The Film Daily (1943)

10 ft**-* * DAILY Thursday, March 25, 1943 :< .v Reviews of thc new fiuns :< :< Corregidor with Otto Kruger, Elissa Landi, Donald Woods PRC 73 Mins. (HOLLYWOOD PREVIEW) CORKING DRAMATIC TREATMENT OF THE SAGA OF CORREGIDOR CAN BE EXPLOITED INTO ACE MONEY MAKER. More than favorable acceptance is assured this PRC release which brings an upto-the-minute feel of the United States' attitude towards its enemies, and of the lessons learned from the episode of Corregidor. Fine portrayals by Otto Kruger, Elissa Landi and Donald Woods, as three doctors under the stress and strain of the constant attacks, and under their own emotional strain due to the crossed love-pattern of their own lives, adds much to the stark realism which is lensed. Supporting players are well defined in their characterizations under the skillful direction of William Nigh, who realistically unfolds the tale of the staunch fight of our Armed Forces embattled at Corregidor. Rick Vallin, Ian Keith, Frank Jenks, Ted Hecht and Charles Jordan are among the principals. The story, an original by Doris Malloy and Edgar Ulmer, who also are responsible for the screenplay, adds zest with its insight on the reactions of our Armed Forces to the broadcasts from the homeland making our home problems look silly in comparison to the stark realism portrayed. Production was supervised by Dixon R. Harwin and Edward Finney, both of whom are deserving of credit for their production chores. Leon Fromkess was in charge of production for PRC. Leo Erdody provided appropriate musical background. Ira Morgan is to be credited with some fine photography. In essence, then, this is a corking dramatic treatment of the saga of Corregidor which the alert showman can exploit into an ace money-maker. COST: Otto Kruger, Elissa Landi, Donald Woods, Frank Jenks, Rick Vallin, Wanda McKay, Ian Keith, Ted Hecht, Charles Jordan, Frank Jaquet, I. Stanford Jolley, John Grant, Ruby Dandridge, Forrest Taylor, Jack Rutherford and Eddie Hall. CREDITS: Producers, Dixon R. Harmin and Edward Finney; Director, William Nigh; Original Story and Screenplay, Doris Malloy and Edgar Ulmer Production Manager, Bartlett Carre; Leon Fromkess in charge of production for PRC; Photography, Ira H. Morgan; Film Editor, Charles Henkel, Jr.; Sound Engineer, Corson Jowett; Art Director, F. Paul Sylos; Settings, Glenn P. Thompson; Dialogue Director, M. E. Gibsone; Assistant Director, W. B. Eason; Musical Score, Leo Erdody; Musical Supervision, David Chudnow. DIRECTION, Very Good. PHOTOGRAPHY, Very Good. Industry Service Bureau Against Dollar Publicity Coast Bureau of THE FILM DAILY Hollywood— Members of Industry Service Bureau have reaffirmed their opposition to dollar publicity, agreeing to exert close watch with the idea of seeing that such releases are eliminated. At a meeting Tuesday the opinion was expressed that such publicity is without exception harmful to the industry. "At Dawn We Die" with John Clements, Greta Gynt Republic ~ 78 Mins. WORKINGS OF UNDERGROUND IN OCCUPIED FRENCH TOWN ARE DEPICTED WELL IN THIS DRAMATIC ENTERTAINMENT. The activities of the underground in an occupied river town in Northern France are depicted with considerable interest in this tight little drama from England. The suspense is fairly well sustained in the story of a young French patriot who is anxious to escape to England with plans of the Nazi submarine base at St. Nazaire. A parallel theme is the efforts of the Nazis to get their hands on the leader of the underground, who conducts a campaign of terror against the conqueror. John Clements plays the patriot who is aided by the underground to escape to England. Greta Gynt plays the mayor's daughter who accompanies him on his missipn at the cost of her father's life. Their close shave with tire Gestapo is a most gripping incident that adds to the strong effect of the film. Both players acquit themselves well, especially Miss Gynt, whose role requires her to be suspected of sympathy for the enemy before she is disclosed as the patriot that she is. There are some first-class performances by the other members of the cast, notably Godfrey Tearle, Hugh Sinclair, Judy Kelly, Yvonne Arnaud, Karel Stepanek, Bransby Williams and F. R. Wendhausen. The direction of George King is fast and exciting. The screenplay of Anatole de Grunwald and the shooting script of Katherine Strueby, stemming from an original by Dorothy Hope, contain some excellent material. Produced by S. W. Smith under Executive Producer John Stafford, the film has effective physical properties, the value of which has be&n enhanced by the camera work of Otto Heller. CAST: John Clements, Godfrey Tearle, Hugh Sinclair, Greta Gynt, Judy Kelly, Yvonne Arnaud, Karel Stepanek, Bransby Williams, F. R. Wendhausen, Allan Jeayes, Gabrielle Brune, Margaret Yarde, David Keir, Anthony Holies, Olaf Olsen, D. J. Williams, John Salew, Walter Gotell, Victor Beaumont. Brefni O'Rorke, Gibb McLaughlin, Cot d'Ordan, Walter Hertner, Herbert Lorn, Townsend Whitling. CREDITS: Executive Producer, John Stafford; Producer, S. W. Smith; Director, George King; Screenplay, Anatole de Grunwald; Shooting Script, Katherine Strueby; Based on story by Dorothy Hope; Musical Score, Nicholas Brodszky; Musical Director, Muir Mathieson; Film Editors, Terence Fisher, Winifred Cooper; Cameraman, Otto Heller; Art Director, Norman Arnold; Special Effects, Henry Harris, George E. Blackwell. DIRECTION, Good. PHOTOGRAPHY Good. Willkie Won't Arbitrate Detroit— Wendell L. Willkie, chairman of the 20th-Fox board, has turned down the request of the TJtiliV™nY°r,kers 0l'ganizing Committee • ,' , ,at e serve as arbitrator m the labor dispute with the Consumers Power Co., of which he was once board chairman. He said that