Independent Exhibitors Film Bulletin (Sep 1935 - Aug 1936)

WEDNESDAY, JULY 29, 193 6 $ AS I SEE THEM . . • REVIEWS of new films By ROLAND BARTON BOXOFFICE RATING:— • Means POOR; • • Means AVERAGE; • • • Means GOOD; • • • • Means EXCELLENT Plus ( + ) and Minus ( — ) will be used occasionally to indicate slightly above or below the point rating. At best this "point" system can Rive 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 criticism. SUZY BOXOFFICE RATING ROMANTIC MELODRAMA . . . Stupid story will cut down the boxoffice possibilities of this one in better class locations . . . Strong cast makes it sure bet for cheaper spots, where it rates • • • — . M-G-M 9 3 Minutes Jean Harlow . . . Franchot Tone . . . Cary Grant . . . Lewis Stone . . . Benita Hume . . . Inez Courtney Directed by George Fitzmaurice I don't doubt that the gum-chewing shop girls will find "Suzy" something about which to heave sighs. After all, there is Jean Harlow surrounded by two of the leading romantic figures on the screen. But, to any discriminating spectator, I believe "Suzy" will bring on a feeling akin to nausea. It boasts one of the most stupid stories of the season and, while she has improved her talent for comedy considerably, the brassy Miss Harlow still remains one of the worst dramatic performers in existence. In this one, Jean is an all-sacrificing angel of goodness in the latter sequences, despite the fact that she had deliberately hooked two men into marriage, running out on the first one when he was shot without waiting to see if he was dead. In brief, she conducts herself like a bum of the first water in the first half, only to make herself and the script look silly in the second half by pretending that her soul is lily white. A chorus girl with a determination to marry a nobleman, Jean quickly marries Tone, sees him shot by a German spy, runs out on him and just as quickly marries the dashing and wealthy aviator, Cary Grant. Of course, the female spy (Benita Hume) inveigles Grant later on and Jean, with the aid of Tone and a few convenient coincidents, saves the Allies from defeat and protects the reputation of the dead Cary. It gets sillier as it nears the finish. However, there is some bright dialogue by Dorothy Parker in the earlier sequences and both Grant and Tone turn in pleasing performances. The cast makes it definitely an above average boxoffice bet for cheaper naborhoods. It will slip down in better class spots. AD TIPS: Sell the cast. Plug Harlow's performance as something new for her; bright comedy, dialogue by Dorothy Parker, etc. Action houses will do best with the spy angle. BARTON. CRIME OF DR. FORBES, The BOXOFFICE RATING DRAMA . . . One of the best "sleepers" to come unheralded out of Hollywood this season . . . Excellent direction of an engrossing mercy-killer story . . . Cleverly acted . . . Will build strongly on word-of -mouth, but deserves heavy exploitation campaign . . . Rates • ® + or better if sold. 2 0th Century-Fox 76 Minutes Gloria Stuart . . . Robert Kent . . . Henry Armetta . . . Sara Haden . . . J. Edward Bromberg . . . Taylor Holmes . . . DeWitt Jennings . . . Alan Dinehart . . . Charles Lane Directed by George Marshall Here is a surprise package of film that rates with the most interesting, best directed, most capably acted dramas of the year. It is a "sleeper" in the true sense of the word, offering alert exhibitors a chance to do a whale of a business if they will bestir themselves to exploit the sensational "mercy-killer" angle. Director George Marshall displays a flexible camera that keeps the action hopping throughout; a cast of small marquee importance delivers uniformly adroit performances, and a dramacharged script makes these 76 minutes seem like considerably less running time. The "mercy-killing" takes place when Bromberg, a famous physician, who has been critically injured, begs to be put out of his misery. Among those he pleads with are Kent, his assistant, who is in love with Bromberg's wife, Gloria Stuart, and Sara Haden, his former aide, who lias secretly loved Bromberg for years. Kent is accused of the murder and the subsequent trial scenes are handled so effectively that the spectator is treated to one of the most intelligent and exciting pieces of direction and writing of the season. It also indulges in a deft bit of satire pointed at the average American's delight for things morbid. A showdown on the mercy-death angle is avoided by a surprise finish that proves no one person gave the victim an overdose of the drug, but each gave him slightly more than the regular dose, which he saved and took at one time to commit suicide. Lack of marquee names will hold this back, but those who see it will be strong sellers. It looks good for above average grosses generally. AD TIPS: Go strong headline stuff on the "mercy-killer" angle. Ask the question: "Has a doctor the moral right to fake a Human Life?" Avoid the idea that this is a murder-mystery. NONNIE. GO GET 'EM HAINES BOXOFFICE RATING MYSTERY MELODRAMA . . . Reporter turns detective to solve murder aboard ship . . . Has sufficient action and novelty to get by . . . Rates • 9 for action and rural spots. Winchester (Republic Release) 62 Minutes Bill Boyd . . . Sheila Terry . . . Eleanor Hunt . . . Leroy Mason . . . Jimmie Aubrey . . . Lee Shumway . . . Lloyd Ingraham Directed by Sam Newfeld Moderately entertaining murder mysterj on shipboard, with Bill Boyd 'tailing' an absconding financier and flirting with Sheila Terry. Between these activities, he keeps bus}' chasing around the decks, engaging in fist fights with various suspects and eventuall)' solving the murder. One of the fights (Con tin tied on next page)