Independent Exhibitors Film Bulletin (1941)

'FLIGHT FROM DESTINY' ABSORBING AND UNUSUAL DRAMA Rates • • + generally if exploited HOLLYWOOD PREVIEW Warners 73 M.nutes Geraldine Fitzgerald, Thomas Mitchell, Jeffry Lynn, James Stephenson, Mona Maris, Jonathon Hale, Mary Gordon, John Eldridge, Hardie Albright, William Forrest, Weldon Heyburn, DeWolf Hopper, Alexander Lockwood, Frank Reicher, Willie Best, Libbe Taylor. Directed by Vincent Sherman. Here is a "sleeper" from the alert Warner studio. "Flight From Destiny" will need plenty of exploitation to mean very much at the boxo lice, but it is an unusuai and absorbing psycliolcgical drama that will attract considerable attention in better class houses. Word-of-mouth reaction will help grosses in subsequent run spots and it will provide exceptionally strong support on dual bills. It is suspenseful, despite a preponderance of talk, and is abetted no end by the direction of Vincent Sherman, a newcomer worth watching. Much of the film's merit can also be attributed to Thomas Mitchell, who again reminds us that he is one of the finest character actors in Hollywood. "Destiny" will be a talked-about picture and it's worth a showman's best efforts. "Flight From Destiny" takes up the interesting problem of an intellectual man who faces death within six months from an incurable disease and seeks a way to make this time interesting and useful. The perfunctory 'PLAY GIRL' SOPHISTICATED COMEDY DRAMA Rates • • + in deluxers; less in family and rural houses HOLLYWOOD PRE"\n[EW RKO Radio 75 Minutes Kay Francis, James Ellison, Mildred Coles, Nigel Bruce, Margaret Hamilton, Katherine Alexander, George P. Huntley, Kane Richmond, Stanley Andrews, Selmer Jackson, Marek Windheim. Directed by Frank Woodruff. "Play Girl" is a brittle, clever ultra-sophisticated comedy drama, but never succeeds in being either credible or convincing. It exposes the inner workings of the warfare between glamorous gold-diggers and predatory, but susceptible, males and there is scarcely a sincere moment in it, but it makes good fun. Kay Francis has her first chance in some time to play the glamourous type of role which made her famous and she makes the most of the opportunity by giving a smooth perfonnance and looking extremely beautiful in her smart clothes. This is a show strictly for sophisticated audiences, although it has exploitation possibilities for neighborhood spots. It must be ranked as weak for action and rural houses. Kay Francis, a clever gold-digger who has lived in luxury for seventeen years by preying on wealthy males, finds herself slipping and takes into partnership a poor young girl, Mildred Coles, whom she teaches all the tricks of getting everything from men and giving nothing in return. Kay's plans are spoiled when Mildred falls in love with a young ranch owner, James Ellison, and runs away when she discovers he is a millionaire and that Kay has him slated as their next victim. Kay catches Ellison's affections on the rebound and is about to marry him herself when his mother appears and shames 'GO WEST' ONE OF MARX BROTHERS WEAKER VEHICLES Rat es where trio is popular; less elsewhere MGM 80 Minutes Marx Brothers, Diana Lewis, John Carroll, Walter Woolf King, Robert Barrat, June MacCloy, George Lessey. Directed by Edward Buzzell. The Marx Brothers have been much funnier in previous films. This reviewer is extremely partial to the madcap trio, yet the laughs in "Go West" came few and far between. Too much footage is wasted on the alleged "plot." Groucho has fewer lines and little of his hilarious romantics. We couldn't escape the feeling that there was a lot of padding to overcome the boys' lack of good laugh material. "Go vVest" will get favorable response only from audiences definitely pro-Marx, and even they will share our disappointment. Chico, Harpo and Groucho become the comic heroes of the old west in their efforts to prevent a railroad from robbing an old man of the property he intends to leave to his pretty granddaughter. Groucho is oper 'KEEPING COMPANY' SAD START FOR NEW METRO SERIES Rates • • — as dualler on names HOLLYWOOD PREVIEW MGM 79 Minutes Frank Morgan, Ann Rutherford, John Shelton, Irene Rich, Gene Lockhart, Virginia Weidler, Virginia Grey, Dan Daile.v, Jr., Gloria De Haven, Sara Iladen. Directtrd by S. Sylvan Simon. Of all the ov(;rworked movie themes, none has received such laborious attention as the vi.ssicitudes of newly married couples. "Keeping Company" is not only the latest but one of the worst. And the prospect of having a series emerge from this first adventure of the Thomas family is too horrible to contemplate! The story is as old as the proverbial hills, the dialogue is noisy and tiresome, the complications are abundant and uninteresting and the whole picture smacks of "quickie" — in short, this is an enterprise of which Metro should be ashamed. Audiences will wholeheartedly agree with these sentiments and the smart exhibitor will sneak this in on the lower half of a double bill in the unhappy event that he can't cancel. suggestions are made, but Mitchell leaps on a new one— murder— the murder of some utterly despicable and useless member ol society whose nefarious activities lie beyond the scope of the law. Sooner than he expects, such a person is presented to him. She is Mona Maris, sultry siren, who threatens the happiness of a young couple, Geraldine Fitzgerald and Jeffrey Lynn. Mitchell mvestigatss her background and decides it warrants punishment by him. She is killed. Lynn is arrested for the murder, but Mitchell's confession frees the younger man. The trial causes a sensation and Mitchell is convicted. He plans to cheat society of its revenge by exerting himself and dying from his disease. This plan is abandoned when a new prisoner shows what effect his act has had on others. He learns that murder is wrong and goes to tthe chair Uke and other criminal. Geraldine Fitzgerald gives an overly emotional note to her characterization. Jeffrey Lvnn is adequate in a particularly innocuous role. James Stephenson acquits himself with honors as Mitchell's doctor. Others in the cast are good. HANNA (Hollywood) her into making a magnificent gesture, breaking her engagement and telling Ellison that Mildred really loves him and where he can find her. Kay is rewarded by an opportunity to try her charms on Ellison's wealthy bachelor uncle. Miss Francis gives a finished performance that should return her to her old popularity with the fans, and James Ellison is excellent as the rough-hewn young man from the west. Nigel Bruce and George P. Huntley prove their abiUty as comedians and the scene between them in the turkish bath is one of the high-spots of the film. Mildred Coles struggles valliantly with a role in which she is badly miscast, as she hasn't the real beauty, charm or sex-appeal to make three men fall for her head over heels. Margaret Hamilton is a standout as the hard-boiled maid. CRAWFORD (Hollywood) ating to make a profit for himself on the deal but he finally works with the other two to save the gal's inheritance. The climax is a race between a train and a horse and buggy, with the Marxes chopping up the cars of the train to supply fuel for the engine. Cute httle Diana Lewis is the granddaugter; John Carroll, h«r sweetheart. Walter Woolf King is best in the supporting cast. Eddie Buzzell's direction is good enough, but his material was not. MW Ann Rutherford and John Shelton are the couple involved. They mari-y with the usual noble intentions, squabble like mad and, guess what! they are brought back together for the finish. Miss Rutherford and Mr. Shelton might have teamed more auspiciously with a better vehicle, although the latter is inclined to be overzealous in conveying some of his emotions. Morgan pla.vs straight and Irene Rich is a charming mamma. Virginia Weidkr injects some comedy. HANNA (Hollywood) 4 FILM BULLETIN