Independent Exhibitors Film Bulletin (1945)

DELIGHTFULLY DANGEROUS1 MILD MUSICAL FOR DUAL BILLS Rates • • as dualler generally; weak for action houses United Artists (Charles R. Rogers) 93 minutes Jane Powell, Ralph Bellamy, Constance Moore, Morton Gould and His Orchestra, Louise Beavers, Arthur Treacher, Ruth Tobey, Andre Chariot, Ruth Robinson, Charles Irwin, Shirley Hunter Williams. Directed by Arthur Lubin. Charles R. Rogers has surrounded his talented singing starlet, Jane Powell, with considerable production flash in her second starring vehicle, but the result is only moderately entertaining. The fault lies with the story, which is as innocuous as its title, and is developed with so little regard for plausibility that the spectator never becomes more than mildly interested in the outcome. And the comedy relief, which leans too heavily on Miss Powell's attempt to appear grown-up, will bring forth no more than a few chuckles. The ample musical score, both modern and classical, is the picture's outstanding feature and several original songs by Morton Gould have been skilfully blended with a medley of Strauss waltzes in the elaborate and melodic finale. Little Miss Powell, who again displays charm and sweetness as a determined 15-year-old, warbles "Through Your Eyes — To Your Heart," as well as several classical tunes, in her clear-voiced fashion while Constance Moore, who puts over "I'm Only Teasin' " and "In a Shower of Stars," is exceedingly attractive and capable as a burlesque queen who achieves musical comedy stardom. Exploiting Morton Gould and His Orchestra and the Strauss waltzes may attract music lovers in the better naborhood houses. Picture will make a fair dualler generally. Weak for action spots. Jane Powell, 15-year-old student in a school of music and art, has asked her sister, Constance Moore, to attend the class pageant but is unaware that the latter is a famous strip-teaser instead of a musical comedy star. When Miss Moore arrives, she has a verbal tiff with Ralph Bellamy, famous Broadway producer, who, however, is impressed with Miss Powell's singing and leaves his card for her to look him up if she comes to New York. When Miss Powell and her roommate, Ruth Tobey, go to New York, they learn the truth about Miss Moore and are mortified when they see her performing in a burlesque house. Miss Powell goes to Bellamy's apartment and the latter's butler telephones Miss Moore to come and get her sister. In a scheme to support herself and save her sister from a burlesque career, Miss Powell buys a grown-up gown, goes to a benefit-musical with Bellamy and, after she sings with Morton Gould's orchestra, she receives an offer for a radio program. But, when the sponsor learns that the girl's sister is in burlesque, the deal is off. At Miss Powell's urging, Bellamy finally agrees to a plan whereby he produces a musical with Miss Moore doing a streamlined version of Strauss waltzes while Miss Powell sings them straight. Arthur Treacher, who works hard to squeeze some laughs from his inevitable butler role; Louise Beavers, as a harassed colored maid, and Ruth Tobey, as a plump 'teen age schemer, are the best in the supporting cast. Ralph Bellamy, as the handsome producer-hero, is worthy of stronger roles. DENLEY 'EARL CARROLL VANITIES' FLASHY MUSICAL HAS GOOD NUMBERS Rates • • + as dualler, except in action spots Republic 91 minutes Dennis O'Keefe, Constance Moore, Otto Kruger, Eve Arden, Alan Mowbray, Stephanie Bachelor, Pinky Lee, Parkyakarkus, Leon Belasco, Beverly Lloyd, Edward Gargan, Mary Forbes, Chester Clute, Tom Dugan, Robert Greig, Jimmy Alexander, Wilton Graff, Tommy Ivo, Lilaine and Mario, Woody Herman and His Orchestra. Directed by Joseph Santley. The title, "Earl Carroll Vanities," and what it implies in music and glamour, is a strong selling angle for this flashy and entertaining musical even if the expected parade of "the most beautiful girls in the world" is seen for only a flash. Obviously, the best way to enjoy this picture is to watch the pleasant cast perform and listen to the catchy tunes and the lively numbers by Woody Herman and His Orchestra while trying to forget the infantile plot which is cut to a tired operetta pattern. Although mythical kingdom tales were supposedly discarded after World War I, Republic polished up one about a Turanian princess who sings incognito in a New York night club, is signed for a Broadway show, falls in love with the handsome librettist and eventually helps to float a loan for her tiny