Independent Exhibitors Film Bulletin (1938)

6 9hdependen£ EXHIBITORS FILM BULLETIN 'COME ON, LEATHERNECKS/ FAST MOVING MARINE MELLER Kates • • for action spots. Republic 65 Minutes Richard Cromwell, Bruce MacFarlane, Marsha Hunt, Robert Warwick, Leon Ames, Edward Brophy, Howard Hickman, James Bush, Walter Miller Directed by James Cruze This has action from start to finish, with only time out for a bit of romance. The melodramatic Marine story has most of the familiar elements, but it is forcefully played and adroitly directed. Fist fights, football shots, chases and a miniature war are interspersed through the entertaining plot. It's a good bet for the action houses and will serve well as a dualler in better class locations. Richard Cromwell, son of Marine officer Warwick, is about to guit the service to play pio football. His buddy, Bruce MacFarlane, induces him to tell his father "face to face" of his intention. Cromwell agrees, not knowing that his father is stationed on a small island in mid-Pacific. MacFarlane tricks and K.O.'s his pal to get him on board the ship bound for the island. Aboard, Cromwell meets Marsha Hunt and falls for her. Reaching the island, Cromwell tells his father that he is guitting the service. The old man throws him in the brig. Marsha learns that her brother and another man are the gun-runners for whom the Marines are searching She gets word to Cromwell, who breaks jail, is captured by the runners, and is, in turn, rescued by the Marines He decides to stay in the service, after all. Cromwell is a pleasant hero. As his father, Robert Warwick delivers a sterling performance. MacFarlane lends punch to his role of the buddy Support is uniformly good. James Cruze has managed to keep the melodramatic events within the realm of possibility. His tempo is speedy throughout. AD TIPS: Sell the story angle of father-sor. conflict in the service. PIX. 'RICH MAN, POOR GIRL' IS POOR TITLE FOR FAIR COMEDY Rates • • as dualler. Hollywood Preview M-G-M 72 Minutes Robert Young, Lew Ayres, Ruth Hussey, Lana Turner, Don Castle, Rita Johnson, Guy Kibbee, Sarah Padden, Gordon Jones, Virginia Grey, Marie Blake Directed by Rheinhold Schunzel One of the more successful plays of the last decade was "White Collars," which lightly dealt with the problems of the great American middle class. It now turns up as this Metro release, handicapped at the outset by a ralher stupid title. It does have a few mo ments of genuine entertainment, but not enough to bring it up to solo feature value. Although a mildly pleasant effort, RICH, POOR is for dualling only. Young is the wealthy employer of Ruth Hussey, who wants to marry her. The only barrier is Miss Hussey's devotion to her family and unwillingness to marry out of her own class. Young meets the family and moves into the house. He tries to help them, but their pride interferes. Eventually he succeeds in frightening them into submission by pretending to give away all his money. The most effective performance is that of Lew Ayres, who follows his characterization in "Holiday" with a portrayal which will establish him as an actor of immense possibilities Ayres plays an idler cousin of the family, a class-conscious individual, violently opposed to the "system." It is a delightful character. Young is adeguate. Miss Hussey is too much the debutante type to convince as a working girl. Support is fair. This is Rheinhold Schunzel's first directorial assignment in this country. He keeps things moving, but not always interesting. A director with a lighter touch might have made something more of this. HANNA (Hollywood). 'FRESHMAN YEAR' FAIR START FOR NEW UNIVERSAL SERIES Rates • • — as d nailer. Hollywood Preview Universal 65 Minutes Constance Moore. William Lundigan, Dixie Dunbar, Stanley Hughes, Ernest Truex, Frank Melton, Tommy Wonder Directed by Frank McDonald This inaugurates Universal's series based on college life. While not a particularly auspicious opener, FRESHMAN YEAR is fairly entertaining. Story thread is slim, but bolstered by effective gag seguences and specialty acts. Cast weakness promptly relegates this to secondary dual duty. It will please young audiences. William Lundigan and his roommate Stanley Hughes come to college for their first term. Lundigan sells "flunk" insurance. On Green Day — that day on which the freshmen take over the jobs of the upper classmen — Hughes is made editor of the school paper. He condemns Professor Ernest Truex for being behind the times and for not changing his exam papers in 20 years. Truex is found guilty of the accusations, so switches his guestions. Everyone flunks. To make good, the boys are assisted by Constance Moore and Dixie Dun bar to put on a show, which brings in enough money to settle the claims. Ernest Truex takes acting honors with an engaging portrayal to which he imparts his polished comedy manner. Lundigan is a good actor, but he looks more like a severe senior than an exuberant freshman. Stanley Hughes shows possibilities. Misses Moore and Dunbar are seen briefly. AD TIPS: Sell it to the young folks as a gay college yarn. Sell it to the oldsters as something to bring back memories of their school days. HANNA (Hollywood). NO PUNCHES PULLED IN FILM BULLETIN REVIEWS They give you all ihe dope you need on new films . . . Critically — Honeslly — Fairly