Independent Exhibitors Film Bulletin (Sep 1934 - Aug 1935)

16 WEDNESDAY, JUNE 19, 1935 AS I SEE THEM . . . Reviews of New Films By ROLAND BARTON Boxoffice Rating • • 9 — PUBLIC HERO NO. 1 Melro-Goldwyn-Mayer 88 Minutes Lionel Barrymore Jean Arthur Chester Morris Joseph Calleia Lewis Stone Directed by J. Walter Ruben While this third in the current series of G-men stories matches Warners' original "G-Men," it will not approach the b. o. grosses of the latter simply because the law of diminishing returns is still operative. With its full quota of gun play, "Public Hero No. 1," has, in addition, a full measure of comedy and romance, provided by a splendid cast. Jean Arthur, the come-back girl who scored so heavily in "The Whole Towns Talking," has another flippant, hoarse-voiced role in this, and her work goes a long way toward making the film as enjoyable as it is. But, in our estimation, the outstanding triumph is that of Joseph Calleia, a newcomer from the legitimate stage. As the counterpart of Dillinger, this repressed, sombre brooding gang-leader lends an air of authenticity to his role that holds one spellbound. He is far more ominous, more effective than a dozen loud-shouting movie gangsters. Lionel Barrymore, as the dipsomaniacal gang doctor, is responsible for most of the films laughs. 'I here is not an overabundance of gang fighting, nor is as much stress laid on the operations of the Justice Department as in the prior two G-men pictures. The story is more important than in either of the other two. This should do better than average business generally, going below "GMen," but topping "Let Em Have It." PLOT: Morris, a government agent, is placed in the same prison cell with Calleia, head of the Purple gang, in order to gain his confidence. They stage a jail break and escape to Calleia':, home in Wisconsin where Morris meets and falls in love with Jean Arthur, the criminal's sister, who does not know that her brother is a gangster. When Morris has a fight with Calleia over her, he forces Lionel Barrymore, the gin-soaked doctor who attends the gang, to show him their hideout. Calleia succeeds in escaping, but the rest of the mob is wiped out. He is later slain in a fight with Morris as he is leaving a theatre. In spite of what he has done to her brother, Jean realizes what he has done is just and they are united in the end. In view of the predominance of gun fighting in the other G-men films, it might be well to play up the story in advertising this one. Jean Arthur's name should get prominent space in all billing. ELK. Boxoffice Rating % © + THE CLAIRVOYANT G-B 72 Minutes Claude Rains Fay Wray Jane Baxter Directed by Maurice Elvey What prejudice still exists on the part of American exhibitors against films coming from English studios will be dispelled by pictures like "The Clairvoyant." Not an outstanding production by any means, it contains, however those elements of movie entertainment that are desired by the average American audiences. Fast pace, tension, and excitement make it so gripping that it should please any audience in this country. Its producers, G-B, have done well in casting two familiar players, Claude Rains and Fay Wray, in the leads. The oft-repeated association of their names with this type of eerie film has built up a strong draw for them among mystery fans. Miss Wray is a veteran "scream in the dark," and admirers of forceful and distinguished acting have been quick to appreciate Mr. Rains' talents. There are several spectacular episodes during the unfoldment of the clever story, chief of which is the collapse of a tunnel being constructed under the Thames River. Better-than-Average business should result generally, while exhibitors who take advantage of the exploitation possibilities can pull this up to important grosses. PLOT: Rains is a fortune teller in vaudeville who discovers that he has real clairvoyant powers but only in the presence of Jane Baxter. He predicts a railroad crash and derby winner and a tunnel disaster. But by predicting the latter he is arrested on the charge of having caused it by unnerving the workers. His sympathetic medium, Miss Baxter, also comes between him and liis wife. Fay Wray. Rains frees himself from conviction by another prediction which is realized. It is apparent to him that his strange power is in reality a curse and gives it up, putting Jane Baxter out of his life and he is happily reunited with his wife. The nature of the ttory is fascinating to mo't people and should be given most space in billing. Rains' names means something, especially in class houses. A mind-reader or tea-leave reader in the lebby a week in advance will attract attention. ELK. Boxoffice Rating ©_© THE CLASS KEY Paramount 77 Minutes George Raft Edward Arnold Claire Dodd Rosalind Kieth Ray Milland Directed by Frank Tuttle Based on a novel written by Dashiell Hammett several years prior to his "Thin Man," this story has been translated into a tense, somewhat exciting mystery film by the expert work of a capable cast. Lacking the spry humor of Hammett's most successful effort, this, nevertheless, has plenty of action and originality of plot. The mystery contrives to be really baffling. George Raft contributes a performance that is by all odds his best since "Scarface." No actor has more badly needed a fitting role than the sleek Raft. The yarn mixes murder, gangsters, politics and romance, the latter supplied by Raft and Rosalind Kieth, a new "find." As usual, Edward Arnold delivers a standout portrayal. "The Glass Key" will probably be accepted as "just another mystery," so its b. o. strength should be only Average. Raft's name isn't much of an attraction these days, but this role will put him on the comeback trail. PLOT: Ray Milland, the son of Charles Richman, a nominee for the Senate in an approaching election, is murdered. The finger of suspicion points to Edward Arnold, who is the Senator's political henchman. Arnold, has a very loyal follower in Raft who goes through plenty of excitement to find the guilty party. He not only succeeds in doing away with Gleckler, their political enemy, in a strictly legal manner but also succeeds in winning the love of Richman'si daughter, Rosalind Kieth. Hammett and his "Thin Man" are still worth plugging on any of his stories. "George Raft's greatest role since 'Scarface' " should be mentioned. ELK. Boxoffice Rating O • THE NITWITS RKO 81 Minutes Bert Wheeler Robert Woolsey Evelyn Brent Fred Keating Betty Grable Directed by George Stevens This is the best Wheeler and Woolsey comedy I've seen in almost two (Continued on Page Thirteen) 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.