Independent Exhibitors Film Bulletin (Sep 1935 - Aug 1936)

12 WEDNESDAY, NOVEMBER 6, 1935 AS I SEE THEM . . . Reviews of New Films By ROLAND BARTON TRANSATLANTIC TUNNEL BOXOFFICE RATING DRAMATIC SPECTACLE . . . Best American-audience film to come from British studios to date . . . Has names, action, imagination, strong climax . . . Big showmanship stuff — for showmen . . . Rates • • •. G-B 90 Minutes Richard Dix . . . Made Evans . . . Helen Vinson Leslie Banks . . . C. Aubrey Smith . . . George Arliss (as British Prime Minister) . . . Walter Huston (as President of U. S.) . . . Directed by Maurice Elvey "Transatlantic Tunnel" is undoubtedly the top box-office attraction thus far received from the British studios. A fascinating, unusual and dramatic story built around the imaginative idea of the construction of a sub-oceanic tunnel between England and America is the basis for this engrossing film. Furthermore, the cast is peopled by players whose names and faces are well-known to American movie fans, and G-B has engineered one of the smartest pieces of showmanship in many months by spotting George Arliss and Walter Huston in bits, as English Prime Minister and President of the United States, respectively. Throughout, the production has been handled commendably, the fantastic plot bearing a quality of logic that will make it enjoyable by every class of patrons, from children to class audience adults. It should bring good grosses down the line, and with an additional stimulus of showmanship, to which "Tunnel" certainly lends itself, may do even better. The cast acquits itself admirably. Richard Dix makes his role of the harassed engineer of the tunnel sympathetic and engrossing. Arliss and Huston, in their brief appearances, add a strong punch to the picture. To G-B and the other British film producers, we cry, "More! More!" like "Transatlantic Tunnel." PLOT: Dix, world famous engineer, has evolved a plan for construction of a tunnel joining the two English-speaking nations and secures the backing of a group of financiers. Every imaginable sort of mishap threatens to wreck the exploit and Dix suffers innumerable misfortunes in his own life. He loses contact with his wife, Madge Evans, who, not desiring to stand idly by, works in the hospital connected with the tunnel. She falls victim of a strange malady and is made blind. Fearing that she will be a burden to her husband, Madge disappears from his life. Dix's son, grown to manhood during the ensuing years, does not meet his father until a few hours before the son is killed in a tunnel disaster which seems to doom the entire venture. Deserted by his men, Dix, with a few loyal friends, succeeds in getting through the gap which stood in the way of the tunnel's completion. It is a glorious day for both countries when the structure is finally dedicated, with Dix and his wife happily reunited. AD TIPS: This picture demands and affords exhibitors a chance for spectacular exploitation. Don'' neglect the romantic angle, but sell the fantastic, but not impossible, idea of the basic story. Ask the question for weeks in advance — "IS IT POSSIBLE— A TUNNEL UNOFR THE ATV77C OCEAN CONNECTING ENGLAND AND THE V. S.?" ELK. DANCE BAND BOXOFFICE RATING MUSICAL-COMEDY . . . Light, frothy stuff that moves along at a merry clip from start to finish . . . Buddy Rogers makes a grand comeback in appealing role . . . Two good songs and a few good laughs — and speed, speed, speed . . . Rates • • + . B. I. P.-First Division 68 Minutes Buddy Rogers . . . June Clyde Directed by Marcel Varnel I have no desire to give you the impression that "Dance Band" is a sensation — it is not. But, it certainly contains more than a moderate share of ingredients that go to compose a snappy, entertaining musical film. It is a tribute to the director and that unknown soul who does the cutting that so light and inconsequential a story is endowed with a pace that is little short of terrific from the opening scene right dow nto the finale. You will never believe it came from a British film studio, for the speed is more American than the vast majority of American film musicals ever approached. Comedy, romance and music are blended at a hectic speed into a melange of good-natured fun. If you have been so unfortunate as to have witnessed RKO's "Old Man Rhythm," which "heralded" the return of Buddy Rogers to the screen, you will marvel at the wonders B. I. P. has worked with him. "Dance Band" definitely succeeds in reestablishing this handsome and talented young man to stardom. He is grand, handling his comedy with the adroitness of Bob Montgomery, his romantic interludes with real appeal, his musical moments with amazing talent. He plays almost every instrument in his orchestra — and well. As his associate in this madcap yarn, June Clyde is both appealing and clever. The two of them play a novel piano duet that will make the fans sit up. "The Valparaiso" is a song hit. The story is unimportant, but "Dance Band" has struck a tempo that no American-made musical films, with their cumbersome dance routines, ever achieve. It should please mass audiences everywhere and rates above average business. PLOT: Buddy, leader of a top jazz band, meets June Clyde while avoiding a mixup with another girl. June leads a girls' band and Buddy helps her out by joining the act, without revealing his true identity. All the leading jazz orchestras are entered in a popularity contest and June discovers who Buddy really is. Both their bands are entered, but June's manager, trying to keep Buddy out of the competition, arranges to have his instruments stolen, but things get crossed and June's are taken instead. In a whirlwind finish, Buddy and his boys go out to recapture the girls' instruments, wipe up the gang of thugs while four of their group play as loud as possible to drown out the noise of the battle, and return in time to have the girls' band go on and gain a tie with Buddy's. AD TIPS: Sell Rogers' return to stardom. He is worth plugging and will appeal to the ladies. The band competition idea can be put over where there is a stage. It's fast, mad and a little bit daffy, so sell it strong to the young folks. It's their show. Play "The Valparaiso," song hit, in advance. It's a good tune. R. B. MURDER AT CLEN ATHOL BOXOFFICE RATING DETECTIVE-MYSTERY . . . Surprisingly interesting mystery yarn that will fully satisfy "who dunnit" fans . . . Done in light manner that aids and brings it out of routine . . . Names missing, pulling down b. o. value . . . Rates • • — . Invincible-First Division 69 Minutes John Miljan . . . Irene Ware . . . Betty BIythe Barry Norton . . . Oscar Apfel . . . Directed by Frank Strayer If this indie murder-mystery boasted a name or two that meant more on theatre marquees, it might have been able to stand (Continued on Page 10) 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 ( -f) and minus ( — ) will be used occasionally to indicate slightly above or below the point rating.