Independent Exhibitors Film Bulletin (Sep 1935 - Aug 1936)

WEDNESDAY, FEBRUARY 12, 1936 9 will stir interest: "$5000 Reward for the Return of Jimmy Valentine." The title is the thing to sell, but the cast should not be overlooked, giving a good spot to Edgar Kennedy in all copy. M. W. LONE WOLF RETURNS, The BOXOFFICE RATING CROOK-MELODRAMA . . . Nicely done, showing bright writing and direction . . . Nothing unusual about the story, but almost irresistibly pleasant seller . . . Should get * * on word or mouth build-up. Columbia 69 Minutes Melvyn Douglas . . . Gail Patrick . . . Tala Birell . . . Raymond Walburn . . . Douglass Dumbrille . . . Directed by Roy William Neill Adroitly mingling a nice sense of comedy and romance with the ancient international crook theme, Columbia has turned out an unimportant, but nevertheless, thoroughly entertaining film. "The Lone Wolf Returns" tells nothing new, nor does it tell nothing new in any strikingly new manner, but, without pretention, it skips along from suspense to romance to comedy and back again to suspense, all written smartly, handled expertly by a likeable cast of players and directed shrewdly. As the jewel thief (who goes straight at the end, of course) Melvyn Douglas turns in a suave and ingratiating performance. Raymond Walburn carries the comedy burden and acquits himself notably. Gail Patrick looks lovely and acts adequately enough for so beautiful a lady. The lesser roles are given careful attention by a capable supporting cast. "Lone Wolf" certainly will not do phenomenal business anywhere, but it is equally suitable as mild, amusing and exciting entertainment for every type of audience. Those who see it will become live ads for it. PLOT: Escaping, after pulling a smart jewel job in the neighborhood, Douglas takes refuge in the home of Gail Patrick, wealthy heiress. She saves him from the police by treating him as a guest. Love grows between the "lone wolf" thief and his beautiful hostess. Complications arise when a former female associate of Douglas and her two aides plan to steal Gail's jewels and seek to involve Douglas with them. Realizing that he loves her and wishes to go straight, he outwits the crooks and prevents the robbery. His reward is a pardon from the police for his past record and Gail's promise to marry him. AD TIPS: This is a bally natural. Dress up the street man in topper, tails and cane, with a sign reading: "I am the Lone Wolf — so watch your jewels! See 'The Lone Wolf Returns' at the etc." Sell it as a bright, sophisticated crook story that is DIFFERENT. BARTON. MUSS 'EM UP BOXOFFICE RATING MYSTERY-MELODRAMA . . . Fair stuff for action houses . . . Title comes from instructions to police in dealing with criminals . . . Lack of names makes it best for duals . . . Rates * • for action spots; only • + elsewhere. RKO 70 Minutes Preston Foster . . . Margaret Callahan . . . Alan Mowbray . . . Ralph Morgan . . . 'Big Boy' Williams . . . Maxie Rosenbloom . . . Florine McKinney . . . Directed by Charles Vidor This has enough action and mystery to satisfy the fans of this type of entertainment. The title derived from the instructions given New York cops by their chief recently, it deals with the rather rough efforts of Preston Foster, a private detective, to solve a kidnapping that turns out to be a fake inside job. Title might have been used to much better advantage in a G-men yarn, but RKO evidently figured that it was best to get the jump with whatever they had in production. "Muss 'Em Up" keeps moving at a fair pace throughout, with some comedy by 'Big Boy' Williams helping to keep it moving. The romance between Foster and Margaret Callahan can hardly be counted as making an impression, thus confining the picture's lure almost strictly to the male trade. It will get by on its own in action houses, but will serve best on a dual bill in other spots. PLOT: Foster, a private detective, is called to the home of Alan Mowbray by Margaret, the latter 's secretary, and is told by Mowbray that he has received a threatening letter demanding $200,000. Mowbray's ward, Florine McKinney, is kidnapped and Mowbray, being broke, uses his daughter's trust fund to pay off. But he gets another letter demanding an additional $5 0,000, which is supplied by Florinc's fiance. When the girl is returned, Foster senses that there is something between Mowbray and Florine and he discovers that they are lovers and had faked the snatch to get the money and elope. When the accused pair try to escape, they are finished off trying to break through ■electrically-charged gates. Foster and Margaret look at each other and Mowbray's daughter and the boy who thought he was Florine's sweetie begin to under stand that they love each other. AD TIPS: Direct attention to the title's derivation. Sell it as strong action and mystery. Snipe small sheets or window cards with photo of several tough-looking mugs and line: "ATTENTION POLICE: If you find these men— "MUSS 'EM UP!" L. J. AWAKENING THE 'SLEEPERS' A New FILM BULLETIN Feature By Wolf-Smith Begins In Next Week's Issue! IT'S A GREAT LIFE BOXOFFICE BEATING COMEDY-DRAMA with songs . . . First story about Government CCC camps and a poor one . . . Has very little entertainment value . . . Joe Morrison sings several songs, but they mean nothing . . . Will pass only as second half of dual bills. Rates • + Paramount 63 Minutes Joe Morrison . . . Paul Kelly . . . Chic Sale . . . Rosalind Keith . . . Baby Leroy . . . William Frawley David Holt . . . Directed by Edward F. Cline Paramount will not spend any time or money bragging about this. Not in story content, direction, acting or production values does "It's A Great Life" shape up as anything more than a "quickie" commitment filler. Everything about it insists that it be relegated to the lower half of double feature programs and in that spot it will draw plenty of yawns. The story is the first attempt to dramatize the Civilian Conservation Camps and it should discourage the other studios which might have been contemplating anything along these lines. Slow moving, lacking either enough action or romantic interest, it is forced to rely on a big fire scene for its climax punch, but even that will not excite anyone. Morrison has several songs, none of which promises much repetition. Chic Sale does his well-known old man role and gets a few laughs. Paul Kelly and Will iam Frawley are noticeable in the cast. "It's A Great Life" will go well below average everywhere. PLOT: Joining up with the CCC, Morrison meets Kelly, a hobo, while on his way to the camp. The two become great friends and Morrison sells his pal the idea of sending a large portion of his monthly pay to Rosalind Keith, Morrison's girl friend, who is an orphan and supports three younger kids. Returning home for a brief vacation, Morrison takes Kelly with him and the latter falls in love with Rosalind. Unknowing, Morrison proposes to her and is refused. Later, back at camp, he learns that Kelly has stolen her affection and they break. On the day thTt Rosalind visits the camp, a fire breaks out and Kelly's heroism in blowing up a dam to flood the land saves the lives of everyone. Morrison realizes that Rosalind really loves Kelly, so he steps out of the way. AD. TIPS: Stress the patriotic and heroic angle of the CCC camps. Sell Morrison, the only saleable name, as the popular radio crooner who put oier "The Last Roundup." L. J.