The Film Daily (1942)

Thursday, October 15, 1942 ft ft Reviews or thc new nuns ft ft "The Navy Comes Through" with George Murphy, Pat O'Brien RKO 82 Mins. EXCELLENT MASCULINE ENTERTAINMENT IS OFFERED BY THIS THUNDERBOLT OF EXCITEMENT. In "The Navy Comes Through" the exhibitor is offered virile entertainment with a powerful appeal to the men and the kids. The film's thunderous excitement and breathless and unremitting action, which contains a strong note of suspense, make this red-blooded meat for the masculine gullet. Where the ladies are concerned, the picture's attraction must remain a question mark. The production is too realistic to expect more than a mild response from the fairer film-goers, who will find the small attention given to romance a further deterrent to any generous espousal of the film by them. While a romance between George Murphy and Jane Wyatt has been woven into the vibrant fabric of the story, it carries little importance and is lost in the commotion. In fact, Miss Wyatt is the only woman in the cast. Despite all this, however, "The Navy Comes Through" should give an excellent account of itself at the box-office, for its grip on the masculine imagination is considerable and its effect on the patriotic instinct strong and undeniable. The plot is one that has served in service pictures long and faithfully. It's all about the officer who, after he has been unjustly busted out of the service, joins up as a non-com, bravely withstands the taunts of the others and wins complete vindication in the end through his heroic action in an emergency. Involved in this instance is a naval lieutenant (Murphy). Upon his reenlistment as a gob the fellow is assigned to an armed merchantman. Who should be his commanding officer but Pat O'Brien, the man whose testimony was responsible for his disgrace. O'Brien rides Murphy like hell. The fact that Murphy is in love with O'Brien's sister (Miss Wyatt) doesn't help matters. O'Brien does all in his power to break up the romance but without success. His attitude changes when Murphy saves his life during an encounter with the enemy. The happy ending has Murphy restored to his rank. Roy Chanslor and Aeneas MacKenzie, working from an Earl Baldwin-John Twist adaptation of a Saturday Evening Post story by Borden Chase called "Pay to Learn," have turned out a screenplay crowded with drama through which breaks a laugh now and then. The film is a feather in the cap of Producer Islin Auster, who owes much of the success of the production to the fury and tenseness of A. Edward Sutherland's direction. Praise must be meted out also for the photography of Nicholas Musuraca and the special effects of Vernon L. Walker. The film boasts fine work on the part of its cast. O'Brien, Murphy and Miss Wyatt are tops. Mention should be made also of Jackie Cooper, Carl Esmond, Max Baer, Desi Arnaz, Ray Collins, Lee Bonnell, Frank Jenks, John Maguire, Frank Fenton, Joey Ray and Marten Lamont. Some of these supporting players turn in impressive work. CAST: Pat O'Brien, George Murphy, Jane "Boss of Big Town" with John Litel, Florence Rice and H. B. Warner PRC 69 Mins. (HOLLYWOOD PREVIEW) TIMELY FOOD PROFITEERING STORY IS WELL PRODUCED AND DIRECTED. Here is a timely subject that has been well produced and directed. Jack Schwarz is responsible for the . production, while Director Arthur Dreifuss kept the action moving nicely and maintains interest to the end. John Litel gives his usual good performance as a two-fisted manager of a big central market, who defies racketeers who seek to foist high prices on the public. Florence Rice and H. B. Warner do nicely with their important assignments, Jean Brooks and David Bacon, comparative newcomers, furnish pleasing characterizations. John Miljan and Lloyd Ingraham supply splendid performances. Patricia Prest, Frank Ferguson, John Maxwell and Paul Dubov are among