Independent Exhibitors Film Bulletin (1945)

SUNBONNETSUE' ENTERTAINING COSTUME MUSICAL Rates • • + in naborhood and rural houses Monogram 90 minutes Gale Storm, Phil Regan, George Cleveland, Minna Gombell, Alan Mowbray, Raymond Hatton, Charles Judels, Charles D. Brown, Edna Holland, Billv Green, Arthur Loft, Gerald Oliver Smith, Eva Puig, Jerry Franks, Ernie Adams, Stuart Holmes. Directed by Ralph Murphy. A wholesome and entertaining gay nineties musical, "Sunbonnet Sue" is ideal fare for naborhood and family spots. As Monogram's contribution to the nostalgic musical field, the picture has above-average production values and is packed with down-toearth Irish comedy and well-remembered songs of the period including "By the Lisrht of the Silvery Moon." "School Days," "YipI-Addy-I-Ay," "If I Had Mv Way" and, of course, the little tune which is rendered in Phil Regan's romantic tenor voice. The familiar plot deals with the inevitable clash between the warm-hearted Bowery folk and the snobbish uptown society but Director Ralph Murphy has dressed it up with hu man interest, local color, old-time politics and even a dash of social significance to add up to enjoyable escapist fare. Not for first-runs but, elsewhere, the title and strong exploitation values of its songs and atmosphere should make it a good attraction, except in action spots. Learning that her niece, Gale Storm, is singing in her father's saloon on the Bowery, the social-climbing Edna Holland determines to stop this threat to her society standing. Getting no satisfaction from Gale's father, George Cleveland, because she had ostracized the girl's mother for marrying beneath her station, Miss Holland hires men to start a disturbance and wreck the saloon. Since the distr'ct is in the midst of a political campaign for alderman with Cleveland backing Phil B^gan, his daughter's boy friend. Miss Holland contributes funds which brings a Tammany Hall candidate to victory. When Cleveland's saloon is closed, Miss Storm goes to live with her aunt on the latter's promise to pull strings to restore its license. Learning that his daughter is being presented at a coming out party on Murray Hill, Cleveland crashes the place and causes a disturbance by trving to take her back home. Miss Holland has visions of her social standing being ruined until the Mayor's wife (Minna Gombell) recognizes Cleveland as an old friend from her childhood days on the Bowery. Cleveland then regains his license, Miss Storm is re-united with Regan and even Miss Holland promises to mend her snobbish ways. Gale Storm comes through with another engaging performance as the high-spirited Irish girl and her dancing and singing of the old favorites are the picture's high spots. Phil Regan also sings well and gives a good performance as the handsome candi | date for alderman. Among the first-rate character players who give outstanding portrayals are George Cleveland, as the ' quick-tempered old saloonkeeper; Charles i D. Brown, who convincingly under-plays the role of the understanding parish priest; Minna Gombell, as the Mayor's lady who is proud of her Bowery upbringing, and Alan Mowbray, as a helpful society man. Even Edna Holland resists the temptation to caricature the part of the meddling society snob. g DENLEY 'THAT NIGHT WITH YOU' WEAK PLOT, BUT PRODUCTION. SONGS GOOD Rates • • as dualler generally Universal 84 minutes Franchot Tone, Susanna Foster, David Bruce. Louise Allbritton, Howard Freeman, Jacqueline DeWit, Buster Keaton, Irene Rvan, Anthony Caruso, Barbara Sears, Teddy Infuhr. v|rninia Brissae. Julian Rivero, Belle Mitchell, Arthur Miles. Directed by William A Selter. Lavish production numbers and some first-rate singing by Susanna Foster do little more than dress up the hectic and unbelievable comedy plot of "That Night With You." While the picture has a certain class appeal because of its unusual musical arrangements of Rossini's "Barber of Seville" and numbers by Brahms and Tschaikowski it will fail to stand up in first-runs and is best relegated to the duallers where its name value will carry it to fair returns. The nonsensical story which deals with a would be singing star who poses as the daughter of a famous theatrical producer, is developed on contrived situations which become increasingly involved as the film progresses. Sophisticated dialogue is mixed with slapstick, but the result is mildly amusing at best. The one new song, "Once Upon a Dream," is pleasing but not of hit calibre. Susanna Foster, who works for