country. The picture's top asset is Constance Moore, who again displays great charm, a neat comedy sense and the ability to put over popular songs, one of which, "Endlessly," seems headed for a Hit Parade listing. Several production numbers, notably the spirited "Rock-a-Bye Boogie" and "You Beautiful Thing You," with its brief "parade of pulchritude," as well as Woody Herman's smash hit, "Who Dat Up Dere?," are the other high spots. The broad comedy by Pinky Lee, Parkyakarkus and others is more noisy than hilarious. By playing up the title and Woody Herman's popular orchestra, this should do good business, especially as a top dualler. Constance Moore, a princess of Turania who has been educated in America, returns to this country with the Queen (Mary Forbes), who hopes to float for their tiny nation. While visiting a night club incognito, Miss Moore sees an old friend, Eve Arden, who persuades her to sing in place of the star, Stephanie Bachelor, who has sprained her ankle. Earl Carroll (Otto Kruger), who has been hunting for a star for his new show, is brought there by his librettist, Dennis O'Keefe, to see Miss Bachelor but, instead, he is much impressed by Miss Moore and signs her. She intends to stay with the show only until Miss Bache j lor recovers but the latter, noticing that O'Keefe is falling in love with Miss Moore during rehearsals, follows her and learns her true identity. Miss Bachelor tells the Queen, who is shocked and orders her daughter to give up the show before the ) international bankers withdraw their ex I pected support. On opening night, Miss Arden and several others join forces, tie up Miss Bachelor and persuade Miss Moore to | go on as a final gesture. The show is a hit and the bankers, who are in the audience, : are so pleased that the loan is floated in a| blaze of American approval. With Otto Kruger playing Earl Carroll in ■ a mild-mannered subdued fashion, the famous producer remains a shadowy figure and merely an onlooker to a fictional romance. Dennis O'Keefe does good work as the breezy librettist, Eve Arden gets some laughs with one of her sophisticated corned; portrayals and Stephanie Bachelor is again well cast as a haughty beauty. Alan Mowbray and Mary Forbes are convincingly regal as members of the Turanian roya party. DENLE'S HER LUCKY NIGHT' MUSICAL PROGRAMMER WITH ANDREWS SISTERS Rates • • as supporting dualler Universal 63 minutes Maxine, LaVerne & Patty Andrews, Martha O'Driscoll, Noah Beery, Jr., George Barbier, Maurice Cass, Marie Harmon, Olin Howlin, Robert Emmett Keane, Eddie Acuff, Grady Sutton, Edgar Dearing, Ida Moore, Rita Gould, Jack Rice, Charles Jordan. Directed by Edward Lilley. With The Andrews Sisters and their lively harmonizing of popular tunes a surefire draw for youngsters and swing devotees, "Her Lucky Night" becomes a satisfactory supporting dualler — despite its silly plot. The starring trio, who take only a minor 10 acting part in the farcical proceedings, do most of their clowning during the song numbers, three of which — "Dance With a Dolly," "Is You Is or Is You Ain't Ma' Baby" and "Straighten Up and Fly Right" — are already leaders in the radio, sheet music and juke box fields. Another tune, "The Polka Polka," sounds like a typical Andrews Sisters hit. Martha O'Driscoll and Noah Beery, Jr. are again romantically teamed, the former doing good work as a go-getting female and the latter playing his usual shy, blundering hero role. One scene wherein Beery's hurriedly-stitched dress suit keeps coming apart on the dance floor should bring shrieks of laughter from naborhood patrons. As comedy support for a heavy dramatic feature, this is entirely acceptable. The three Andrews Sisters and their pal, Martha O'Driscoll, who all work in a nigh club, are a bit shy of boy friends. The An drews Sisters scoff when Miss O'Drisco decides to seek the advice of a fortune-telle but she is satisfied when she is told that sin will find her true love sitting next to he in a movie theatre. She buys two tickets throws one out the window and hurries t her single reserved seat — next to Georg Barbier, a stingy old financier glad to ge something for nothing. A row starts bu Barbier is impressed with Miss O'Driscoll spirit and hires her to investigate hi nephew, Noah Beery, Jr., to see if the bunf ling young man is capable of doing goo work. Of course, she falls in love wit Beery and, with the Andrews Sisters' aii she manages to make Barbier see his wort and thus saves him from being disinherits YOR FILM BULLDTI!