Independent Exhibitors Film Bulletin (1941)

'THE MEN IN HER LIFE' SLOW-MOVING COSTUME DRAMA Rates ♦ ♦ generally on names; n. g. for a Columbia 89 minutes. Loretta Young, Conrad Veidt, Dean Jagger, Eugenie Leontovitch, Otto Kniger, John Shepperd, Paul Baratoff, Ann Todd, Holmes Herbert, Billy Reyes, Tom Ladd, Ludmila Toretzka, Victor Varconi, Cherry Hardy. Directed by Gregory Ratoff. A boxoflice title, several fine performances and an excellent production are wasted on this slow-moving, dramatically out-moded costume picture. Although Gregory Ratoff has directed "The Men In Her Life" with great care, he is unable to make the film come to life except for the feminine patrons who are swayed by this type of romanticized story. "The Life and Loves of a Ballerina" ction spots. might more aptly describe a plot which employs all the sentimental scenes and melodramatic situations so familiar to playgoers in the '90's. Loretta Young evidently went to some pains to simulate the graceful gestures and foot-work of a great toe dancer. While the ballet numbers are elaborately staged, they will interest the classical dance fans far more than the average movie patron. Definitely not for action spots, but the star and title will mean fair business in naborhood houses. The story sticks close to a pattern — that of a friendless circus performer who is taken in hand by a retired ballet master < Conrad Veidt) and, after intensive training, becomes a great ballerina. Although she loves a younger man, the ballerina marries Veidt following her successful debut. After Veidt's death, she marries a wealthy American (Dean 'HELLZAPOPPIN' SHOULD HAVE THE NATION HILARIOUS Rates • • generally. HOLLYWOOD PREVIEW Universal 83 minutes. Ole Olsen, Chic Johnson, Martha Raye, Hugh Herbert, Jane Frazee, Robert Paige, Mischa Auer, Richard Lane, Lewis Howard, Clarence Kol'b, Nella Walker, Shemp Howard, Elisha Cook, Jr., Frank Darien, Katharine Johnson, The Six Hits, Slim and Slam, The Congeroo Dancers, Olive Hatch Water Ballet. Directed by H. C. Potter. The fabulously successful stage show, "Hellzapoppin'," a boisterous impertinent, hilarious series of gags and stunts performed by Olsen and Johnson during 20 years of vaudeville, has become one of the goofiest (and funniest) films of any season. It did not seem possible that the type of hilarity which went into the making of the legitimate show could be transplanted successfully to the screen. Yet, here it is for all to see — for the less inhibited to howl at, and the dignified or pinch-lipped sophisticates to grudgingly snicker at. But everybody's going to laugh. As a matter of fact, we suspect that the movie "Hellzapoppin" may set this tense nation to roaring at its antics. The plot, if one may call it that, has to do with the projected filming of "Hellzapoppin' " and the insistence of the studio on a love story. The stars see it unfolded before their eyes — a slim, little tale about a writer who is in love with an heiress, but refuses to propose to her on two accounts — ^he won't marry for money and his best friend is in love with her. Olsen and Johnson, playing prop men, manage to cause considerable confusion throughout and their efforts are climaxed when their attempts to ruin the hero's show result in its unqualified success — as a comedy. The gags flow thick and fast. The audience participation angle is cleverly worked in. There's the guy who wants to read during the performance and sits by the footlights. Jagger), but they quarrel and separate before he knows she is to have a child. She goes on to new triumphs until Jagger takes the child away after which her career starts on the down-grade. In a tearful climax, she scores one last triumph knowing that her child will be watching and then she gives up her career to coach her daughter. Miss Young looks lovely in the 19th Century costumes and gives a sincere performance, but it is Conrad Veidt, in a fascinating portrayal of her dance mentor who really stands out. Ann Todd, one of the screen's best child actresses, also contributes a splendid bit. Dean Jagger and John Shepperd are handsome and capable as the ballerina's other two loves and Eugenie Leontovitch gives one of her effective tight-lipped portrayals. LEYENDECKER