David Bruce in a diner but dreams of becoming a singing star, tries, without success, to eret a iob in Franchot Tone's forthcoming musical. Learning that Tone had had his vouthful marriage to Jacqueline DeWit annulled years before, she poses as his daughter and, although neither he nor his faithful secretary (Louise Allbritton) believe her, he plays the ruse to the hilt. But when Miss DeWit arrives from Hollywood and confirms the story, Tone is convinced of his parenthood. Without realizing that both women are only using him to get the lead in his show, Tone prepares to re-marry Miss De Wit and send Miss Foster off to school. When Miss DeWit's current husband arrives, she decides to return to him and she tells Tone Miss Foster is an imposter just before the girl breaks the news to him herself. Tone then asks Miss Foster to marry him and she is torn between her regard for him and her love for Bruce. Things finally straighten out when Tone realizes that he actually loves Miss Allbritton, but he gives the lead in the show to Miss Foster. Susanna Foster's acting is passable, but she really excels in the singing interludes.) Franchot Tone, looking haggard, gives a I neat comedy performance as the harassed producer. Both Louise Allbritton and Jac-j queline DeWit look attractive and toss off j semi-risque dialogue in fine fashion butj David Bruce works hard with mild laughj results. Buster Keaton and Irene Ryan make the most of roles that are virtually bits. YORK SUNSET IN EL DORADO1 MORE MUSIC, LESS ACTION IN THIS ROGERS OPERA Rates • • + where Rogers is popular Republic 66 minutes Roy Rogers, George "Gabby" Hayes, Dale Evans Hardie Albright, Margaret Dumont, J^h 5^.r0,t«Tom L°ndon' Stamev price, Bob W.lkie, Dorothy Granger, Ed Cassidy Bob Nolan and the Sons of the Pioneer! Trigger, Directed by Frank McDonald. rnt i f K c°mbination of mod"n musise Zem n ?°'d rush d*y* Aim, "Sunset in El Dorado" follows the standard Re linate the acmg and shooting take a tion while the ridi back seat. t££ o7dihbpf d"Cal;>ith * modern girl's wh?,h/B er<™<imother's adventures wnen she was known as Kansas Kate star In " oriunatn,thev°0m t0W" °f "S^E t, fortunately, Frank MeDonnld tongue-in-cheek gives it treatment throughout r^T ^ Wh° WCarS a ™>dern dude ranch outfit and sings in lavish production numbers on a vast dancehall stage — all this in the old west — merely resembles Dale Evans in costume just as all the other characters are dressed-up facsimiles of the players in the modern tale. Taken in fun the film will amuse the average patron, especially those who enjoy Miss Evans' warbling of "The Belle of El Dorado," "The I-ady Who Wouldn't Say Yes" and "I'm Awfully Glad I Met You." There's a few chases and fist fights, but not enough to satisfy the dyed-in-the-wool horse opera fan. Roy Rogers, who sings and gives his customary easy-going performance, plays second fiddle to Miss Evans and is off the screen for long stretches of the ludicrous plot. Hardie Albright is properly villainous in both the modern and old west plots and Margaret Dumont is amusing as two haughty dowagers. Only George "Gabby" Hayes remains the same be-whiskered old codger in both tales and gets laughs throughout. This is very much in the familiar Roy Rogers vein and Republic should vary the formula before it wears thin. Tired of New York life and being dominated by her aunt, Margaret Dumont. who has selected Hardie Albright as her fiance, Dale Evans, who tells would-be bus travellers about the glamour of the old west, de j cides to experience some of the adventure: for herself. Albright and Miss Dumont pur sue the girl when she runs away and, wher she again escapes them through the aid o a passing cowboy, Roy Rogers, she wander.' into the tumble-down Golden Nugget saloorj in the ghost town of El Dorado. There shi meets George "Gabby" Hayes, an old pros pector who tells her he knew her grand mother, Kansas Kate, who once held swa:1 there. Left alone, Miss Evans falls aslee and dreams she is Kate, the star entertainel of the Golden Nugget, whose aunt is tryini, to marry her to Hardie Albright, who own the place. When Hayes makes a gold strikf, she gives him the money to stake his clair1 but Albright's henchmen hold him up anj take it from him. However, a wanderin cowboy, Roy Rogers, finally sets matter right and cleans up Albright's syndicate o thieves in El Dorado. When Miss Evan awakens, she gets up the courage to tel Albright she is remaining in the moder west with Roy and "Gabby." DENLE FILM BULLETIN