The Film Daily (1943)

TV* DAILY Tuesday, May 25, 194 See Slate Anti-Blind Checking Bill Invalid (Continued from Page 1) troduced in Iowa, Ohio, Pennsylvania and New Jersey, in addition to California. Solons of California, Iowa and Pennsylvania have adjourned without taking action on the proposals, while Ohio legislature, still in session, has given little indication that it will consider it. New Jersey's law makers are now in re Firebug's Three Attempts Foiled by Femme Mgrs. (Continued from Page 1) won, when three fires within an hour were started in the Broadway theater, one of three large first-run houses of the city. Mrs. Lucille Rutlege and Mrs. Marie Beaver, assistants to Eli Dreylinger, manager, were on duty together at 7:30 when the first fire was discovered back stage, among some curtains, and quickly extinguished. The next, among torn papers under the orchestra pit, was put out before firemen could reach the theater. By this time Mrs. Rutlege and Mrs. Beaver were thoroughly on the alert and ready to catch the "fire-bug" with their own hands. This they tried to do when a man described by them as "tall and skinny and carrying a small black box" ran out of the ladies lounge after setting a third flame. Though the man broke away and escaped, they put out the fire, calmly reported to police, and "the show went on." Goldwyn Said Top Bidder For Willkie's "One World" (Continued from Page 1) percentage. M-G-M is said to be the next, high bidder, while 20th Century-Fox and Warner Bros, also have made offers. Sales have passed the 900,000 mark and are still going strong. Bill to Hold City Ticket Taxes to 1% Dies in Ala. (Continued from Page 1) ter a concerted attack on the proposal by a number of city officials. The state has a 2 per cent luxury tax on theater admissions and most cities in Alabama have additional tax for schools, besides the Federal tax of 10 per cent. STORKS Cleveland — Hank Howard, RKO publicity man, is the fathei^vef a new son. Memphis — Sebe Miller, booking manage) at Paramount, is the father of a baby girl, named .Susan Kay. reviews of new turns "Coney Island" with Betty Grable, George Montgomery 20th-Fox 96 Mins. LIVELY MUSICAL DONE IN LAVISH STYLE IS PACKED WITH MUSICAL NUMBERS; ACCEPTABLE POPULAR ENTERTAINMENT. This is Coney Island in name only. Any resemblance to the real thing is purely accidental. But, while the Coney Island flavor may not be there to any appreciable degree, the entertainment certainly is there — and in big gobs. Set in 1905 against an allegedly Coney Island background, the musical is lively stuff telling a lusty story of men and maids caught up in the madness of the amusement resort. Developments are fast and interesting, if not exactly original, in this account of the romantic and business rivalry between two first-class slickers, played by George Montgomery and Cesar Romero in cbvious fashion. The story a routine affair, has been given second place to the musical content of the film, which is virtually a succession of songs and production numbers, some of them staged with a lavishness and a regard for eye-appeal that are impressive although much too modern for the times in which the story is laid. The picture is a dazzling show in which Technicolor has been put to wise use as a boxoffice adjunct. The film keeps Betty Grable constantly to the fore — a fact which bolsters the eye appeal of the production considerably. The gal is given plenty to do — and does it with the tastes of the male customers constantly in mind. Generous exhibition of the lady's physical charms will help the lads to forget that her singing hardly matches her God-given gifts. The story, confected by George Seaton without undue mental strain, has Montgomery and Romero in a constant battle of wits. When they're not trying to outsmart each other for financial gain they're vying for the favor of Miss Grable, an entertainer at the fancy gay spot operated by Romero. Montgomery cuts himself in for 50 per cent of the take via trickery. He attempts to open a rival joint with Miss Grable as the big attraction, but at the end of the film both men are partners again. At the finale Montgomery has the gal after almost losing her in a series of misunderstandings. Leo Robin and the late Ralph Rainger wrote four tunes for the film — "Take it from There," "Beautiful Coney Island," "Miss Lulu from Louisville," "There's Danger in a Dance." These are augmented by revival of a number of old-timers. The William Perlberg production has peppy direction by Walter Lang, well-staged dance routines by Hermes Pan, excellent photography by Ernest Palmer and worthy art direction by Richard Day and Joseph C. Wright. Miss Grable, Montgomery and Romero get their strongest assistance from Charles Winninger and Phil Silvers, who carry away the acting honors with ease in the film's chief comedy assignments. Prominent among the other players are Matt Briggs, Paul Hurst, Frank Orth. CAST: Betty Grable, George Montgomery, Cesar Romero, Charles Winninger, Phil Silvers, Matt Briggs, Paul Hurst, Frank Orth, Phyllis Kennedy, Carmen D'Antonio, Hal K. Dawson, Andrew Tombes, Ruth Gillette, 'Jitterbugs' with Laurel anl Hardy 20rh-Fox 74 Mins. LESS OF LAUREL-HARDY ROUTINE MAKES THIS ONE OF THEIR BEST COMEDIES IN A LONG TIME. Those involved