Independent Exhibitors Film Bulletin (1945)

'MR. EMMANUEL1 FINE ANTI-NAZI DRAMA FROM ENGLAND*/ Rates • • 4 if exploited; better in class houses United Artists (G.F.C. Films) 92 minutes Felix Ayimer, Greta Gynt, Walter Killa, Peter Mullins, Ursula Jeans, Frederick Richter, Irene Handl, Frederick Schiller, Espeth March, David Baxter, Maria Berger, Yvan DeLey, Norman Pierce, Myer Tzelnicker, Lyonel Watts, Arnold Marie, Guy Deghy. Directed by Harold French. A heart-warming, frequently stirring tale of an old English Jew's excursion into the lair of the Nazis, "Mr. Emmanuel" is firstrate dramatic fare which needs strong selling to overcome its absence of names or sensational aspects. First of J. Arthur Rank's British features set for United Artists' release in America, this is, in every way, a distinguished feature, unfortunately lacking in timeliness (the scene is Berlin just prior to World War II) but worthy of the attention of all serious picture-goers. The story, based on the novel by Louis Golding, is primarily a sympathetic character study and, only secondarily, a tale of terror and the persecution of Jews in Nazi Germany. As painstakingly directed by Harold French, the early scenes are tender and moving, even if slow in pace, but the picture becomes increasingly tense and suspenseful during the gentle "Mr. Emmanuel's" false imprisonment and persecution as an international spy. There is pageantry and splendor in the functions given by Nazi officials and glamour in the episodes dealing with a non-Aryan cabaret star. "Mr. Emmanuel" will score in class houses and, on favorable word-of-mouth should build in better naborhood spots. Mr. Emmanuel (Felix Alymer), a retired professor, welcomes the chance to visit Elspeth March in the south of England where she is looking after some German refugee boys. One, Peter Mullins, who is unhappy because his mother has not written him from Germany, attempts suicide, but Ayimer rescues him. He promises the boy that he will journey to Berlin and find out what has happened to his mother. In Berlin, he learns nothing and is about to despair when he sees that Greta Gynt, daughter of an old friend, is a non-Aryan cabaret star and sweetheart of Walter Rilla, a high Nazi official in Berlin. Meanwhile, the Nazis pin the assassination of a Nazi leader on the innocent old Ayimer and he is imprisoned and tortured. Miss Gynt persuades Rilla to use his influence to free him and, before he leaves, he learns that Mullins' mother has married a Nazi and renounced her boy. Back in England, Ayimer tells Mullins that his mother is dead and then he watches the relieved youngster resume his carefree school life. Felix Ayimer, who subdues his British personality until he is the very personification of Mr. Emmanuel, the gentle, bewildered Jewish professor, gives a memorable performance — one which dominates the film. Greta Gynt makes a striking impression as the glamorous Berlin cabaret star and Walter Rilla's enamored Hitler official is portrayed faithfully without becoming a caricature. YORK 'THEY SHALL HAVE FAITH1 EFFECTIVE DRAMA ON MEDICAL THEME ✓ Rates • • + as top dualler generally Monogram 83 minutes Gale Storm, Sir Aubrey Smith, John Mack Brown, Mary Boland, Frank Craven, Conrad Nagel, Johnny Downs, Catherine McLeod, Selmer Jackson, Matt Willis, Russ Whiteman, Billy Wilkerson, Maurice St. Clair, Leo Diamond and His Harmonaires. Directed by William Nigh. A difficult medical theme has been handled in interest-holding fashion in "They Shall Have Faith," an outstanding Monogram release with good cast names and high production values. Dealing with the treatment of infantile paralysis, the story more frequently stresses its serious side, but the picture's somber note has been offset by many comedy touches and effective production and dancing numbers. In addition to shining in the terpsichorean department, Gale Storm, hitherto featured in program mers, displays great charm and gives a most sensitive performance in a many-sided role. This picture should give her a big boost toward popularity. William Nigh does a good directorial job throughout and his treatment of the several dream sequences is especially effective. The convalescent scenes and hospital operation sequences are authentically presented and will win the endorsement