Independent Exhibitors Film Bulletin (Sep 1935 - Aug 1936)

6 INDEPENDENT EXHIBITORS 'FILM BULLETIN" 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 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 criticism. TO MARY — WITH LOVE BOXOFFICE RATING DRAMA . . . Engrossing, human story of marital difficulties . . . for adults . . . Loy and Baxter in good performances . . . Rates • • • — for class and naborhood locations; slightly less for action houses. 2 0th Century-Fox 92 Minutes Warner Baxter . . . Myrna Loy . . . Ian Huntec . . . Jean Dixon Directed by John Cromwell This is one of the most intelligent treatments of the oft abused theme of marriage ever brought to the screen. The central characters — husband, wife and "other man" — are always human, understandable people. With a less attractive cast, a film dealing with so serious a story would hardly prove very successful generally. But, the presence of Myrna Loy and Warner Baxter, both, incidentally, delivering expert performances, assures "To Marry — With Love" above average grosses everywhere. Better class naborhood spots will get the best out of it; action houses the least. The story traces the married life of Baxter and Loy from its happy beginnings, down thru their first misunderstanding, the loss of their child at birth, his mad plunge for wealth, the crash, his financial and moral degeneration, to her ultimate decision to seek a divorce. Then, after all the years of loving Myrna silently, Ian Hunter, their best friend, convinces them that their's has only been the story of "marriage" and they must go on together. One does not lose interest in the outcome, for the story is never obvious or false. It is strictly adult entertainment. AD TIPS: Sell the two stars. Belter class spots should plug the story as an intelligent and true drama and marriage. Teaser cards, bearing just the title and the theatre's phone number will bring a flock of response. BARTON. Hollywood Previeiv MARY OF SCOTLAND BOXOFFICE RATING HISTORICAL DRAMA . . . Handsome production, but too long and wordy for general audiences. B. O. strength will be confined to first runs and class houses. Rates * * + or less for naborhoods, action and rural locations. RKO 131 Minutes Katherine Hepburn . . . Fredric March . . . Florence Eldridge . . . Douglas Walton . . . John Caradine . . . Robert Barrat . . . Ian Keith . . . Moroni Olsen . . . Ralph Forbes . . . Alan Mowbray . . . Frieda Inescourt Directed by John Ford A beautiful film, unsparing in its production, "Mary of Scotland", however, will have to depend chiefly on the drawing power of its stars' names in most spots. Students will find it interesting, but the attempts to lend authenticity led to numerous long speeches and the drawing out of unimportant scenes to tedious lenghths. The technical production cannot be overrated. Dudley Nichols' adaption is faithful. John Ford's direction, in parts, is commendable. The musical background is excellent. But, all this does not mean a popular film — or a particularly gaod one, artistically. On the stage, the adroit performance of Helen Hayes as the unfortunate, doomed Queen Mary made the central character so humanly appealing that it scored a great success. Katherine Hepburn has her moments, but is somewhat bewildered and, at no time displays the warmth of Miss Hayes. Consequently, "Mary" on film looms more as a monumental historical effort than as mass entertainment. As Bothwell, blustering Scottish protector of the queen he loves, Frederic March captures acting honors. It is on his shoulders that much of the film's chances for boxoffice success will weigh. An outstanding performance is delivered by Florence Eldridge as Elizabeth, who rids herself of her rivals for the throne, among them the hapless Mary. AD TIPS: Sell to the women strongly as an immortal love story. Picture Mary as a woman who willingly went to her death for the man she lot ed. Tie up with historical societies, etc. HANNA (Hollywood). SATAN MET A LADY BOXOFFICE RATING MYSTERY FARCE ... One of the season's worst . . . Bette Davis in poor performance . . . Rates * + Warner Bros. 74 Minutes Bette Davis . . . Warren William . . . Alison Skipworth . . . Arthur Treacher . . . Marie Wilson . . . Maynard Holmes . . . Wini Shaw . . . Porter Hall Directed by William Dieterle The brothers Warner should be and probably are ashamed of this. It ranks well up in the listing of the season's worst films. "Satan Met A Lady" is another version of "The Maltese Falcon", made in '30 or '31 by the same company, but don't let Dashiell Hammett's name in connection with it fool you; that competent author of "The Thin Man" would become violenty ill if he saw it. The plot is incoherent and nothing would be gained by the reader if we attempted to itemize the film's events here. Evidently the authors and the director, as well as the cast, were befuddled by their efforts to make a mystery into a farce, the result being a farcial mystery that is neither comical nor mysterious, but quite boring. Bette, winner of one of the Academy Awards recently, you may recall, must have felt that she might as well leave something for Warners to remember her by, for she turns in what can be unhesitatingly termed a weird and terrible performance. The others are little better, with the exceptions of Marie Wilson, a clever comedienne, and Maynard Holmes, who does an unconventional murder role neatly. This will flop at the boxoffice as soon as word of it gets around. AD TIPS: Mention that it is by Ham met t, author of "Thin Man." Sell Bette Daiis on her prciious performances. Name Skipworth and Treacher. L. J. £l