The Film Daily (1943)

10 rm-. DAILY Wednesday, November 24, 194! :< .v Reviews of the new turns $■ :< "Jack London" with Michael O'Shea, Susan Hayward UA 94 Mins. BRONSTON'S FIRST UA EFFORT IS FINE BIOGRAPHICAL FILM WITH EXCELLENT BOX OFFICE POSSIBILITIES. Samuel Bronston's first production for United Artists is a highly creditable screen version of the life of Jack London bristling with showmanly qualities. It places in the theaterman's hand a property of considerable box office value. Bronston could hardly have chosen a better subject than London, robust figure of American literature, for his United Artists bow-in. The imagination-stirring life that the writer led is the stuff guaranteed to command lively public attention. The showman's job of selling the attraction has been made easier by the fact that the film has been brought close to the events of the present by playing up London's views of the Japanese menace, based on his personal experiences. London in the picture is made to see the shape of things to come. This treatment of the subject gives point to the film, besides adding to the entertainment value of the offering. The screenplay of Ernest Pascal, as derived from Charmian London's "The Book of Jack Lrndon," makes much of the author's social consciousness. This contributes additionally to the film's timely note. To meet the requirements of film standards the London character has ben somewhat beautified. This, however, doesn't lessen the holding power of the picture, which was directed in fine manner by Alfred Santell. The picture takes London from the early days when he was trying to find himself to the height of his fame as a writer of life in the raw. Much time is devoted to his romance with Charmian — a romance that has its quota of moving moments. Because of the kaleidoscopic and eventful life that London lived, the picture could not have escaped being episodic. A lot of the London life has been crowded into the footage. The film is peopled with so many characters that many of them are necessarily sketchy. H~wever, the characters of London and Charmian are well realized. Michael O'Shea plays the author vividly and forcefully. Charmian is enacted charmingly by Susan Hayward. Other players to be noted are Osa Massen, Harry Davenport, Frank Craven, Louise Beavers. CAST: Michael O'Shea, Susan Hayward, Osa Massen, Harry Davenport, Frank Craven, Virgina Mayo, Ralph Morgan Louise Beavers, Jonathan Hale, Leonard Strong, Paul Hurst, Regis Toomey, Hobart Cavanaugh, Olin H?wlin, Albert Van Antwerp, Ernie Adams, John Kelly, Robert Homans, Morgan Conway, Edward Earle, Arthur Loft, Lumsden Hare, Brooks Benedict, Mei Lee Foo, Robert Katcher, Pierre Watkin, Paul Fung, Bruce Wong, Eddie Lee, John Fisher, Jack Roper, Sven Hugo Borg, Sid Dalbrork, Davison Clark, Harold Minjir, Roy Gordon, Torben Meyer, Charlene Newman, Edmund Cobb, Wallis Clark, Charles Miller, Richard Loo, Dick Curtis, Sarah Padden, Evelyn Finley, Rose Plummer, Charlie Lung. CREDITS: Producer, Samuel Bronston; "The Underdog" with Bobby Larson, Barton MacLane PRC 65 Mins. TALE OF KID AND HIS DOG HAS BEEN MADE INTO HIGHLY SENTIMENTAL FILM: IDEAL FOR FAMILY TRADE. This story of a boy and his dog is sentimental with a vengeance. The yarn has been told in a manner that will make "The Underdog" appeal chiefly to youngsters and lovers of canine flesh. The entertainment has a certain amount of warmth and dramatic value. Dealing heavily in human interest, the film should prove a most satisfactory attraction for the family trade. The boy in the case is Bobby Larson. The dog is called Hobo. The youngster is taunted by the other children because he has no one in the country's service. In the hope of quieting them he offers Hobo to the WAGS. When the dog fails in several crucial tests he is returned to his young master. The boy is consoled when the dog does his bit for his country by putting to flight a group of saboteurs plotting to wreck the defense plant for which Larson's father, Barton MacLane, works as a guard. To make the lad still happier MacLane joins the army. At the end the lad is able to face his young companions with pride. Young Larson plays sensitively. He makes many of his scenes real tear-jerkers. He and Hobo form an irresistible combination. MacLane does a fine job as the boy's father. Others whose work calls for a kind word are Jan Wiley, Charlotte Wynters and Conrad Binyon. William Nigh's sympathetic direction contributes much to making the production a nice attraction for the family trade. The only fault to be found with his work is his tendency to go overboard with the sentimental stuff. Max Alexander produced the film well. Ben Lithman has some good touches in his screenplay, which is based on a yarn by Lawrence E. Taylor and Malvin Wald. CAST: Barton MacLane, Bobby Larson, Jan Wiley, Charlotte Wynters, Conrad Binyon, Elizabeth Valentine, Kenneth Harlan, George Anderson, Hobo (dog). CREDITS: Producer, Max Alexander; Director, William Nigh; Screenplay, Ben Lithman; Based on story by Lawrence E. Taylor, Malvin Wald; Film Editor, Charles Henkel, Jr.; Set Decorator, Harry Rief; Cameraman, Robert Cline; Sound, Corson W. Jowett; Musical Director, Lee Zahler. DIRECTION, Okay. PHOTOGRAPHY, Okay. To Vote Stricter Curfew North Platte, Neb. — The city councilhas voted unanimously to abolish the present curfew ordinance affecting this city's "small fry" and to substitute a more stringent measure to combat juvenile delinquency. Director, Alfred Santell; Screenplay, Ernest Pascal; Based on "The Book