging forgiveness from his friend's grieving mother. There is plenty of action, the gripping, heartstopping kind. Action houses need not be afraid of it because McLaglen's name will help. This can be sold to good business. ELK. Boxoffice Rating • • e Boxoffice Rating • • + COIN' TO TOWN Paramount 75 Minutes Mae West Paul Cavanaugh Monroe Owsley Ivan Lebedeff Directed by Alexander Hall Weakest of all Wests so far. . . . Fair number of laughs in her lines, but story is thin as tissue. . . . Will do biz only where West is especially strong. Mae West's latest vehicle is the least entertaining she's delivered. It counts solely on the limited number of gags in her dialogue to carry the entire picture — and that's not enough! The fact that Mae's last film wasn't exactly a sensation will not help this one any. Unless Paramount hands her something stronger to work with, they're going to lose one of their best b. o. bets. PLOT: Mae, the queen of a western honky-tonk inherits a large fortune from Fred Kohler, who is killed on the day he is supposed to marry her. Thereupon she promptly gets a yen for Cavanaugh, an English engineer, working on her oil property. He snubs her as being vulgar. Intent on getting her man she sets out to become a lady and crash the social strata. In this process she becomes involved in a marriage "in name only" with an aristocratic but destitute man, Monroe Owsley. She puts on an opera for charity at her Southampton estate, singing the title role of "Delilah" herself. During the opera somebody shoots Owsley. This, however, doesn't disturb Mae very much as she now has the path clear to marry Cavanaugh, who by this time has succumbed to her charms and is willing. West monopolizes the footage. Her supporting cast, as usual, have little to do. The West name is all there is to sell. The concluding musical number, "Now I'm a Lady," leaves a good final impression and this may help. However, good business can be counted on only where the fans are partial to Mae. Other spots will do just slightly above average. ELK. Theatres recently outfitted with AMERICAN uniforms Academy, Lebanon . . . Colonial, Lancaster Broadway, Camden . . . New Highland, Audubon AMERICAN UNIFORM CO. I BRIDE OF FRANKENSTEIN Universal 89 Minutes Boris Karloff Colin Clive Una O'Connor Valerie Hobson Elsa Lanchester Directed by James Whale Sure-fire boxoffice ... As good as the original "Frankenstein" in horrors, with an added touch of humor and sentiment. . . . exploitation plum, of course. This is sure-fire boxoffice attraction. A worthy continuation of its very successful predecessor. Beginning with a series of flash backs from the first "Frankenstein" film, it continues on from where the original left off. The story material is new and original, containing an absolute minimum of effects borrowed from the former. Will completely engross almost any audience with its fine interplay of comedy and imaginative drama. Don't hesitate to get behind this with all you've got, it's a natural for exploitation. One of the rare instances where a sequel matches the merits of the original. Surprisingly convincing performances for such unbelievable situations. First rate production values. Masterful direction by Mr. Whale, who has created a perfect atmosphere for the story. PLOT: The monster, Karloff, escapes destruction in the flames of the old mill and rises from the ashes to continue his terrorizing of the countryside. After the villagers hear of his latest crime they pursue him. He finds refuge with a blind hermit who befriends him, teaching him to speak, smoke and drink. His increasing knowledge awakens in the fiend a yearning for a female companion. Frankenstein is forced by the monster, who has kidnapped his bride, to create a mate for him. After the work is completed, the female monster brought to life, is repulsed by Karloff who, enraged, destroys the entire mountain top laboratory a few seconds after Frankenstein and his reunited bride escape. Will prove an outstanding thriller attraction in all neighborhoods. Smartly written and directed, it should please class audiences as well as the regular fans. ELK. Boxoffice Rating • • + I 134 SOUTH 11th STREET, PHILA., PA KIN. 1365 RACB 3685 I WEREWOLF OF LONDON, The Universal 80 Minutes Henry Hull Warner Oland Valerie Hobson Directed by Stuart Walker Jekyll-Hyde horror yarn. . . . Story lacks originality, but theme is grisly enough i to please shake and shudder fans. ... Bit above average for action nabes. In placing on the screen their latest bloodcurdler, "The Werewolf of London," its producers have thrown another bone to appease the insatiable appetites of the horror-mystery fans. This particular picture should be specially appeasing to those whose favorite formula for this type film is the "Dr. Jekyll-Mr. Hyde" theme. The plot is sadly lacking in originality (Continued on Page Three)