Film Bulletin (1942)

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SWEATER GIRL' LIVELY COLLEGE MYSTERY FOR YOUNGER FANS Rates • • as supporting dualler for naborhoods Paramount 77 Minutes Eddie Bracken, June Preisser, Phillip Terry, Betty Jane Rhodes, Nils Asther, Frieda Inescort, William Henry, Ella Neal, Kenneth Howell, Johnny Johnston, Charles D. Brown, Minerva Urecal, Robert Cherry, William Cabanne, Isabel Withers, George Offerman, Jr., Tommy Hicks, Leonard Sues. Directed by William Clemens. A lively college programmer with a youthful cast, ample comedy and two hit tunes, "Sweater Girl" has everything but marquee names to attract the younger fans. Older patrons will be more interested in following the film's mystery angle, for, title and background notwithstanding, the story is equally concerned with the college show and a series of campus murders. The brief song and dance interludes ars snappily presented and Director William Clemens has managed to maintain a good measure of suspense throughout and keep the identity of the murderer for the surprise climax. Although the denouement is far-fetched, it will satisfy the amateur detectives in almost any type of audience. Two of the film's four songs, "I Don't Want to Walk Without You" and "I Said No," are already radio and juke box favorites and will prove a strong selling point. Nothing sensational, but it should do well in the supporting spot in the naiborhoods. Rehearsals of "Sweater Girl," annual student show, are interrupted when Kenneth Howell, editor of the college paper, is found murdered just before his scheduled broadcast of some campus gossip. Several students, including Betty Jane Rhodes, who was the last to see him alive, are under suspicion but, before any arrests are made, another student is strangled to death. Eddie Bracken, close friend of the murdered boys, and a meddling little co-ed (June Preisser) decide to conduct their own investigation. Just after Bracken is almost strangled, the girl discovers an important clue in the basement of Nils Asther, college professor. It is then revealed that his supposedly-crippled wife, whose own son had died after a hazing accident, had a crazed plan to murder his three chums — and she succeeded with two. Although no one in the cast is really outstanding, the student roles are all played by engaging young performers. Eddie Bracken, who gets into numerous romantic scrapes while June Preisser is on the man-hunt, wins many laughs. Betty Jane Rhodes puts over the two hit tunes in fine style and does a fair acting job as the chief suspect. Nils Asther, Frieda Inescort and Charles D. Brown are capable in the adult roles. LEYENDECKER TAKE A LETTER, DARLING' SOPHISTICATED COMEDY CAN T MISS AT BOX OFFICE Rates • • • except for action spots and rurals Paramount 93 Minutes Rosalind Russell, Fred MacMurray, Constance Moore, MacDonald Carey, Robert Benchley, Cecil Kellaway, Dooley Wilson, Charles Arnt, John Holland, Dorothy Grainger, Arthur Loft, Margaret Hayesl, Thos. W. Ross, Kathleen Howard, Lorin Raker, Margaret Seddon, Virginia Brissac, Nell Craig. Directed by Mitchell Leisen. Smartly sophisticated farce-comedy at its best, "Take A Letter, Darling" is the type of escapist entertainment which can't miss at the average box office. The story of a level-headed business woman who learns about love from her male secretary is replete with innuendos for the wiseacres and seasoned with enough broad comedy to appeal to patrons in every type of house. Screenplay is by Claude Binyon and his novel treatment of a familiar theme receives such expert handling from every department — including deft direction by Mitchell Leisen, a slick production and delightful performances by Rosalind Russell, Fred MacMurray and one of the season's most promising newcomers MacDonald Carey — that the picture sparkles from opening scene to finale. The sure-fire combination of a catchy title and popular cast will mean strong opening day business which is even likely to be surpassed following favorable reviews and word-of-mouth. Weakest returns will come to action and rural houses. The story shows Fred MacMurray, artist in need of a job, being hired by Rosalind Russell, successful advertising executive, to act as her secretary. His duties include escorting her to night clubs on evening business deals. Although the arrangement is to be strictly impersonal, Miss Russell is both pleased and impressed when MacMurray's flattery of an executive's wife clinches a new advertising account. When romance starts to rear its head, Miss Russell squelches it by planning a campaign to interest MacDonald Carey, woman-hating head of a huge tobacco business. Again MacMurray assists her by playing up to Constance Moore, Carey's attractive young sister. MacMurray's dual purpose— to close the contract and also make Miss Russell jealous — has the desired results. A quarrel with MacMurray nearly leads Miss Russell into marriage with Carey, but matters are straightened out at the finale. The screen's ideal choice for roles combining beauty and business ability, Rosalind Russell looks lovely in a series of smart gowns and does the best work of her career. Fred MacMurray is also in his top acting form as the he-man secretary and MacDonald Carey demonstrates a polished personality and fine comedy sense as the scion of wealth. Robert Benchley makes his brief comedy scenes stand out and Constance Moore is capable as the flirtatious Southern girl. DENLEY PARAMOUNT . . . Review of 1 in Western Block 'UNDERCOVER MAN' JUST AVERAGE FOR "CASSIDY" WESTERNS Rates • • for western houses Paramount 68 Minutes William Boyd, Andy Clyde, Jay Kirby, Antonio Moreno, Nora Lane, Chris-Pin Martin, Esther Estrella, Alan Baldwin, Eva Puig, Jack Rockwell, John Vosper. Directed by Lesley Selander. By stressing the mystery angle and dispensing with some of the action, "Undercover Man" adds up to just average for the Hopalong Cassidy series. Long dialogue stretches, necessary to clarify several story twists, also slow up the early portions of the film but it all winds up with a fair quota of riding and shooting. As with all Harry Sherman productions, the photography is above average and the cast and settings are of high calibre. Popularity of William Boyd and the series will carry this to good returns wherever westerns are favored. Hopalong Cassidy's current adventure takes him to the hacienda of Antonio Moreno where he and his sidekicks, California and Breezy, are stationed while scouting for border raiders. During a bandit raid on Mexican property, someone is seen impersonating Cassidy and, later, during an American raid, Moreno is believed to be involved. Cassidy then realizes that a member of Moreno's household, who had access to clothes and horses, is responsible for the two impersonations. The outlaws are able to avoid capture until Cassidy lays a trap and makes Nora Lane, American governess at Moreno's home, confess to doing the impersonations. After a former outlaw, who had been blackmailing the woman, is also exposed, Cassidy and Moreno salute their friendship and continued good relations on both sides of the Mexican border. William Boyd's pleasing personality and casual method of acting the role of Hopalong Cassidy keeps him near the top of the list of western stars. Andy Clyde, as the old-timer who becomes involved with a romantic Mexican matron, gets the laughs but Jay Kirby, new to the role of Breezy, needs more screen experience. Antonio Moreno and Chris-Pin Martin give first-rate performances and Nora Lane is satisfactory as the American woman who causes much of the trouble. YORK MAY 18, 1942 5