Independent Exhibitors Film Bulletin (1941)

WARNER BROTHERS 1941-42 Releases 'THE MALTESE FALCON' FASCINATING AND ABSORBING MYSTERY Rates • • • in action spots; slightly less generally Warners. 100 Minutes. Humphrey Bogart, Mary Astor, Peter Lorre, Gladys George, Barton MacLane, Lee Patrick, Sidney Greenstreet, Ward Bond, Elisha Cook, Jr., Jerome Cowan, James Burke, Murray AIper, Charles Trowbridge, John Hamilton. Directed by John Huston. A fascinating and completely absorbing thriller, with a brilliant cast of sinister players, "The Maltese Falcon" is first-rate mystery fare. The Dashiell Hammett yarn has the type of fantastic and somewhat involved plot which demands expert handling and this it gets in its screen translation. John Huston (son of actor Walter Huston) who wrote the fine screenplay and directed, has managed to "tie together all the loose ends of this dizzy aflair" (quoting Private Detective Spade) and hold the spectator deeply engrossed throughout. And Arthur Edeson's photography, while not always flattering to the actors, stresses shadows and unusual angles to achieve some arresting efJects. A good bill-topper generally, with the Hammett reading public, plus the pull of Bogart and Lorre, should insure excellent returns in action spots. The word-of-mouth response will be highly favorable. The Maltese Falcon is a black statuette, supposedly encrusted with gold and jewels, which has been lost for centuries and is now bsing sought after by numerous fortunehunters. Samuel Spade, private investigator (Humphrey Bogart), becomes involved in the search after his business partner is murdered and he is under suspicion. A mysterious woman (Mary Astor), who knows where the figure is, hires Bogart to protect her from a peculiar foreigner (Peter Lorre) and a huge, obscene man (Sidney Greenstreet) who are offering huge sums of money for the 'ONE FOOT IN HEAVEN' DRAMATIC TRIUMPH FOR ALL Rates • • • generally HOLLYWOOD PREVIEW Warner Bros. 106 Minutes. Fredric March, Martha Scott, Beulah Bondi, Gene Lockhart, Elisabeth Eraser, Harry Davenport, Laura Hope Crews, Grant Mitchell, Moroni Olsen, Frankie Thomas, Jerome Cowan, Ernest Cossart, Nana Bryant, Carlotta Jelm, Peter Caldwell, Casey Johnson. Directed by Irving Rapper. Motion pictures like "One Foot in Heaven" are not made — they are inspired. The gods must have ordered several of their best archangels to duty at Warners during the making of this film — it is so perfect in every phase of its production. Hartzell Spence's simple, honest and forthright story of the life of a Methodist minister has become a screenplay of great depth, beauty and warmth. Casey Robinson's script is a gripping, powerful work that carries out the spirit of the original to the most minute detail. Yet it is amazingly simple and one is overwhelmed by the moving dramatic emotions that fill the mind and heart of the spectator. This reviewer was limp after the preview and at this writing, 24 hours later, is still not sure that what he saw was a motion picture. Irving Rapper, erstwhile dialogue director, comes into his own as a full-fledged director and he may rightly woiTy how he is ever going to top this auspicious beginning. The story moves steadily and firmly toward its goal, delivering one dramatic shock after the other, climaxing in an ecstatically beautiful ending that so wisely leaves much to the onlooker's imagination. Rapper's is a beautiful directorial work — a credit to him and to the studio which gave him the opportunity. More than just a story of a great religious man, this is a tale of America — of its fathers and mothers and children of every sort and description. It is a cavalcade of our century, our thinking, our habits and our ambitions. Yes, and it even includes a great many of our shortcomings. Critics everywhere will hail this as one of the finest screen achievements of the year, if not of all time. "One Foot in Heaven" is a tribute to the manpower at Warner Brothers, a film that revives one's faith in the motion picture industi-y and it is going to serve as an inspirational document to millions of filmgoers throughout the world who can bear a little reminding that there is beauty, greatness and dignity in the world which one does not find in the grim headlines of our daily newspapers. It may or may not break box-ofiice records; that is difficult to say, but the accolade that will be accorded it everywhere makes certain that it will be an important box-office attraction. Fredric March shocks his prospective father-in-law by the announcement that he is going to become a minister. Martha Scott, his fiancee, feels differently and after their marriage takes her place beside him as the pastor of a small mid-western community. There follows a succession of parsonages in various towns with leaky roofs, bad plumbing, ancient worn-out furniture which cannot be removed and an ever precarious financial situation. Meanwhile, three children have come to the couple and they are finally settled in Denver. Here, March seeks to build a new church, but is hampered on every side by the personalities of the wealthy contributors. Against great odds, he successfully outwits them, builds a great and beautiful house of worship and plans to again return to a country parish where his wise, kindly guidance is needed. The above is the barest outline of a story which contains so many magnificent individual sequences that to recount them is almost impossible. One of the most amusing Falcon. All play at odds-points until Bogart secures the statue and, for $10,000 turns it over to Greenstreet. But when the figure turns out to be a plaster fake, Bogart outwits the others, has them arrested and even sends Miss Astor to jail for the murder of his partner. Humphrey Bogart is convincing, coldblooded and ruthless as the hard-boiled investigator and Mary Astor is a splendid foil for him as the lovely cheat who he finally condemns even though he is attracted to her. Peter Lorre plays a politely sinister villain and Barton MacLane a tough detective to perfection, but the outstanding performance is contributed by Sidney Greenstreet in liis screen debut. His grossly suave and evil portrayal will have patrons inquiring about him. Gladys George is wasted in a bit. LEYENDECKER REVIEWS IN THIS ISSUE Page 7 Maltese Falcon One Foot in Heaven Page 8 It Started with Eve Three Sons O' Guns The Pittsburgh Kid The Kid from Kansas Page 10 Riders of the Timberline Twilight On the Trail Outlaws of the Desert Stick to Your Guns Secret of the Wasteland Page 20 Suspicion Look Who's Laughing Dumbo Page 21 You'll Never Get Rich Sing Another Chorus Burma Convoy They Meet Again is the minister's first encounter with the movies, a Bill Hart thriller, replete with piano accompaniment, popcorn vendors and a child's delicious mispronounciation of the titles. The voices of the children's choir linger in one's memory and the final scene when the church members gather to hear the chimes of the still unfinished church provide unmatchable screen drama. Fredric March has never given a liner performance. He underplays throughout and the feeling behind his portnayal is moving and heart-warming. Martha Scott creates an unforgettable portrait of a woman's blind devotion to her man, whatever the consequences. The members of the supporting cast represent some of the most distinguished character players in Hollywood, yet their parts are mostly bits. Among them. Beulah Bondi, Gene Lockhart. Laura Hope Crews. Moroni Olsen, Jerome Cowan, Ernest Cossart and Nana Bryant are outstanding. HANNA (Hollywood) OCTOBER 4, 1941 7