Independent Exhibitors Film Bulletin (Sep 1935 - Aug 1936)

10 INDEPENDENT EXHIBITORS 'FILM BULLETIN AS I SEE 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. Hollywood Preview EARLY TO BED BOXOFFICE RATING FARCE COMEDY with mystery angle . . . One of the best in the RugglesBoland series . . . Plenty of laughs and the plot is kept moving by the murder mystery . . . Rates • • • for rurals and nabes; less for sophisticated and action audiences. Paramount 7 5 Minutes Charles Ruggles . . . Mary Boland . . . George Barbier . . . Gail Patrick . . . Sidney Blackmer . . . Robert McWade . . . Lucien Littlefield . . . Arthur Hoyt . . . Helen Flint Directed by Norman McLeod Sure fire comedy, plus a mild murder mystery, that will bring in the do re mi in spots where the Ruggles-Boland brand of fun clicks. They are ideally cast; she, a giddy spinster, finally wed after a 20 years courtship; he, a timid salesman of glass eyes. There are plenty of comic situations, mostly brought on by Charlie's "tiger-man" complex, and some of them verging on slapstick. It is all good, clean fun, however, that will appeal strongest to small town audiences and naborhoods where comedy sells. Murder element is introduced cleverly and keeps the action moving without slowing up the fun. George Barbier gives the principals excellent support as a peevish customer. Balance of the cast first rate. Smart, fast direction aids. This should do better in action spots than others of this team's series, due to the murder angle. PLOT: After 20 years' delay, Charlie and Mary are married. He decides to combine business with pleasure on their honeymoon and chooses a sanitarium, where he hopes to land a big order from Barbier. His propensity for sleep-walking causes him to be suspected of murdering a fellow lodger. His bride's blundering efforts to clear him only make matters worse and things look bad for Charlie until he, by a fluke, captures the real culprit. He wins the coveted order for glass eyes. AD TIPS: Sell this as the best of the Ruggles-Boland series. Secure editorial comment or conduct contest on the topic: "Is it possible to commit a crime while asleep?" Action spots should sell the murder-mystery angle, of course. Tie-up with local furniture house on title. HAR BLAIR (Hollywood). Hollywood Preview LAST OUTLAW, The BOXOFFICE RATING DRAMATIC WESTERN ... set in western locale, but really human interest drama with homespun characters . . . Should not be classed as typical western . . . Rates • • • — for rural and action spots. RKO 68 Minutes Harry Carey . . . Hoot Gibson . . . Tom Tyler . . . Margaret Callahan . . . Henry B. Walthall . . . Russell Hopton . . . Ray Mayer Directed by Christy Cabanne Title and cast both outwardly stamp this as another horse opera, but it is principally a human interest drama. The riding and fighting are there, but subordinated to a tale about a paroled bad man who returns to his home town to go straight and protect his now grown-up daughter. Harry Carey proves he is still a first rate trouper in the top role. Old Henry B. Walthall shines, too, as the sheriff who sent Carey to prison years before and is now befriended by him. Tom Tyler is seen in the strange role of one of the gangsters and he risks audience sympathy by playing the part for all it's worth. The romance between Hoot Gibson and Margaret Callahan is off key throughout. It was bad casting to give Hoot a romantic role. A liberal sprinkling of comedy and several cowboy ditties, rendered in tongue-in-cheek manner by Fred Scott, provide pleasant relief. Despite its aim to be suitable fare for general audiences, "Last Outlaw" will have little chance outside the action houses, where it should do above average. PLOT: Carey, a pardoned bank robber, returns to his home town after 20 years. He protects his grownup daughter without revealing his identity to her. He also aids the sheriff, who originally sent him to jail, in running down a gang of bank bandits, against whom the sheriff has been helpless. Carey's kindness wins the girl's heart and when she learns who he really is she is proud to claim him as her father. AD TIPS: Sell this as more than a western — 5(7/ the story. You have three important western names to plug and a worthwhile supporting cast, die Carey plenty of space; his performance merits it. HAR BLAIR (Hollywood). LONELY TRAIL, The BOXOFFICE RATING WESTERN . . . Historical horse opry . . . Story is different and evolved more plausibly than usual in such films . . . Up to Wayne standard for action, riding, etc. . . . Rates • * + for action spots. Republic 5 8 Minutes John Wayne . . . Ann Rutherford . . . Cy Kendall . . . Jim Toney . . . Denny Meadows Directed by Joseph Kane This horse opera has a claim to distinction in that its story is off the beaten track. Dealing with the South in the reconstruction days following the Civil War, the plot is more substantial than that usually endowed to westerns and it is plausibly evolved. The riding and fighting are up to the Wayne standard, which means that "The Lonely Trail" will satisfy action fans. Sev