Independent Exhibitors Film Bulletin (1945)

DIVORCE' SLOW AND OLD-FASHIONED, BUT EXPLOITABLE Rates • • as dualler on name value Monogram 70 minutes Kay Francis, Bruce Cabot, Helen Mack, Craig Reynolds, Ruth Lee, Jerome Cowan, Jean Fenwick, Larry Olsen, Johnny Calkins, Leonard Mudie, Mary Gordon, Reid Kilpatrick. Virginia Wave, Napoleon Simpson, Jonathan Hale, Addison Richards. Directed by William Nigh. As Kav Francis' first independent producing effort, starring herself and with an exploitable title, "Divorce" promises far more than this slow-moving formula picture delivers. Despite the marquee draw of the star and a cast of familiar players, the film remains in the dual classification where it should do fairly well, especially in naborhood spots. Certainly not for first-runs where sophisticated patrons would snicker at the obvious methods employed by an oftmarried siren to snare a new mate. Opening with an over-long courtroom sequence wherein a judge expounds the evils of divorce, the story follows a familiar path with several effective dramatic or tear-jerking moments taking place before the usual sentimental ending. A few more comedy touches would have made the picture more enjoyable, although Ruth Lee does win audience approval through her caustic delivery of the few humorous lines. Kay Francis makes a striking appearance, as always, but her portrayal of the predatory divorcee is anything but subtle. Helen Mack, who gives an appealing and natural performance as the wronged wife, captures the acting honors. Bruce Cabot does good work as the husband and Larry Olsen and Johnny Calkins are splendid as his two youngsters. Kay Francis, sophisticated divorcee whose four husbands have left her wealthy, returns to her home town where she again meets Bruce Cabot, her childhood sweetheart who is celebrating his tenth wedding anniversary. His wife, Helen Mack, is sur prised and mildly amused at Cabot's renewed interest in Miss Francis but the latter carefully plans to take him away from her. First, Miss Francis entrenches herself with Cabot's two youngsters by giving them presents and then she backs a real estate project for Cabot to manage. Finally, Cabot quarrels with his wife and in spite of their friends' efforts to avert a divorce, an interlocutory decree is granted to Miss Mack. Miss Mack gets a job and returns the alimony checks to Cabot who neglects visiting his children during a Chicago trip with Miss Francis. Caught in a gambling raid in Chicago, Cabot is afraid the scandal may effect the real estate project so Miss Francis disposes of it at a profit. When she suggests that Cabot leave town with her, he realizes she is trying to buy him. On a visit to his two youngsters, Cabot tells them he deserted them without reason and Miss Francis overhears and decides to leave town alone. YORK 'PURSUIT TO ALGIERS' ONE OF BETTER SHERLOCK HOLMES MYSTERIES Rates • • as dualler for action spots and naborhoods Universal 65 minutes Basil Rathbone, Nigel Bruce, Marjorie Riordan, Morton Lowry, Rosalind Ivan, John Abbott, Martin Kosleck, Frederic Worlock, Leslie Vincent, Rex Evans, Gerald Hamer, Wee Willie Davis, Sven Hugo Borg, Wilson Benge, Lillian Bond, Tom Dillon. Directed by Roy William Neill. Entertaining as well as suspenseful, "Pursuit to Algiers" is one of the better Sherlock Holmes programmers and good fare for action spots and as a supporting dualler in the naborhoods. Athough no killings take place, there is considerable plotting and dark deeds by a wicked-looking bunch of ship passengers, all apparently intent on preventing the safe passage of the young ruler of a mythical kingdom. While the situation may seem out-dated, Director Roy William Neill manages to maintain sus pense and keep the spectator guessing until the surprise denouement. The film's many lighter moments are agreeably supplied by Nigel Bruce, as the blundering, spluttering Dr. Watson and by an athletic-minded lady passenger amusingly played by Rosalind Ivan. Bruce even does well with a baritone rendition of "Loch Lomond" and Marjorie Riordan, who takes part in an unimportant romantic subplot, displays a pleasing voice in "Cross My Heart" and "Flow Gently, Sweet Afton." Basil Rathbone is expert, as always, as Holmes and Martin Kosleck, John Abbott and Wee Willie Davis are appropriately cast in villainous roles. Sherlock Holmes (Basil Rathbone) and his colleague, Dr. Watson (Nigel Bruce), consent to postpone their long-planned holiday to help the authorities of Rovenia get the young heir to that mythical European monarchy to his country after the king is assassinated. Holmes and the heir (Leslie Vincent) plan to go by plane while Dr. Watson takes the boat, but the latter is soon joined on board by the other two, who did not take the plane which was later shot down. Because of the many suspiciouslooking passengers, including Martin Kosleck, Rex Evans and Wee Willie Davis, Holmes insists that Vincent pose as Dr. Watson's nephew. Morton Lowry, a steward, behaves suspiciously, as does Marjorie Riordan, who Holmes later discovers is the unwilling agent for a notorious jewel thief. After several futile attempts are made on the lives of Vincent and Holmes, the former is finally kidnapped by Kosleck as the ship arrives at Algiers. However, when the king's emissaries arrive, Holmes summons Lowry, the real monarch who had been acting as steward to guarantee his safety. With the king safely escorted to his throne, Holmes receives word that the three conspirators have been captured and Vincent has been rescued. DENLEY 'RHYTHM ROUND-UP' A MUSICAL MICKEY-FINN FROM COLUMBIA Rates • + as supporting dualler in chea Columbia 66 minutes Ken Curtis, Cheryl Walker, Guinn (Big Boy) Williams, Raymond Hatton, Vic Potel, Arthur Bruce, Eddie Bruce, Vera Lewis Walter Baldwin, The Hoosier Hot Shots] Bob Wills and His Texas Playboys, The Pied Pipers. Directed by Vernon Keays. This is a mickey-finn concocted of slapstick comedy and hill-billy warbling, guaranteed to bore stiff anybody but a hill-billy. It's an example of what Columbia passes off as "action musical" features, although its nonsensical plot would barely pass muster for a two-reeler. Except for the standard ballad, "Beautiful Dreamer," the music is all of one pattern and includes such p sub-runs comedv numbers as "Mysterious Mose," "The Berrys and the Nutts" and "That's What I Learned in College," performed in tin pan style by The Hoosier Hot Shots of the National Barn Dance, and "Corinne Corinna" warbled by Bob Wills and His Texas Playboys. That Ken Curtis, a lanky cowboy, is making his screen debut is proven by his awkward handling of the leading male role. Raymond Hatton, Vic Potel and Guinn "Big Boy" Williams are more noisy than funny and only the attractive Cheryl Walker seems worthy of better picture fare. One of the four Hoosier Hot Shots, unemployed radio performers, wins a hotel in Arizona but learns that back taxes must be paid before he can acquire it. Their manager, Cheryl Walker, suggests they broadcast authentic western music direct from the hotel but, when they arrive, they meet Ken Curtis, who claims to be the rightful owner. Since Curtis can't meet the taxes either, they all decide to join forces and give the radio show to raise the money. Meanwhile, two swindlers, Vic Potel and Raymond Hatton, who have lived in the hotel, try to break up the proposed broadcast by hiring Guinn "Big Boy" Williams to pose as the ghost of the original owner who was supposed to have buried treasure in the cellar. During the broadcast, various members of the show leave the stage to stop the noise of digging in the cellar and are made prisoners by Williams. They finally escape and a riot breaks out, but the radio audience thinks it all a part of the show, and the Hoosier Hot Shots become a success and pay the taxes. YORK Film Bulletin Reviews are written for practical showmen — by people who know box office values 10 FILM BULLETIN