The comics get mixed up in a western picture. They talk to the man in the projection booth — the frames split and so on and so on. Yes, the tree bit is in and so is the distracted woman looking for Oscar. There is plenty of music to the show capably handled by Martha Raye, Jane Frazee and Robert Paige. Miss Raye is given plenty of opportunity for her tricks and the running gag is her pursuit of Mischa Auer. She is extremely funny in a ballet burlesque. Hugh Herbert scores a resounding success as a zany detective addicted to costume changes For good measure there are specialties from the Six Hits, Slim and Slam, a group of dancers and a water ballet. Olsen and Johnson are not funny men in themselves, but they do have a capacity to build gags and comedy situations around themselves. Those who have seen them on the stage will recognize many of the bits as friends of long standing. They're plenty good and stack up as ace high comedy material. Oddly, when a new piece of business is introduced — the action lags. This is evident in the film device of having them disappear in the "Invisible Man" manner. A show with a three years' exploitation campaign behind it, "Hellzapoppin, " should be a big money making attraction for Universal and its customers. HANNA (Hollywood) 'GO WEST, YOUNG LADY' SLAPSTICK WESTERN OK FOR DUAL BILLS Rates for dual bills In naborhoods; Columbia. 71 Minutes. Penny Singleton, Glenn Ford. Ann Miller, Charlie Ruggles, Allen Jenkins, Jed Prouty, Onslow Stevens, Edith Meiser, Bill Hazlet, Dorothy Vaughn, Charlie Hawthorne, Fern Emmett, Bob Wills and His Texas Playboys. Directed by Frank R. Strayer. An entertaining novelty programmer, "Go West, Young Lady" is average as light supporting fare for dual bills. If viewed in the spirit of fun, family audiences will find the players amusing and the laughs plentifully sprinkled throughout the slapstick story. To action fans, however, the plot will seem better for small tov/ns burlesqued to the point of absurdity with only a few genuine thrills in the climax. Picture has many musical interludes which stand out only by virtue of the singing and dancing talents of Penny Singleton and the long-limbed Ann Miller. Picture may click to good grosses in small towns. Traveling by stagecoach to visit her uncle in the western frontier town of Headstone. Penny Singleton proves she can handle a gun when Indians attack the coach. Her copassenger, the new sheriff (Glenn Ford) is so impressed with her marksmanship that he falls in love with the girl and proposes to her soon after her arrival in Headstone. Ford finds that Headstone is being terrorized by a masked bandit, but just when capture is near. Penny accidentally hits the sheriff WHAT THE NEWSPAPER CRITICS SAY with a pie. Later she redeems herself by leading an army of townswomen against the bandits and holding them off until the sheriff's posse arrives. Temporarily deserting the "Blondie" series for this western romp, Penny Singleton is fetchingly comic as the tomboyish heroine. Ann Miller is less convincing as a hardboiled cafe entertainer and it is only when she is doing an acrobatic number or tapping atop a piano that she registers. Glenn Ford is a youthful sheriff who takes his custard pie punishment with good grace and Charlie Ruggles and Allen Jenkins are helpful in the comedy department. Frank Strayer's direction is in the burlesque vein throughout. LEYENDECKER THE MEN IN HER LIFE Columbia "...If you think it is confused in outline, you should see it when It is freighted down with ballet scenes, ersatz montage and leaden dialogue. Brother, that's something."— BOEHNEL, N. Y. WORLDTBLEGRAM. "...Seems longer than it Is... Leaves the picture squarely up to the loyal fans of Loretta Young."— WINSTEN, N. Y. POiST. "...Artistically and emotionally recounts the triumphs and tribulations of a love-bitten ballerina. . .Probably will receive a certain amount of scholarly interest, whatever its defects." — DANA, N. Y. HERALD TRIBUNE. "...Harks back to the old outmoded notion that a star can carry a show with nothing more for a story than a string of musty cliches . . . Made up of all the old routines that ever were pulled in ballet films.". . .CROWTHER, N. Y. TIMES. 20 FILM BULLETIN