the capable principals. When Litel refuses to join in his scheme to raise prices, Miljan has his henchmen terrorize Litel's market renters and have them quit business. Warner, head of a syndicate owning the market, discharges Litel, and the latter joins forces with Miljan. Of course, he is in reality in league with Police inspector Ingraham and is trying to get "the goods" on Miljan. Jean Brooks, Warner's daughter, is shot by Paul Dubov, a Miljan henchman. Litel discovers that Warner is really "the brains" behind Miljan and goes to his home for a showdown. Miljan, who is there, is about to fire at Litel, when Ingraham shoots Miljan. Arthur Hoerl wrote the original story and Edward Dein the screenplay. Marcel Le Picard's photography is praiseworthy. CAST: John Litel, Florence Rice, H. B. Warner, Jean Brooks, John Miljan, David Bacon, Mary Gordon, Frank Ferguson, John Maxwell, Paul Dubov, Lloyd Ingraham, Patricia Prest. Producer, Jack Schwarz; Associate producer, Harry Edwards; Director, Arthur Dreifuss; Author, Arthur Hoerl; Screenplay, Edward Dein; Cameraman, Marcel LePicard. DIRECTION, Good. PHOTOGRAPHY, Good. Shiit Corman to Philly E. W. Corman, motion picture tribunal clerk in Albany, has been transferred to the Philadelphia office to replace M. R. Yetter, resigned. Corman has been replaced in Albany by John Staggs. Wyatt, Jackie Cooper, Carl Esmond, Max Baer, Desi Arnaz, Ray Collins, Lee Bonnell, Frank Jenks, John Maguire, Frank Fenton, Joey Ray, Marten Lamont, Cyril Ring. CREDITS: Producer, Islin Auster; Director, A. Edward Sutherland; Screenplay, Roy Chanslor, Aeneas MacKenzie; Adaptation, Earl Baldwin, John Twist; Based on story by Borden Chase; Cameraman, Nicholas Musuraca; Special Effects, Vernon L. Walker; Musical Director, C. Bakaleinikoff ; Art Directors, Albert S. d'Agostino, Carroll Clark; Film Editor, Samuel E. Beetley. DIRECTION, Good. PHOTOGRAPHY, Fine. "Seven Days' Leave" with Victor Mature, Lucille Ball RKO 8/ Mins. HtAVY LOAD OF POPULAR ENTER l AliNMtNl rLACfci STRtSS ON MtLOUY ainu COMEDY. 'seven Days Leave ' is a solid load of enterrammeni rnar snouio piease filmgoers in a Dig way. ueoicated strictly to rnvonry, me rum gues DerserK on music and comeay, carinny carering ro rne curiosity in its seiecnon or some or irs marenai, notaoiy rne sequences aeanng wirn tnose two pupuiar raaio programs, me <_ourr ot Missmg heirs ana "i ruth or Consequences.'' many new races have been urougnr in to reinrorce the entertainment vaiues ot rne rum. i nere is every evidence rnat nm wneian, who functioned as producer, gave a rree rein to ms snowmanship in mis proouction, wmcn is tast and atrention-noiaing diversion aDounding with life. Many spot numbers of excellent quality nave oeen worKed inro tne action. In some or rnese appear rwo orcnestras wmcn command a tremendous roiiowing among jive addicrs — tne rreday Marrin and Les Drown aggregations, both ot wnich have plenty ro do in "Seven Days Leave ana do it to rne complete satisraction ot rhose wno have a taste for the hotter brana or music. Other entertainers wnose names snould increase rhe drawing power of the film are Harold Peary ("Tne Great Gildersleeve"), Mapy Cortes, Ginny Simms and Peter Lind Hayes, all ot whom are swell. The picture introduces two new personalities, Marcy McGuire, a singing commedienne with an explosive appeal, and Arnold Stang, a comedian of unusual quality. Victor Mature and Lucille Ball are the leading players. Mature is a soldier who suddenly finds he is the heir to a fortune left by his great grandfather, a Civil War general. Under the will Mature must take as his bride the daughter of a certain family before he can legally claim the dough. It so happens that that family has a gorgeous daughter in the person of Miss Ball. It's Matures job to get the gal to say "yes" during a seven days' leave. The fellow, as cocky as they come, gains his end