of Jack Londcn," by Charmian London; Cameraman, John W. Boyle; Art Director, Bernard Herzbrun; Musical Director, Fred Rich; Film Editor, William Ziegler; Special Effects, Harry Redmond; Set Decorations, Earl Wooden. DIRECTION, Good. PHOTOGRAPHY, Good. "Death Valley Manhunt" with Wild Bill Elliott, George "Gabby" Hayes Republic 55 Mins. THIS RATES AS STANDARD WESTERN CONTAINING SUFFICIENT SLAM-BANG STUFF FOR THE KIDS. While this western is not made up strictly of the sort of stuff customarily associated with horse operas, it still manages to pack excitement and action aplenty. The kids are not likely to be disappointed by what goes on in "Death Valley Manhunt." Once more Wild Bill Elliott plays a marshal, entrusted with the job of enforcing law and order and seeing that justice is done. All the fuss is over the attempt of a big oil company to seize a digging behnging to an independent operator. Elliott seeks to settle the matter. While he is so engaged, a villain connected with the oil company starts giving out with a lot of dirty stuff. The guy goes to such extremes that he almost destroys the company. But thanks to Elliott, the story is brought to a satisfactory conclusion. Elliott discharges his assignment with a vigor that will please the kids considerably. He gets plenty of help from George "Gabby" Hayes in doing his duty. Hayes supplies many humorous moments that will push the film along. Others who figure prominently in the doings are Anne Jeffreys, Weldon Heyburn, Herbert Heyes, Davison Clark, Pierce Lyden and one or two others. John English directed at a swift pace from a screenplay by Norman S. Hall and Anthony Coldeway which was based on a stcry by Fred Myton and Eddy White, the latter of whom acted as associate producer, Ernest Miller shot the footage in nice fashion. CAST: Wild Bill Elliott, George "Gabby" Hayes, Anne Jeffreys, Weldon Heyburn, Herbert Heyes, Davison Clark, Pierce Lyden, Charles Murray, Jr., Jack Kirk, Eddie Phillips. CREDITS: Associate Producer, Eddy White; Director, John English; Screenplay, Norman S. Hall, Anthony Coldeway; Based on story by Fred Myton, Eddy White; Cameraman, Ernest Miller; Art Director, Russell Kimball; Film Editor, Harry Keller; Sound, Howard Wilson; Set Decorator, Otto Siegel; Musical Score, Mort Glickman. DIRECTION, Okay. PHOTOGRAPHY, Good. Charles Ray, Silent Pix Star, Dies in Hollywood (Continued from Page 1) the last five weeks, Ray had been confined to Cedars of Lebanon Hospital suffering from a malignant throat infection. A sister, Beverly, survives. A native of Jacksonville, 111., Ray broke into pix as an actor at $30 a week and climbed to a weekly pay check of $11,000. With savings of about $500,000, he backed his own producing venture. A single pic, "The Courtship of Miles Standish" v/as a financial flop and Ray never recovered. "Day After Day" Artkino 62 Mins LATEST WAR DOCUMENTARY FROI^ SOVIET IS VIVID STUFF, ALTHOUGI NOT QUITE SO GOOD AS PREDECESSORS Out of Russia has come another filn record of the conflict between the Sovie and Germany. While "Day After Day" i not the best of the Russian war docu mentaries that have been exhibited in thi country, it still has enough excellent ma terial to make it a worthy picture of it kind. Highly realistic though much of it material is, the picture is not the harrowini exhibit that "The City That Stopped Hitle — Heroic Stalingrad" proved itself, for ex ample. Even so, this newest Russian docu mentary is not something that audience generally will view with relish, being , savage and distressing picture of war ti the death. There are a number of scene that take the audience right into the jaw of death. "Day After Day" may be able to advanci its interests in this countrv by drawing upoi those who saw that fine March of Time re lease, "One Day of War," the material fo which was derived from the film under con sideration. The feature has not the ad vantage of the superb editing that con tributed so much toward making "One Da' of War" the effective thing that it was More careful editing would have madi i "Day After Day" a more potent subjec I than it is. The film pictures one day of war on thi I vast Russian front. The day was June 13 i 1942. On that day each of 160 camerameil from the Central Newsreel Studios ol Moscow recorded the events of the 2-1 hours on his sector of the Russian theatef of war. That the lensers discharged thei assignments well is attested by the fac that when the day was done some o them lay dead. Many of the shots in thi film, made in the very heat of battle, mak it easy to understand the heavy toll o cameramen. The picture was made under the directioi of 'Mikhail Slutzky. Daniel Pokrass com posed a good musical score. The Englisl commentary is by William S. Gailmor. Split Shift Dispute Going to Conciliation Detroit — Disagreement betweei the RKO Uptown Theater in the sub urb of Highland Pa:k, and the Inter national Union of Operating Engi neers, Local 327, is being referrei to the State Labor Conciliatioi Board. The union is opposing thi theater position that the enginee in question work a "split shift." The union contends that such : split is unfair, and that it must b avoided, either by adding an extr; man, or by altering the system o: handling the heating system, si that one man can take care of thi woik in one shift. In some cases according to union officials, theater; are employing one man for five days and another man for the two remain ing days. The union operates on i 40 hour week. This is the onl; split shift case in local theaters.