Independent Exhibitors Film Bulletin (1945)

'STRANGE ILLUSION' NOVEL, ENGROSSING MYSTERY FROM PRC Rates • • + or better where properly ex PRC Pictures 86 minutes James Lydon, Sally Eilers, Warren William, Regis Toomey, Charles Arnt, Jayne Hazard, George H. Reed, Jimmy Clark, Mary McLeod, Pierre Watkin, Sonia Sorel, Vic Potel, George Sherwood, Charles Wagenheim, Nora Lane, Edmund Cobb, John Hamilton. Directed by Edgar G. Ulmer. An unusual psychological mystery has been handled in absorbing fashion in "Strange Illusion," one of PRC's most potent releases to date. The picture can be exploited to do above-average business in many spots and it will make a strong dualler generally. A dream sequence, which captures the imagination at the start, leads into a well-constructed tale of a youth's struggle to save his mother from falling under the influence of a suave stranger who he believes is a murderer. Edgar G. Ulmer's direction is excellent throughout and he skilfully builds up suspense as the youth unearths damaging evidence at the risk of his life. The climax, which includes a wild auto chase, is exciting enough to keep many ploited patrons on the edge of their seats. The first-rate cast is headed by James Lydon, who again proves himself to be a splendid dramatic actor, far above the Aldrich series which had kept him tied down so long. Although not a murder-mystery in the strict sense of the word, this will appeal to whodun-it fans who will be kept guessing until the denouement. A dream, in which he sees his father's violent death was not accidental but murder and his mother and sister being influenced by a strange man, distresses James Lydon and makes him cut short his vacation and return home. Finding that his mother, Sally Eilers, is infatuated with a handsome stranger, Warren William, who has also ingratiated himself with his sister, Lydon immediately suspects him of his father's death, but without the slightest justification. Delving into his father's flies, Lydon comes across records of a man resembling William, who was believed killed in a Colorado mine accident. Still convinced he is right about William's villainous motives, Lydon becomes distraught at his mother's announcement of her impending marriage and, at her suggestion, he goes to see a psychiatrist, Charles Arnt, for observation and treatment. Arnt hopes to keep Lydon out of the way until his friend, William, has married the wealthy Miss Eilers. Meanwhile Regis Toomey, an old family friend, helps Lydon unearth evidence which proves his father's death was planned. While Toomey brings these findings to the district attorney, Lydon returns to Arnt's sanitorium to allay suspicion. William's weakness for young girls has led him to take Lydon's sister to a cottage, ostensibly to decorate it for her mother's wedding. Armed with fingerprints which prove that William murdered Lydon's father, the police rescue him from the sanitorium and then proceed to the cottage in time to save the young girl from William's advances. Although Lydon's sensitive portrayal dominates the film, the others are all splendid, especially Sally Eilers, who returns to the screen to give a sympathetic performance in her first matronly role, and Warren William, a fine choice for the suave, handsome villain. Charles Arnt is effective as the oily psychiatrist and Regis Toomey deserves special mention for his completely natural performance as the family friend who aids Lydon in exposing the murderer. LEYENDECKER 'A SONG FOR MISS JULIE' UNEVEN MUSICAL PROGRAMMER Rates • • — as secondary dualler Republic 69 minutes Shirley Ross, Barton H?pburn, Jane Farrar, Roger Clark, Cheryl Walker, Peter Garey, Elisabeth Risdon, Rene Riano, Lillian Randolph, Harry Rocker, Vivian Fay, The Robertos, Alicia Markova and Anton Dolin of the Ballet Theatre. Directed by William Rowland. A jumble of broad comedy, elaborate production numbers and a high class ballet turn, "A Song for Miss Julie" is frequently tiresome and never more than mildly entertaining at best. The picture starts out as a gentle romantic drama, but interest in the story is soon dissipated as pseudo wisecracks and low comedy are dragged in and matters are straightened out during a typical musical comedy finale. Although the script writers are most at fault, Director William Rowland must shoulder part of the blame for failing to fuse the various elements into a satisfying film. It never seems to make up its mind where it's going and the charming dance duet by the incomparable ballet stars, Alicia Markova and Anton Dolin, seems dragged in for no other reason other than to add "class" name value. Several of the players manage to rise above their indifferent material, notably Shirley Ross, as