after overcoming a lot of obstacles — the greatest of them being the fact that the gal has a fiance. It doesn' take Mature long to realize that he's actually in love with Miss Ball, with the gal reciprocating. For a time the romance is jeopardized by Miss Ball's discovery of the original motive for Mature's wooing of her. Whelan gathers unto himself an additional accolade with his snappy direction. In their screenplay William Bowers, Ralph Spence, Curtis Kenyon and Kenneth Earl reveal an admirable awareness of what the mass desires in film entertainment. Frank Loesser and James McHugh have provided some attractive tunes. The musical direction is to the credit of C. Bakaleinikoff. George Arthur served as associate producer. Mature and Miss Ball perform competently, the former showing considerable improvement as an actor. Also deserving of a good word are Wallace Ford as Mature's sergeant and Walter Reed as the guy who loses Miss Ball. CAST: Victor Mature, Lucille Ball, Harold Peary, Mapy Cortes, Ginny Simms, Marcy McGuire, Peter Lind Hayes, Walter Reed, "Law and Order" with Buster Grabbe, Al St. John PRC 56 Mins. WESTERN FANS SHOULD GET A BANG OUT OF THIS EXCITING AND ACTIONFUL PIECE OF ENTERTAINMENT. ^ A wealthy old lady being rooked *c' gang of brigands inspires Biliy the Kid arid his two sidekicks to do their good deed this time. The fact the villains' victim is blind makes Billy so much the greater hero. That means that the Robin Hood of the West rides and fights and carries on otherwise in the cause of justice as he never has before. He and his buddies make it mighty exciting for villains and fans alike. The villains try to get their hands on the old woman's fortune by bumping off her husband-to-be and substituting one of their own number in the fellow's place. Since the woman is blind, it is easy to carry out the deception; that is, until Billy the Kid learns about it. To gain his ends Billy is forced to masquerade as a relative of the old woman, an army lieutenant. The fellow was killed by the brigands at the same time they disposed of the husband-to-be. Billy is able to get away with his disguise because he looks like the dead lieutenant. Once he has finished his mission, he doffs his masquerade and continues on his way to look for other causes to champion. Buster Crabbe again does nicely as Billy the Kid. Al St. John and Tex O'Brien give him their usual competent support. St. John provides loads of laughs. Other players worthy of note are Sarah Padden, Wanda McKay, Charles King, Hal Price, John Merton, Ken Duncan and Ted Adams. Sherman Scott's direction carries a wallop. Sam Robins' screenplay is okay. Sigmund Neufeld served as producer. CAST: Buster Crabbe, Al St. John, Tex O'Brien, Sarah Padden, Wanda McKay, Charles King, Hal Price, John Merton, Ken Duncan, Ted Adams. CREDITS: Producer, Sigmund Neufeld; Director, Sherman Scott; Screenplay, Sam Robins; Cameraman, Jack Greenhalgh; Film Editor, Holbrook N. Todd. DIRECTION, Good. PHOTOGRAPHY, Good. Ballantine Succeeds Lamont Arthur Atwood Ballantine, former Under-Secretary of the Treasury has been elected president of the Greater New York Fund to succeed Thomas S. Lamont, who resigned last Summer to enter the Army as a Major. Wallace Ford, Arnold Stang, Buddy Clark, Charles Victor, King Kennedy, Charles Andre, Harry Holman, Addison Richards; Lynn, Royce & Vanya; Freddy Martin and orchestra, Les Brown and orchestra, Ralph Edwards & Co. CREDITS: Producer, Tim Whelan; Associate Producer, George Arthur; Director, Tim Whelan; Screenplay, William Bowers, Ralph Spence, Curtis Kenyon, Kenneth Earl; Musical Director, C. Bakaleinikoff; Songs, Frank Loesser, James McHugh; Dance Director, Charles Walters; Cameraman, Robert deGrasse; Special Effects, Vernon L. Walker; Art Directors, Albert S. D'Agostino, Carroll Clark; Film Editor, Robert Wise. DIRECTION, Good. PHOTOGRAPHY, Good.