The Film Daily (1943)

3W Wednesday, September 22, 1943 DAILY ;<■ .V R€VI€UIS OF THE DCUJ FILfllS t* -V "The Black Hills Express" with Don Barry, Wally Vernon Republic 55 Mins. PLENTY OF FURIOUS DOINGS IN THIS WESTERN TO PLEASE KIDS; VERNON STEALS SHOW. The comedy in "The Black Hills Express" takes precedence over the action. For this the credit goes to Wally Vernon, who emerges as a swell comedian in this latest Don Barry western. Vernon proves a tremendous asset to the film. In fact he takes the play away from the hero without once resorting to slapstick to get his laughs. Republic should do more with him, for the fellow has a fine comedy vein. This western is constructed along standard lines. With no stint of action and with loads of excitement it tells the story of Barry's effort to halt a wave of robberies that threatens to put a stage line out of business. Barry is spurred by the fact that he has been accused of pulling the jobs. Hired by the stage line because he is a terror with a gun, the fellow comes through with a bang. The mayor and a marshal are exposed as the heads of the gang. Their idea was to drive the line out of business so they could take it over for peanuts. Barry works hard in the films to please his fans. He stages a couple of fights that are honies. Vernon's role is that of a timid deputy who proves in the pinches he's made of the right stuff. The villains are played by George Lewis, William Halligan and Hooper Atchley. There's one gal in the cast — Ariel Heath. It's the murder of her father that is at the bottom of Barry's decision to lend himself to the destruction of the villains. John English directed well from a screenplay by Norman Hall and Fred Myton based on a yarn by the latter. Eddy White is listed as associate producer. CAST: Don Barry, Wallv Vernon, Ariel Heath, George Lewis, William Halligan, Hooper Atchley, Charles Miller, Pierce Lyden, Jack Rockwell, Bob Kortman, Al Taylor. CREDITS: Associate Producer, Eddy White; Director, John English; Screenplay, Norman Hall, Fred Myton; Based on story by Fred Myton; Art Director, Russell Kimball; Sound, Ed Borschell; Film Editor, Harry Keller; Cameraman, Ernest Miller; Set Decorator, Charles Thompson. DIRECTION, Good. PHOTOGRAPHY, Good. Metro Coin Will Back Wilson's Stage Plays I Continued from Page 1) company. No scripts have been lined up yet for production by Wilson, it was said yesterday. Wilson recently returned from the Coast after a Summer spent at the M-G-M studios, where details of the agreement were worked out. "Whistling" Tradeshows Set M-G-M will tradeshow "Whistling in Brooklyn," starting Sept. 28 in Albany, Boston, New Haven, New York and Philadelphia. On Sept. 30 it will be shown in Detroit, and in all other exchange centers on Oct. 1. "The Great Mr. Handel" with Wilfrid Lawson, Elizabeth Allan Midfilm 89 Mins. BRITISH FILM WILL HAVE TO GET BY ON STRENGTH OF SETTINGS, COLOR AND MUSICAL CONTENT. Only those with a serious approach to films will respond more than half-heartedly to what "The Great Mr. Handel" places on display. The picture, British-made, hasn't much to offer the general public in this country beyond color treatment, settings and musical content so notable as to arouse pity that matching contributions were not forthcoming from other departments. The film is the sort of thing on which arty theaters thrive. The story of Handel should have inspired a finer effort than this. While the picture is set down as a biography of the great composer, it actually covers only a few years in the man's life. It picks up Handel in England when his fortunes were at a low ebb because of his having lost favor with court and public. In slow, deliberate and heavy-handed manner the picture depicts the composer's battle with his enemies and his subsequent return to grace following the composition of his oratorio, "The Messiah," a stirring rendition of which brings the film to a close. The picture, based on a screenplay by L. Du Garde Peach, is peculiarly undramatic, while the reasons for the bitter animosity toward Handel aren't made any too convincing. To make matters worse, some of the dialogue is unintelligible. Faulty recording deserves some of the blame for this. Technicolor was never put to finer use than in "The Great Mr. Handel.1' It has made the film a visual delight. Atmospherically, too, the film excels. Working from I8th-Century prints, Sidney Gausden has supplied settings impressive in their authenticity. The film should prove a treat for lovers of fine music, being crowded with Handel compositions