a sophisticated blonde who occasionally reveals her "strip-tease" background and puts over the song "Bayou Calls" effectively. Cheryl Walker makes a most attractive appearance and sings "I Love to Remember" in pleasing fashion and Elisabeth Risdon gives an authoritative portrayal of a stubborn Southern aristocrat but Jane Farrar and Barton Hepburn, among others, are below par. The Markova-Dolin team (currently starring in "Seven Lively Arts" on Broadway) should be exploited in big cities where ballet enthusiasts abound. This will get by as a supporting dualler only. Elisabeth Risdon, an impoverished Sou CRIME, INC EXCITING GANG MELODRAMA Rates • • + for action spots; good dualler elsewhere PRC Pictures 75 minutes Leo CarriUo, Tom Neal, Martha Tilton, Lionel Atwill, Grant Mitchell, Sheldon Leonard, Harry Shannon, Virginia Vale, Don Beddoe, George Meeker, Danny Morton, Rod Rogers, Ed Cronley, Jack Gordon, Monk Friedman, Edythe Elliott, Emmet Vogan. Directed by Lew Landers. An exciting and suspenseful program melodrama, with better-than-average cast names and production values, "Crime, Inc." rates among PRC's finer releases. The film, produced by Leon Fromkess and Martin Mooney, and based on the latter's actual experiences as a crime reporter, has the ring of authenticity in its gangster vs. police action and dialogue during the late 1930's. Characters are "rubbed out" by order of mysterious "higher-ups," police cars dash madly through city streets in pursuit of fleeing gangster cars, a grand jury investi 12 gation comes to naught and a secret committee is organized to wipe out the crime syndicate, but these familiar scenes are realistically enacted and Director Lew Landers maintains interest up to the climax, which is followed by an innocuous romantic ending. Except for this, the love interest, dealing with a nightclub singer and the two-fisted crime reporter, is not allowed to slow up the fast-moving plot. Tom Neal is convincing as he wages his one-man war against the underworld and Leo Carrillo (who has a straight gangster role and doesn't play for laughs), Lionel Atwill and Grant Mitchell give strong portrayals of racket bosses. Martha Tilton, who is adept at putting over songs such as "Lonely Little Camera Girl" and "I'm Guilty," makes a colorless heroine. However, her name, which is popular in the radio and juke-box field, will attract the 'teen age fans. This should be exploited to good grosses in the action spots, while it will serve as a satisfactory dualler in other situations. In the days following Prohibition, when crime and rackets held sway, Danny Mor thern aristocrat, has sold the life story of Britt Conway, her fabulous and somewhat off-color ancestor, to be used as the basis for a costume musical. Two playwrights, Barton Hepburn and Roger Clark, who arrive at Miss Risdon's home to write the story, are unaware that she has instructed her niece, Jane Farrar, to hide the diary that tells of her ancestor's indiscretions. Hepburn's wife, Shirley Ross, is disgusted ; at the unsatisfactory script and tries to get some of the colorful details from Cheryl Walker, who is a descendant of Conway's second wife and who operates a local bistro. It is only when she is snubbed by Miss Risdon, that she offers to help in staging the ( musical. Meanwhile, Clark and Miss Farrar j have fallen in love and she asks Miss Walker to give him the diary but pledges her to secrecy regarding the source. Of course, the musical, with Miss Walker playing a part, is a great Broadway success and when she tells Clark where the diary came from, he is reunited with Miss Farrar. YORK : ton, leader of a small mob, refuses to join a crime syndicate and, as a result, two of his henchmen are "rubbed out." Fearful for his sister, Martha Tilton, a nightclub singer who knows nothing of his real activities, Morton enlists the aid of Tom Neal, ace reporter who has been waging a oneman war on crime through his newspaper. When Neal meets and falls in love with Miss Tilton, Morton promises to help him expose the big shots back of Crime, Inc. Neal gets enough material for his book but Morton is later killed by order of Leo Car j rillo, night club owner. Neal's book causes ) a furore and starts a crusade against organized crime and he is summoned before ] a grand jury. There he is baited by Grant i Mitchell, reputable business leader who is actually head of the crime syndicate, but the latter learns nothing from Neal. During I a secret meeting of Crime, Inc., Mitchell I suggests "liquidating" Neal and members of I the police committee. However, Neal has I had dictaphones and cameras planted in the I directors' room and, when the police break I in, the crime syndicate is trapped. YORK I FILM BULLET