Independent Exhibitors Film Bulletin (Sep 1935 - Aug 1936)

WEDNESDAY, JANUARY 15, 1936 9 FIRST A GIRL BOXOFFICE RATING COMEDY with musical numbers . . . Talented Jessie Matthews in a thin, heavy-handed plot . . . Musical numbers lavish, but lack originality . . . Will entertain moderately . . . Rates • • — with strong selling; n. g. for action houses. G-B 78 Minutes Jessie Matthews . . . Sonnie Hale . . . Anna Lee . . . Griffith Jones . . . Directed by Victor Saville "First a Girl" is about on a par with Jessie Matthews' first release in this country, "Evergreen." Both have been primarily vehicles for displaying the really notable talents of the agile English musical comedy star. She sings and dances admirably and is a winsome personality. What besets this film and prevents it from achieving anything near the quality worthy of Miss Matthews is a thin, overworked plot and the heavyhanded direction of Victor Saville. True, it is novel, but it is also unbelievable. We are asked to accept the young lady as being a young man posing as a young lady (a female impersonator, to be more exact). Of course, she falls in love with a young man, who eventually learns that she is not male, but female. It is all too thin to provide 78 minutes of entertainment and therein lies the tale of the failure of "First a Girl." Several elaborate, but unoriginal musical numbers are inserted throughout the film. It boasts three tunes, which, while not outstanding, are pleasant enough. Sonnie Hale labors diligently to make his role funny and, unfortunately, meets with little success. Placing Miss Matthews on one side of the ledger and spotting the film's liabilities on the other, I believe we get a balance of fair-minus in entertainment. PLOT: Matthews is a stage struck messenger for a London modiste. By accident she meets Hale, a selfstyled Shakespearean actor compelled by hard times to resort to female impersonations. When laryngitis prevents him from accepting an engagement, Hale thrusts Matthews into the breach. She scores heavily. The act appears in London and is a sensation. Matthews is in pretty much of a spot, however, as the female impersonation stunt compels her to don male attire while off-stage. Jessie falls in love with Jones, who is engaged to Lee, a gold digging blonde. When Jones discovers Matthews at an isolated French bathing resort he realizes the "boy" is a girl. Learning her true identity has become known, Jessie confesses her love to Jones and determines to quit the stage. Hale takes his partner's place in the act and is a surprise hit. Matthews leaves with Jones, while Lee agrees to back Hale in a production of "Hamlet." AD TIPS: Sell Matthews as the great musical comedy star of Europe. The plot offers countless exploitation possibilities. Try the female impersonator walking ballyJx>o. Use a girl in male attire, top hat, tails, etc. RUDY. ANOTHER FACE BOXOFFICE RATING COMEDY-MELODRAMA ... A novel plot, with quite enough action to please those who like it . . . Lacks name strength and will suffer accordingly at b. o. . . . Rates • +, but will do better second day than first. RKO 70 Minutes Wallace Ford . . . Brian Donlevy . . . Phyliss Brooks . . . Erik Rhodes . . . Alan Hale . . . Directed by Christy Cabanne This has a real asset in the clever and novel plot of a gangster who goes to Hollywood to become a movie gunman and a studio publicity hound who plans to have the gangster's arrest pulled right on the set. It makes for fast moving comedy and plenty of action. "Another Face" flops, however, in the cast list. Not one name that means anything has been used and it will prove difficult to sell that way. Brian Donlevy, newcomer from the stage, turns in a swell performance as the mug who goes actor in a big way. He gets a number of laughs with his efforts to play a Barrymore. But, who knows Donlevy? Wallace Ford is the only other player who is known, and while he gets the most out of his publicity man role, his name spells nothing on the marquee. This will please those who come in and word of mouth should bring more for the second day that the first. Below average will be its fate, nevertheless. PLOT: Tired of his racket, gangster Donlevy has his face lifted by a plastic surgeon, then bumps off his stooge and the doctor, thus expecting to remove everyone who knows anything about him. Unfortunately for him, however, he misses the doctor's nurse, who escapes to save her life. In Hollywood, Donlevy gets a film role as a gangster. The nurse is there too and, recognizing him, she tells Ford, the studio publicity man. The latter decides to have the cops come on the set to arrest Donlevy during the filming of the picture and thereby have •> great stunt to his credit. The studio officials crimp his plan and Donlevy grabs Ford's girl friend, protects himself with her, and makes his getaway. 11c is finally snared by the police with the publicity chief's help. There is an incidental romance between Ford and Phyliss Brooks. AD TIPS: Ifs unusual and should be sold so. For action houses, the gangster angle should be handled straight. Elsewhere, it should be treated as comedy. Tabloid heading reading, "GANGSTER-KILLER NABBED ON HOLLYWOOD MOVIE SET!", on window cards or heralds. L. J. TANGO BOXOFFICE RATING COMEDY-DRAMA . . . Light-weight romantic affair that concerns high pressure advertising and the selling of "Tango" hosiery . . . Cast helps it . . . Lack of action nixes it for action spots . . . Okeh for doubling with fast action thriller . . . Rates • +. Invincible — First Division 68 Minutes Marion Nixon . . . Chick Chandler . . . Marie Prevost . . . Warren Hymer . . . George Meeker . . . Herman Bing . . . Matty Kemp . . . Directed by Phil Rosen A routine little comedy-drama all the way, but neatly produced. With a title that is misleading if you expect anything Spanish, other than one dance number and stockings christened "Tango," and a worn-thin yarn about the shop girl and the rich boy who fall in love, marry secretly, are separated and finally reunited when the baby arrives, it is simple to recognize "Tango" as very mild film fare. A capable cast and competent, if unimaginative, direction help the production appear worth the effort put into it. Marian Nixon is pleasing in one of those sympathy-stirring happy-and-sad roles, and robust Herman Bing brings a few laughs in his usual sputtering Dutchman bit. Although the title sounds definitely musical, the one tango number and several night club scenes are the only song and dance bits. "Tango" will hardly displease anyone and, therefore, it is acceptable stuff for dual bills, paired to best advantage with an action picture. PLOT: Nixon, job-hunting, gets a chance at modelling "Tango" hosiery, but quits as soon as Meeker, the boss, makes passes at her. Later, she meets his brother. Kemp, and falls in love with him when he proves to be a nice boy, quite unlike his brother. Meeker tries to break up the romance, and failing, resorts to meanness after they are married secretly. Meeker and his mother have the marriage annulled. From then on, Marian waits patiently for Kemp's return. The baby arrives meanwhile and is present to welcome his papa when he comes in at the last moment. AD TIPS: Sell as a tender story of youthful lore and deiotion. Tie in with hosiery stores for u indole display*. NONNIE.