Independent Exhibitors Film Bulletin (1951)

Page scan 00025 from Independent Exhibitors Film Bulletin

Record Details:

Title:
Independent Exhibitors Film Bulletin
Date:
1951
Author:
Film Bulletin Company
Publisher:
New York, Film Bulletin Company
Volume:
Film Bulletin (1951)
Leaf #:
00025
Language:
English
Collection:
Hollywood Studio System
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
East Coast exhibitor publication. Founded in 1934 by the Independent Exhibitors' Protective Association in response to the perceived shortcomings of Motion Picture Herald and the Motion Picture Theatre Owners (MPTO). Served as a news source, reviewing service, and forum for independent exhibitors to share their many grievances. -- Eric Hoyt, 2014
Date Added:
August 01, 2024
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EXPLOITATION PICTURE EXPLOITATION PICTURE of the issue of the issue HEAVEN CAN WAIT 1,, one ol the most unusual and imaginative screenplays of the year, writer-director George Seaton and producer William Perlberg (the same team that concocted the delightful "Miracle on 34th Street' ) have inspirationally cast caustic, lovable Clifton Webh and gentle, lovable Edmund Gwenn as a pair of angels (and what did you think an angel looked like?). Their mission on earth is to persuade a cherub, Gigi Perreau, who has been hanging around earth seven years waiting to be born, to return to heaven. Her chosen parents, Robert Cummings and Joan Bennett, too imbued with their separate careers in the theatre, have been given up by the Big Chief upstairs as a lost cause to have children. Deciding to give the conception one more chance, Webb assumes au earthly character as a westerner from "God's country," patterned hilariously on Gary Cooper's interpretation, and becomes entangled with earthly desires — particularly when the buxom Joan Blondell sets her cap for him — that are far from angelic. How the Webb is untangled climaxes a funny and original movie. In a composite of all the gangster roles ever conceived by Hollywood, Jack La Rue steals several scenes. Other standout bits include Harry Von Zell's Texas millionaire and a sadfaced cherub named Tommy Rettig "Just call me Slim" Webb < right I as a westerner a la Gary Cooper; beloiv, angel