Independent Exhibitors Film Bulletin (Sep 1935 - Aug 1936)

12 WEDNESDAY, NOVEMBER 20, 1935 AS I 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. MUTtNY ON THE BOUNTY BOXOFFICE RATING ADVENTURE-DRAMA . . One of the BIG pictures in film history Two hours and 13 minutes of film made engrossing by grand action and excellent performances . . . Gable and Tone should break down female resistance to great extent . . . Rates • • • •. M-G-M 133 Minutes Charles Laughton . . . Clark Gable . . . Franchot Tone . . . Eddie Quillan . . . Dudley Digges . . . Herbert Mundin . . . Directed by Frank Lloyd Boxoffices throughout the country should be unanimous in establishing "Mutiny On the Bounty" as one of the top attractions of the year. Certainly, this thrilling sea epic leads anything that has come from Metro's studio within the past few years. It's a gripping tale of illtreated sailors being driven to mutiny by an abusive, sadistic captain, in the days of sailing ships. Made to order for male audiences, it was a wise move on M-G-M's part to use Clark Gable and Franchot Tone as the lure for feminine trade. Without them, "Mutiny," regardless of its excellence, would not have the same chance to bring big grosses. Even so, some members of the "weaker" sex may find it undesirable to witness certain scenes which are a trifle strong for feminine stomachs, the plot is evolved with a continuity and thoroughness that is gripping, and it has all been filmed in scenic splendor that is most impressive. Tense and furious action, idyllic romance and stark realism are effectively interspersed throughout the two hours and thirteen minutes of its running. This extreme length is practically unnoticed under the impact of the story and the wealth of production values. While no m>men are featured in the cast, both men and women will find it difficult to forget the beauty and moving performances of the young Tahitian girls. Charles Laughton has a role that is his juiciest to date and he does miracles with it. Gable is surprisingly good and Tone's portrayal is convincing. This is a "special" and should be sold as such! PLOT: A group of British seamen are impressed with the necessity of duty on the ship Bounty, during a scientific voyage to Tahiti. Under the cruel, brutal command of Laughton, even his officers have difficulty in controlling their emotions against him. Tone is a midshipman and Gable is his superior officer. Finally, rebelling against the abuses, Gable leads the mutineers, who set Laughton and his loyal crew members adrift in an open boat. After a month of heroic struggle, Laughton reaches land and eventually England, where he starts out to fulfill his oath to hang Gable. Tone is found on an Island, where he voluntarily awaits rescue, not having participated in the mutiny. But, he is arrested by Laughton, tried and condemned on his testimony. Only after a brilliant denunciation of Laughton and the British naval system, is he pardoned. Gable and the mutineers build their homes on unchartered Pitcairn Island. AD TIPS: This, of course, should be sold as one of the great pictures of all time. ELK. PETER. IBBETSON BOXOFFICE RATING CLASS DRAMA . . . Handsomely done mystical drama that is definitely marked for class houses . . . Moves slowly, but effectively, stirring the emotions . . . Will mean little where action is needed . . . Rates • • • for class spots; • • — for action houses. Paramount 84 Minutes Gary Cooper . . . Ann Harding . . . John Halliday . . . Ida Lupino . . . Dickie Moore . . . Douglas Dumbrille . . . Directed by Henry Hathaway This is a touching tragic drama that will stir both men and women. But, the production has been made in a slowly paced style and with such a definite appeal to intelligent audiences that its boxoffice possibilities appear to this reviewer to be very limited. The mystical theme that controls a large portion of the story, in which two lovers carry on their romance through their dreams, will find class audiences responsive, but where the patrons want action and more realistic plot material "Peter Ibbetson" may cause them to squirm in their seats. The production is a handsome one and the cast above average. Gary Cooper reveals dramatic talent which h; has seldom had an opportunity to display. Ann Harding plays Peter's married sweetheart with more feeling than I can recall in any of her previous roles. The direction by Henry Hathaway is sensitive and fully cognizant of the spiritual qualities of the story. To offer exhibitors comparison with a recent film, it might be well to mention "The Return of Peter Grimm," which employed a mystical theme also. Action and rural theatres will find this difficult to sell and slightly below average business might result. Class houses, however, should realize considerably above average grosses with this. PLOT: Desiring a career in preference to proffered wealth from his uncle, Cooper, as Peter, follows architecture. He has always longed for his childhood sweetheart, from whom he was separated many years before, and he meets her (Ann Harding) as the wife of a nobleman, when he is called on to plan new stables for her husband. Their childhood romance is reawakened as soon as they meet. When they are confronted by Ann's husband and accused of improper relations, a scuffle ensues and Cooper accidently kills him. Sent to prison for life and crippled by a beating from one of the prison guards, Cooper dreams of his sweetheart often and she dreams of him. Thus, they meet in their dreams and live their lives that way, until they both die, promising to meet later on. AD TIPS: Women will love this. It should stir them to tears. Sell it to them as a tragedy of a love that was greater than life itself. Sell it as "unusual," something that one seldom sees in films. ' R. B. HOT OFF THE PRESS BOXOFFICE RATING ACTION-MELODRAMA . . . This is a whirlwind of action; fights, auto chases, smash-ups and a grand riot . . . Never lets down . . . Cheaply, but smartly produced . . . LaRue's following in action spots will help . . . Rates • • + for action houses; elsewhere • • — . Victory (Preferred Rel.) 60 Minutes Jack LaRue . . . Virginia Pine . . . Monte Blue Fuzzy Knight . . . Fred Kelsey Directed by Al Herman Here's knock 'em down and drag 'em out action. Adapted from a Peter B. Kyne yarn, "Hot Off the Press" splashes across the screen at a fast pace that will (Continued on Page 10)