in the making of "Jitterbugs" exercised commendable wisdom in preventing the Laurel and Hardy duo from hogging the running time. For once the comics aren't the whole show. The innovation has been all to the good. It has made their latest contribution to the cause of fun their best in a long time. By reducing their presence on the screen and forcing them to use a certain amount of restraint the film has extended its appeal beyond the ranks of the Laurel-Hardy fans. This time the comedians are cast as a two-piece jive band on the roam. They become innocently involved with a gyp artist (Bob Bailey) who takes advantage of their crowd-gathering ability to sell phony pills that are supposed to turn water into gasoline. The finer side of Bailey is appealed to when he meets Vivian Blaine, whose mother has been swindled out of $10,000. With the assistance of Laurel and Hardy he sets out to locate the swindlers and recover the money via the same means used by them to get it. When the swindlers discover they've been tricked they hold the comedians prisoners but fail in their efforts to regain the dough. After a lot of funny complications Laurel and Hardy escape in time to witness the re-establishment of amorous relations between Bailey and Miss Blaine, who suspected the boy friend of skipping with the recovered money. Sol M. Wurtzel has delivered entertainment out of all proportion to the small budget. Mai St. Cair has directed capably from a script by Scott Darling, who has come up with some corking comedy situations. Cut into the story are three musical numbers — "The Moon Kissed the Mississippi," "If the Shoe Fits You, Wear It," and "I've Gotta See for Myself." All are by Charles Newman and Lew Pollack. Laurel and Hardy show to better advantage than they have in ages. Miss Blaine and Bailey handle their roles nicely. Douglas Fowley, Noel Madison, Lee Patrick and Robert Emmett Keane collaborate well as the villains. CAST: Stan Laurel, Oliver Hardy, Vivian Blaine, Bob Bailey, Douglas Fowley, Noel Madison, Lee Patrick, Robert Emmett Keane, Charles Halton. CREDITS: Producer, Sol M. Wurtzel; Director, Mai St. Clair; Screenplay, Scott Darling; Songs, Charles Newman, Lew Pollack; Dance Director, Geneva Sawyer; Cameraman, Lucien Andriot; Art Directors, James Basevi, Chester Gore; Film Editor, Norman Colbert; Special Effects, Fred Sersen. DIRECTION, Good. PHOTOGRAPHY, Good. Bert Hanlon, Harry Seymour, Ruth Clifford, Byron Foulger, Matt McHugh, George Lloyd. CREDITS: Producer, William Perlberg; Director, Walter Lang; Screenplay, George Seaton; Cameraman, Ernest Palmer; Songs, Leo Robin, Ralph Rainger; Dance Director, Hermes Pan; Musical Director, Alfred Newman; Art Directors, Richard Day, Joseph C. Wright; Film Editor, Robert Simpson. DIRECTION, All Right. PHOTOGRAPHY, Fine. Pleasure Driving Ban Cuts Boston Bii 30% (Continued from Page 1) after the order went into effect a: the week-end. Theaters throughou the downtown section felt the blov and it became evident that not al of the patrons have been coming oi subways and elevated cars for ther* was a drop in every downtown theater while some of the suburbai managers might well have rem' " at home listening to the rari ,s< sharp was the drop in these houses "We depend upon the so-called car riage trade," said the operator o: one of the largest of the suburbar theaters and, "without the use oi some gasoline and without the righi) to use cars we are frankly licked." One exhibitor from Maine sai<n| that his theater in a city of 4,50( depends entirely for its profits upor the week-end business brought ir from the surrounding country and that with this dissipated there is nc chance for his being able to continue through the Summer season. "Bombardier" Breaks Records in Premieres Over the week-end, RKO's "Bom bardier" broke the house record for an opening day at Albuquerque by 30 per cent and set new records at the Paramount, Austin; Majestic, Dallas; Plaza, El Paso; Worth, Fort Worth; Martini, Galveston; Majestic, Houston, and Majestic, San Antonio in premiere engagements in some 50 Southwest cities, according to the company's incoming reports. IN NEW POSTS WILLIAM PIERCE, assistant to Irving iBriskin, Columbia. WARREN WARDWELL, manager, Ionia and Center Theaters, Ionia, Mich. ROY WILLIAMS, managr, Grand and Ritz The atr, Winter Haven, Fla. WILLIAM T. DUGGAN, manager, Athens and Dreka Theater, Deland, Fla. JAMES 'DARBY, manager, Paramount Theater, New Haven. HAROLD THOMAS, manager, Norwalk Theater, Norwalk, Conn. LARRY ASTRiNO, assistant manager, Howard Theaters, New Haven. P^HIL SASLAU, acting manager, Rivoli, West Haven, Conn. GEORGE HARVEY, manager, Carde Theater, New London, Conn. JOHN McCREADY, assistant manager, Garde Theater, New London, Conn. MERRICK LYONS, manager, Palace, South Nor walk, Conn. FRED RAIMO, manager, Rialto, South Norwalk/ Conn. WILLIAM BROWNSTEIN, assistant manager, Loew's Poli, Springfield, Mass. EARL M. CRAWFORD, assistant manager, RKO Albee, Providence, R. I. HARRY SANGER, salesman, PRC, Philadelphia. J. V. iLAMO'RTE, manager, Rockland Theater, Philadelphia. WILLARD C. JOHNSON, manager, Grand and Clobe Theaters, Vineland, N. J. GUS HARTMAN, manager, Princess,, Camden, N. ). JIM KEEFE, publiciry, 20th-Fox, Cleveland \, X 5 DAN Hl+rT M HZ V CI cl d is