of public-spirited groups. In fact, the highlypublicized paralysis theme makes this a natural for tie-ups and selling angles while its above-average cast should insure good returns in all locations. Gale Storm, spoiled young daughter of Conrad Nagel, prominent specialist, is active in charitable work for service men and hospitalized children, etc. Although engaged to Johnny Downs, she makes a play for John Mack Brown, a serious young doctor who has a new muscle re-innervation for the treatment of infantile paralysis in which Nagel has become interested. Brown, however, devotes most of his time to his medi cal work until, at a society function being given for servicemen, Miss Storm collapses while performing on the dance floor. When Brown discovers that Miss Storm has contracted infantile paralysis, the girl's family is shocked and she becomes embittered. Brown has been preparing a youngster for a trial operation and, after Miss Storm is made aware of her selfish outlook on life, she insists that the young doctor perform the new treatment on her. The difficult operation is a complete success and, when Brown packs to leave for an assignment elsewhere, he finds Miss Storm waiting John Mack Brown temporarily discards his cowboy habilments to give a convincing portrayal of the serious young doctor, and Conrad Nagel, popular leading man of the silent days, returns to screen acting in a capable character portrayal of the heroine's father. Both should be given the opportunity to continue their new-found types of roles. 'THE MARK OF THE WHISTLER' FIRST-RATE MYSTERY PROGRAMMER/ Rates • • as dualler generally; more in action spots Columbia 61 minutes Richard Dix, Janis Carter, Porter Hall, Paul Guilfoyle, John Calvert, Matt Willis, Howard Freeman, Minerva Urecal, Matt McHugh, Arthur Space, Willie Best. Directed by William Castle. One of the better program thrillers, "Mark of the Whistler" has an out-of-the-ordinary psychological plot which builds suspense without resorting to the customary killing or shooting. This is the second in the mystery series based on the popular CBS radio figure. "The Whistler," and, like the first, it is a well-made and absorbing melodrama. The title character, who acts as the voice of conscience, never actually appears on the screen, but his influence is made apparent in the actions of the down-and-out hero who imoersonates another man in order to claim a $30,000 dormant bank account. The chain of events which follow this deed are occasionally implausible, but the action is packed with excitement and leads to a surprise ending. By making use of shadowy lighting and effective close-ups, Director William Castle gets the maximum of chills despite his obviously-modest budget. Richard Dix gives a first-rate performance in the leading role — that of a drifter, broken in health and mind. Porter Hall scores in his few scenes as a grasping proprietor of a men's clothing store and Paul Guilfoyle is excellent as a bystander who is eventually revealed as the most important figure in the plot. Janis Carter makes a good impression as a live-wire girl reporter, even if the romantic interest seems dragged in. Will make a good dualler and is worth exploiting in the action spots. Richard Dix, a broken-down drifter, recently returned from South America, picks up a newspaper advertising a bank's "dormant account" for a name similar to his. Deciding to assume the other man's identity, Dix looks up the family records, gets a loan of presentable clothes and convinces the bank that he is the rightful claimant for $30,000. Janis Carter, a girl reporter, gets a picture of Dix leaving the bank and, when this is printed in the paper, it is noticed by John Calvert and Matt Willis, enemies of the real claimant. A sidewalk peddler, Paul Guilfoyle, offers to help the nervous Dix leave town, but the two brothers catch up with him and almost succeed in "taking him for a ride" after they explain the reason for their hatred. Dix escapes and seeks refuge with Guilfoyle who then explains that he is the rightful claimant who was afraid to risk being killed by his old enemies. After being rescued by the police, Dix is sent to prison for a short term but he is sure of the friendship of Guilfoyle and of Miss Carter. DENLEY 12 (More Reviews on Page 18) FILM BULLETIN