his personal acquaintance with many of the company's personnel disqualified him. "The Purple V" with John Archer, Mary McLeod Republic 58 Mins. WAR MELODRAMA IS COMPACT LITTLE FILM DIRECTED WITH PLENTY OF BITE AND ACTION. The film-goer who is willing to overlook the preposterous nature of the story will not have a hard time being entertained by the train of events in "The Purple V," which packs a lot of material into its limited footage. The sequences have been developed with plenty of punch and excitement. The tale presents John Archer as an American serving with the RAF who is forced down in Germany after shooting down a Nazi plane. Dressed in the uniform of the dead German pilot, he obtains refuge at the home of the professor under whom he studied in Germany. It is imperative that the American get to England with a message taken from a German officer hurt in the crash of the German plane. The message, addressed to Hitler, contains the information that Rommel is in a bad way and is in serious need of reinforcements. The professor (Fritz Kortner). aided by his daughter (Mary McLeod) and his crippled son (Rex Williams), provide Archer with the means of carrying out his mission. Being bitterly opposed to Nazism, they are willing to risk their lives to get Archer to safety. Two of them, Kortner and W Iliams, do pay with their lives for their activities in Archer's behalf. The film winds up with the American and the girl, with whom he is in love, winging their way to England after making off with a Nazi plane after a terrific battle with the airport guard. Sincerity marks most of the acting. The Drincipal roles are well taken by Archer, Miss McLeod, Kortner and Williams. George Sherman's direction keeps ihe film bubbling with action. He also is down as associate producer of the Bertram Millhauser-Curt Siodmak screenplay, based on a story by Robert R. Mill. CAST: John Archer, Mary McLeod, Fritz Kortner, Rex Williams, Kurt Katch. Walter Sande, William Vaughn, Peter Lawford, Kurt Kreuger, Eva Hyde, Irene Seidner. ' CREDITS: Associate Producer, George Sherman; Director, George Sherman; Screenplay, Bertram Millhauser, Curt SiodmakAdaptation, Bertram Millhauser; Based on story by Robert R. Mill; Cameraman Ernest Miller; Film Editor, Charles Craff Art Director;, Russell Kimball; Musical Director, Morton Scott DIRECTION, All' Right. PHOTOGRAPHY Good. "U.S.S. The Sullivans'" Title of Pic on 5 Brothers West Coast Bureau of THE FILM DAILY Hollywood — "U.S.S. 'The Sulliyans 'will be the title of the picture planned by Sam Jaffe, Jules bcherme and Lloyd Bacon. The title was inspired by news from Washington that the five Sullivan brothers, lost during a naval engagement, would be honored by having a destroyer named after them. Dickinson Buys Roanoke tw"Sa£ ■£?** Mo.— The Roanoke theater building has been purchased by Dickinson, Inc., which operates "Our Lady of Paris" Hirliman FteVida Productions 55 Mins. HISTORY OF NOTRE DAME CATHEDRAL TOLD IN A PRODUCTION OF GREAT SPIRITUAL AND EDUCATIONAL VALUE "Our Lady of Paris," a George A. Hi^ man production, is the story of that monu ment to the spirit of France, the Cathedral of Notre Dame. The film, a great inspirational subject, represents ideal entertainment for those who appreciate instructive pictures and those who welcome a brief withdrawal from things of the flesh. In communities where a heavy Catholic population is centered the film's appeal will prove irresistible. The film offers a spiritual oasis at which persons who have been dulled by too much contact with artificial every-day diversion can refresh their minds and spirits. The effect of the film is definitely elevating j and the hope that it expresses in the abilty of France to rise again is of tremendous value at the moment. The picture gains timeliness through the : commentary of the Rev. Robert W. Gardner n which the cathedral is pictured as a symbol of the French will to be free, of the deathlessness of France. The com mentary, rich in dramatic undertones traces the history of the Cathedral and re lates the tide of events that have beat about the famous structure in the six centuries of its existence. As the story of the sane tuary unfolds one cannot help but think: '^Notre Dame — this is France." Father Gardner's narration, packed with interes' is delivered in effective fashion. "Our Lady of Paris" is an amazingly comprehensive tour of Notre Dame, overlooking no detail of the great church. It completely satisfies one's curiosity about the cathedral, no matter how vast that curiosity may have been. Set it down as the most thorough job of its kind. It is; made clear that the film was projected so that posterity might have a record of Notre Dame in the event the cathedral were destroyed in the war. Gare Schwartz camera work needs a word of praise. What a patient job! The Notre Dame organ sup plies the musical accompaniment. Irvin Shapiro is listed as associate producer. Exhib. Conclave to Mull New N. C. License System Charlotte, N. C. — Application of the new state license system, which will impose fees of from $125 to $2,500 per theater, depending on the size of the town and the housed seating capacity, will be the primary concern of the one-day convention of the Theater Owners of North and South Carolina here Monday. The new North Carolina tax is considered by most exhibitors and owners as preferable to the one it succeeds, as the three percent tax imposed on theaters at the time the state-wide sales tax was enacted 10 years ago, was not passed on to the consumer but absorbed by the operators. Session Monday will also discuss the problems of buying under the emergency curtailment of pictures produced, and the method of handling the OWI's increased number of Government pictures.