Independent Exhibitors Film Bulletin (1952)

ROOM FOR ONE MORE* CHARMING DOMESTIC COMEDY Rates • • • except for action houses Warner Brothers Cary Grant, Betsy Drake, Lurene Tuttle, Randy Stuart, John Ridgely, Irving Bacon, Mary Lou Treen, Iris Mann, George Winslow, Clifford Tatum, Jr., Gay Gordon, Malcolm Cassell. Larry Olsen. Directed by Norman Taurog. "Room Kor One More" is a slickly produced comedy neatly designed to beguile the family trade, women audiences particularly. The story is loaded with charm, and Henry Blanke's production sees to it that this is the quality emphasized — in screenplay, performances, and direction. An enchanting story of a young wife who can't resist stray dogs and children, the script follows a merry, entertaining course as it unfolds her vicissitudes in the handling of a pair of problem youngsters. In depicting the amusing dilemma, the narrative gets down to situations recognizable to everyone. Norman Taurog's direction is bright 'throughout, decked witli >ock touches of business and , as usual, notable for his marvellous handling of the child players. Under Taurog's sympathetic supervision they come across as real youngsters, not child actors. "Room For One More" is the kind of picture audiences will talk about and do as much to sell to their next door neighbor as the exploitation campaign. Presence of Cary Grant and his pretty reallife spouse, Betsy Drake, as the Mr. and Mrs. of the piece adds excellent marquee lure to an excellent movie, which will enjoy topflight grosses everywhere except in action houses. Cary Grant is delightful as the husband, and Betsy Drake is equally so as the wife. Lurene Tuttle's social worker is first rate. Randy Stuart and John Ridgely score as two of the children, and Mary Lou Treen, in her standard role of maid, is a howl. STORY: On a tour of an orphanage with other young matrons, Betsy Drake learns of the problems in getting homes for older children. Lurene Tuttle blandly talks her into taking one of the youngsters on a trial basis. The girl turns out to be a real monster, but gradually the wholesome family environment and Betsy's persuasive ways change her into a normal, happy child. Next comes a boy suffering from paralysis. He's even more difficult, but the formula works again. Behind in his education he learns to read under her patient tutelage and eventually wins the highest honors given by the Boy Scou's. Meantime Grant has himself a time asserting his husband's privileges but because he recognizes Betsy as a rare and wonderful woman and the kids as people needing help he accepts the responsibilities and what might appear as pretty rough treatment on the home front. 'The show is all tongue in cheek, played for humor, but because it is so genuine it emerges as something more — clean, heartwarming entertainment. H ANNA (Hollywood) THE LAS VEGAS STORY' PLENTY OF SEX AND ACTION Rates • • • for action and exploitation houses; less in better class spots lacks strength, and the characters are pre RKO-Radio 88 minutes Jane Russell, Victor Mature, Vincent Price, Hoagy Carmichael, Brad Dexter, Gordon Oliver, Jay C. Flippen, Will Wright, Bill Welsh, Ray Montgomery, Colleen Miller, Robert Wilke. Directed by Robert Stevenson. "The Las Vegas Story" is all sex and action, and it deals, in the main, and unsavory people up to unsavory conduct. Set against the internationally known gambling center of Las Vegas, the bizarre and garish atmosphere of the Nevada town is employed effectively, and the fights, fisticuffs and chases occur with considerable frequency. Aside from these concessions to those who seek the sordid in entertainment, "The Las Vegas Story" is just average fare. The story sented as types rather than people you readily understand. However, the closing chase is a humdinger and the proceedings are brought to a snappier conclusion than expected. Bolstered by the Russell-Mature names, this shapes up as an above-average grosser in the action and exploitation houses. Better class audiences may find it distasteful. Jane Russell sings, displays her pulchritude in a shower, and generally disports herself as a lady with past. Victor Mature is ok as the constable, and Vincent Price makes the most of his sides as the smooth, glib crook. Hoagy Carmichael is on hand for his standard characterization of the philosophical piano player who tells the story. Brad Dexter, Gordon Oliver, and Jay C. Flippen stand out in support. Robert Stevenson's direction plugs hard at the action and sex elements and just forgets about the story, which is just as well under the circumstances. STORY: Jane Russell, returning to Las Vegas as the wife of weathly Vincent Price, resumes her romance with Victor Mature, a fellow she had jilted during the war. As it turns out Price is on a shaky financial leg and has come to Las Vegas hoping to recoup the large sum he embezzled in Boston. The tables are against him and he is forced to pawn a necklace belonging to Jane. A murder is committed over the necklace and although Price is arrested another fellow turns out to be the culprit. Mature learns the truth in time to save Jane from being kidnapped by the killer. And he also produces the charges that keep Price in the cooler to await extradition to Massachusetts. Mature and Jane are reunited. ANGEL A GIRL IN EVERY PORT' WOEFULLY WEAK FOR GROUCHO Rates • • as supporting dualler RKO-Radio 86 minutes Groucho Marx, Marie Wilson, William Bendix, Don DeFore, Gene Lockhart, Dee Hartford, Hanley Stafford, Teddy Hart, Percy Helton, George E. Stone. Directed by Chester Erskine. "A Girl In Every Port" unhappily fails to generate any of the sustained hysteria expected of a comedy headlining Groucho Marx, and it will serve only as a supporting dualler. It will serve when paired with an attraction of greater strength. The story is terribly slight and only slightly amusing. Marx is handicapped by the lack of punchy lines and strong comedy sequences. He pads the material at hand with his familiar mannerisms and as much silly business as the footage permits, but that ridiculous scripts just bears down on him. Curiously, the best laughs are those registered by two supporting players. Gene Lockhart and Hanley Stafford. As a wily old race track tout, Gene Lockhart wraps up a pair of sequences for a solid personal success and Stafford has fun with his spot of a harassed Naval officer. Chester Erskines' direction fails to do anything to help the hapless proceedings. If 20 minutes or so were cut out, this would be less of a problem to exhibitors. Marie Wilson displays her more pleasing pulchritude and plays the girl in typical "Irma" style. W illiam Bendix just fails to click.' Don DeFore handles the romantics agreeably. Dee Hartford is okeh as the society deb. Teddy Hart is on deck for a few bright moments as a professional gambler. STORY: Groucho Marx and William Bendix are spotted as a pair of sailors whose escapades during 20 years of service fill the files of their commanding officer. Bendix inherits a sum of money from an aunt, promptly invests it in a race horse. The animal is a dud but happens to have a twin owned by drive-in waitress Marie Wilson. All sorts of complications follow when Marx conceives the idea of selling it back to Don DeFore, young sportsman who has promised to give up racing at the insistence of his fiance Dee Hartford. On the eve of the big race, Marx and Bendix are between the devil and the deep. Their shipmates have put all their money on the horse, gangsters who've entered the picture want the race thrown, and Dee Stafford is anxious for DeFore to get a good lesson. Needless to say, things straighten themselves out at the finale. And somehow Marx and Bendix find themselves being honored for their unwitting valor in apprehending a pair of saboteurs. JAMES JANUARY 14, 1952 11