Independent Exhibitors Film Bulletin (1941)

'HOLD THAT GHOST' ABBOTT AND COSTELLO SCORE AGAIN Rates ® O • + generally HOLLYWOOD PREVIEW Universal. 86 Minutes. Bud Abbott, Lou Costello, Richard Carlson, Joan Davis, Mischa Auer, Evelyn Ankers, Marc Lawrence, Shemp Howard, William Davidson, Ted Lewis and his Entertainers, The Andrews Sist«rs. Directed by Arthur Lubin. In "Hold That Ghost" Universal has toted out one of the most ancient, and reliable, comic backgrounds — a haunted house. It was exactly what the doctor ordered to make the sure-fire capers of Abbott and Costello click again after the let-down they suffered in "In the Navy." The story is slight — much of it is never explained, but this matters little, for what counted with the preview audience were the routines of the amazing new comics. And how they deliver! There is a sequence about a bedroom that changes into a gambling hall, a comic dance featuring Costello and Joan Davis and several solo appearances by jolly Costello. It is all as tawdry and hackneyed as can be, the production is cheap and even careless — but the public will laugh like hell at the antics of Abbott and Costello. To give the film some ■production values," Universal tacked on two musical sequences featuring Ted Lewis and Che Andrews Sisters. They are totally unnecessary ! Abbott and Costello inherit a house because they happen to be on the scene of a gangster's death. There is a substantial sum of money hidden there and several parties seem interested in locating it. The boys finally track it down and in a merry finale they manage to keep the mobsters from getting it away from them. The cash enables them to accomplish their life-long ambition of opening a night club. Abbott is less of a stooge in this picture, playing what amounts to a straight part. Costello is the funniest guy to hit the screen in years and "Ghosts" proves it. Joan Davis has a juicy spot and the comedienne makes the most of it. Richard Carlson and Evelyn Ankers handle the slight romantic thread in satisfactory fashion. The Andrews Sisters are on for a pair of numbers, but the best musical moment is registered by Lewis' warbling of "Me and My Shadow" with a colored lad playing the shadow. Arthur Lubin, who delivered the previous A and C hits, has done a magnificent job of direction. It is not often that gags are so well planted and that business is made to account for so much humor. HANNA (Hollywood) HURRICANE SMITH' MILDLY-ENTERTAINING ADVENTURE PROGRAMMER Rales > O — in action spots or as dualler Republic 69 Minutes Ray Middleton, Jane Wyatt, Harry Davenport, J. Edward Bromberg, Henry Brandon, Casey Johnson, Charles Trowbridge, George Meeker, Howard Hickman, Frank Darien. Directed by Bernard Yorhans A mildly-entertaining, somewhat improbable adventure programmer, "Hurricane Smith" is acceptable as dual fare. The players are capable and well-cast, if lacking in marquee strength, with the picture's chief claim to distinction being the straightforward portrayal by Ray Middleton in the leading role. This Republic find shows considerable promise and, with careful grooming and better stories, he can easily be developed into a Gary Cooper-John Wayne type. Bernard Vorhaus' direction stresses action whenever possible, but the script dawdles considerably just before the climax. Selhng the h?-man star and the gangster angles will attract bus ness in the action spots. "Hurricane" Smith is a roving rodeo cowboy who meets and falls in love with Jane Wyatt, a newspaper reporter, and persuades her he can marry and settle down. But, before the marriage. Smith encounters two train robbers (J. Edward Bromberg and Henry Brandon) and in the gun fighting and resultant confusion, he is unjustly accused of murder because he carries a facial scar similar to Brandon, Smith keeps the girl — his only possible alibi — out of the trial and, after being condemned to death, he again encounters the robbers on his way to prison. This time the score is evened when Brandon is killed and Smith escapes with the stolen money. Several years later Smith, now happily married, has used the stolen funds to build up a former ghost town into a prosperous community. Although Bromberg turns up and threatens to expose Smith, he is killed before he can prevent the inevitable happy ending. As the loyal sweetheart who later becomes his wife, Jane Wyatt again proves herself an extremely capable and completely natural young actress. Harry Davenport contributes a character gem as a philosophical old lawyer who has stayed on as the last resident of a ghost town and J. Edward Bromberg ia good as an oily villain. LEYENDECKER 'RINGSIDE MAISIE' FORMULA STORY LACKS STRONG PUNCH Rates • • — as dualler In naborhood or M-G-M. 96 Minutes. Ann Sothern, George Murphy, Robert Sterling, Virginia O'Brien, Natalie Thompson, Maxie Rosenbloom, Jack LaRue, Margaret Moffat, "Rags" Ragland, Oscar O'Shea, Eddie Sims, John Indrisano, Jonathan Hale, Purnell Pratt, Tom Dagan, Almira Sessions, Roy Lester, May McAvoy. Directed by Edwin L. Marin. Grading this boxing yam on the basis of its box-office pull, "Ringside Maisie" must be considered little more than a preliminary. The star, Ann Sothern, delivers in sock comedy style, as usual, but her latest vehicle, 5th in the series, merely varies the background while retaining the heart-of-gold action houses story formula used in the earlier films. With Maisie off the screen for long periods, the laughs are less frequent. However, the prizering atmosphere is good and the fight scenes ai'e fairly effective. As a secondary dualler, this "Maisie" entry will be mildly satisfactory entertainment in many naborhood spots, especially where male patrons are in the majority. Maisie's latest adventure starts when she loses her job in a dance hall and is given a lift by a young fighter (Robert Sterling), who meets her walking to a new job at a resort hotel. Although his manager (George Murphy) is against Maisie from the start, she accepts the post of companion to Sterling's invalid mother. Maisie soon discovers that Sterling hates the fight game, but Murphy refuses to let him quit and the lad be comes discouraged enough to lose his championship bout. The troubles pile up with Sterling bUnded through a head injury, but Maisie's good example softens Murphy's heart and he pays for an operation for the boy and brings about a happy ending for all. Ann Sothern's slangy characterization is always amusing and warmly human. George Murphy is first-rate as the hard-boiled manager and Robert Sterling is convincing as the simple young fighter. Fine bits are contributed by Margaret Moflat as the invalid mother, Maxie Rosenbloom as a punchdrunk trainer, Jack LaRue as dancer with roving hands and Virginia O'Brien in one of her dead-pan song numbers. Edwin L. Marin's direction is faulty when he drags out the sentimental scenes. LEYENDECKER WHAT THE NEWSPAPER CRITICS SAY PARSON Ol PANAMINT (Paramount) "...Heartwarming and inspiring film which youngster and adult alike would do well to see. . .Another feather in the cap of Mr. Sherman."— •T.'M. P., N. Y. Times. ". . .Sometimes the film piles on sentiment pretty thickly, but it has some good, rou.sing melodrama, and is always entertaining." — Boehnet, N. Y. Warld-Telegram. ". . .Warmly appealing. . .Smooth and satisfying blend of the spiritual with the earthly."— Tfcirer, N. Y. Post. LADY SCARF ACE (RKO Radio) . .Another hackneyed crime melodrama. . .Chalk it up as a miss." — T. S., N. y. Times. ".. .Not. . .worthy of anything resembling a second thought... It moves fast, it has action. It is a standardized product." — Wttisteriy N. Y. Post. "... Third-,rate film . . A tin can full of com, crime and horror. And by gad, it's horrible." — Farrell, N. Y. World-Telegram. 6 FILM BULLETIN