Independent Exhibitors Film Bulletin (Sep 1935 - Aug 1936)

8 AS I SEE THEM . . . Reviews of New Films By ROLAND BARTON CRIME AND PUNISHMENT BOXOFFICE RATING MELODRAMA . . . Tense psychological study of brain duel between smart murderer and brilliant detective . . . Excellent performances by Edward Arnold and Peter Lorre . . . Will have varied b. o. career, hitting from • • • in class houses and spots where horror films click, down to • • — in rurals and some neiahborhoods. Columbia 89 Minutes Edward Arnold . . . Peter Lorre . . . Marian Marsh . . . Tala Birell . . . Robert Allen . . . Gene Lockhart Directed by Josef von Sternberg This is a difficult picture to judge from the boxoffice viewpoint. It is a good movie, tense, shrewd and gripping throughout. That it is a Hollywood translated version of Dostoievsky's great novel should not react against its popularity with American audiences, for the changes that have been made were made for simplicity. The original's profound, searching psychological study of an intelligent murderer's almost imperceptible mental debacle under the withering attack of a brilliant detective becomes, in this film, simpler detective versus killer melodrama, retaining just enough of the psychological aspect to make it engrossing entertainment for every type of audience. "Crime and Punishment" is abetted no little by the admirable performances of Edward Arnold, as the good-humored, relentless detective, and Peter Lorre, as the studentmurderer. Their subtle battle of wits holds one in suspense throughout, and it is only after Lorre heeds his prostitute confessor that the spectator is allowed to relax. Lacking the usual romance and any mentionable degree of comedy relief, "Crime" will find its toughest going where these ingredients are essential. Better class locations should do good. Likewise action houses where horror stories mean something. It will bring least in rural spots. PLOT: After graduating from the university with a brJliant record, Lcrre becomes dejected by his inability to get a position. Distressed by the poverty of his mother and sister and his own tailure, he murders an old female pawnbroker, believing that his sharp mind will always keep him safe from detection. Assigned to the case, Edward Arnold soon suspects Lorre when the latter offers to assist him in solving the crime. Gradually, Arnold subtly wears down Lorre's mind by dropping good-natured hints of his suspicions, until the murderer cannot resist longer. Urged by Marian Marsh, a prostitute w.th whom he associates, Lorre confesses his crime. He goes to prison and Marian promises to wait for his release. AD TIPS: This is from one of the master novels of all time. The brain-duel between Arnold and Lorre suggests two sets of window cards, one featuring Arnold, quoting: "He thinks he has committed the perfect crime, but . . . " — the other his antagonist, quoting: "I know he suspects me, but . . . etc." BARTON. SKOWTHEM KO MERCY BOXOFFICE RATING GANGSTER MELODRAMA . . . One of the better, but not the best of the G-men-gangster cycle . . . Heart-stopping in parts . . . Should get good grosses where this type still goes . . . Rates • • • in those places and less elsewhere. 20th Century-Fox 74 Minutes Rochelle Hudson . . . Bruce Cabot . . . Cesar Romero . . . Edward Norris . . . Warren Hymer . . . Edward Brophy . . . Directed by George Marshall Probably the best method of appraising this latest film in the fading G-men vs. gangsters cycle is to subject it to comparison with its outstanding predecessors. It lacks a James Cagney and the romanticized mass appeal of "G-Men." It hasn't the publicity value of association with the notorious Dillinger, like "Public Hero No. 1," nor the violence of that picture. Most like it was "Let 'Em Have It," in that both stress the psychology of the gang hoodlum and both point the moral of law's triumph over outlawry. In several sequences, "Show Them No Mercy" overshadows all the others. When the innocent young couple and their baby take refuge in the deserted farmhouse, the spectator has had no indication that this is the hideout of the band of kidnanoers. Unknowing, they settle themselves in the place for the night and, before the gang arrives, one by one hints are dropped to the audience that some terrible fate awaits them. Here you have the most gripping suspense of the season. Again, when the young husband is sent out to change some of the marked ransom money, the homicidal member of the gang cannot restrain his desire to murder the wife and baby. Here, too, it becomes a bit difficult to catch one's breath. The story was written by Kubec Glasmon, who also gave us the memorable "Public Enemy" of several years ago. He has again delivered a compact, realistic melodrama of society's ene mies. In the hands of Bruce Cabot, as the murder-bent hoodlum; Cesar Romero, as the suave, calculating leader; Warren Hymer, as the soft-hearted half-wit, and Edward Brophy, as the jittery quitter, Mr. Glasmon's characters are real in terrifying fashion. George Marshall's direction is noteworthy. PLOT: When their car stalls on a lonely road, Norris, with Rochelle and their baby, prepare to spend the night in what appears to be a deserted farm house. The place proves to be the hideout of a band of four kidnappers, who have just returned their victim in exchange for £200,000. They hold the young couple captives. To test the ransom money, Norris is sent out to buy things in several towns, threatened that his wife and child will die if he seeks aid. The Department of Justice had substituted specially numbered bills for the original ransom money and it is through these eventually that the entire gang is wiped out. Cabot shoots Romero, and Rochelle fills Cabot with lead when her husband makes a break for freedom. AD TIPS: This can be billed as the best of the G-men picture since "G-Men." The kidnap angle affords many opportunities for tabloid newspaper heralds, etc. BARTON. MAN OF IRON BOXOFFICE RATING MELODRAMA . . . Barton MacLane's first starrer — and a weak one . . . Warner's should keep him in gangster roles if this is the best they can give him . . . Fair action . . . Will just get by as part of dual bill . . . Rates • • — in action houses; • elsewhere. First National 61 Minutes I Barton MacLane . . . Mary Astor . . . John Eldredge . . . Dorothy Peterson . . . Directed by William McGann The screen's favorite new "tough guy" got his first starring role from Warners and it makes one wish that they would sa\( hi* talents for such hoodlum roles as he had in "G-Men" and "Dr. Socrates.-' Not that Barton MacLane is a bad performer in "Man of Iron," but the picture is as dull as ditch water. Apparently the ai thors reached into their file of stock strong man-steel foreman plots and extt acted this one. It is musty, illogical and ( Continued on Page 7) 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 picture* are particularly suitable for certain types of audiences and this must be covered in the detailed criticisms. • Means POOR • • Means AVERAGE e • • Means GOOD © © • • Means EXCELLENT Plus ( + ) and minus ( — ) will be used occasionally to indicate slightly above or below the point rating.