played superbly by the London Philharmonic Orchestra. Novelty is provided by a group of I8th-Century London street songs. Ernest Irving's musical direction is a distinct achievement. Wilfrid Lawson plays Handel in somewhat stodgy manner and very much in one key. Second in billing is Elizabeth Allan, who is quite decorative as an actress friend of Handel's. Hay Petrie lends a touch of comedy to the film as Handel's servant. Norman Walker's direction is static. CAST: Wilfrid Lawson, Elizabeth Allan, Malcolm Keen, Michael Shepley, Max Kirby, Hay Petrie, Morris Harvey, A. E. Matthews, Frederick Cooper. CREDITS: Production Chief, James B. Sloan; Director, Norman Walker; Scenario, Gerald Elliott; Screenplay, L. Du Garde Peach; Cameramen, Claude Friese Greene, Jack Cardiff; Settings, Sidney Gausden; Musical Director, Ernest Irving; Film Editor, Sam Simmons. DIRECTION, Fair. PHOTOGRAPHY, Fine. Allen House to Cottier Tacoma, Wash. — Clifford Cottier has taken over Nick Allen's Capitol. "Frontier Fury" with Charles Starrett I Columbia 55 Mins. WESTERN HAS ENOUGH VIOLENT ACTION TO GET BY WITH THE KIDS; MUSICAL INTERLUDES A HELP. "Frontier Fury" is a fair western with enough noise and physical set-tos to go over with the kids. The picture profits from a group of western tunes dished out by Jimmie Davis and His Singing Buckaroos. The yarn has Charles Starrett as an Indian agent who is relieved of his duties for preventing the theft of a shipment of gold. Starrett has to find the vidians in order to be restored to the service. He isn't fooled by the fact that the vidians disguise themselves as Indians. Starrett is doubly sure the villainy isn't an Indian job when he spots a star tattooed on the arm of one of the baddies. Thereafter he is guided by that star. As matters turn out the identifying mark proves to be his lucky star indeed. Starrett at the end has redeemed himself and again has his job of Indian agent. Starrett acquits himself well as the hero. Appearing with him are Arthur Hunnicutt, Roma Aldrich, Clancy Cooper, I. Stanford Jolley, Edmund Cobb, Bruce Bennett, Ted Mapes and others. Hunnicutt is good for a number of laughs. The screenplay was banged out by Betty Burbridge. William Berke has directed with lots of biff-bang. Jack Fier is down as producer. CAST: Charles Starrett, Arthur Hunnicutt, Roma Aldrich, Clancy Cooper, I. Stanford Jolley, Edmund Cobb, Bruce Bennett, Ted Mapes, Bill Wilkerson, Stanley Brown, Joel Friedkin, Jimmie Davis and His Singing Buckaroos. CREDITS: Producer, Jack Fier; Director, Betty Burbridge; Screenplay, Betty Burbridge; Film Editor, Jerome Thorns; Art Director, Lionel Banks; Cameraman, Benjamin Kline. DIRECTION, All Right. PHOTOGRAPHY, Good. Lusty and Phillips Head New Universal Depts. {Continued from Page l) for Columbia and RKO Radio, who recently was honorably discharged from the U. S. Marines. He also was an advertising' and publicity executive for Publix theaters. Phil Phillips, for 17 years advertising manager for Fox West Coast theaters in the Northern California area, will head the new department for the creation of picture titles, working under the direction of John Joseph. Since the beginning of President Nate Blumberg's regime, Universal has emphasized the importance of titles and Phillips will contact producers, sales department and even exhibitors in the development of future Universal titles. 'Jeannie' Reopen Syracuse Brighton? Syracuse— Brighton, South Side de luxe nabe, is expected to reopen shortly with "Effie" Bettigole operating on a four-day basis. with Barbara Mullen, Michael Redgrave English Films, Inc. 85 Mins. MODEST LITTLE FILM FROM ENGLAND IS ATTRACTIVE CINDERELLA STORY; NAME ROLE SUPERBLY PLAYED. f~ The British have turned to the d. vella theme for this romantic little item, which was produced entertainingly by Marcel Hellman at the D & P Studios, Ltd., at Denham, England. There is much to be said for this modest and simple film, as perfect an escape from the harsh realities of the moment as one could hope for. The picture has its touchj ing moments as well as its laughs. The I story is believable despite all its Cinderella trappings and has been told earnestly and expertly. And, last but by no means least, the picture offers in the leading role a young woman named Barbara Mullen, who is a revelation. The women should get considerable enjoyment out of the picture, which tells the story of a wee Scottish slavey who has her dream of seeing the Danube come true when her father dies leaving her some 300 pounds. You see, in her mind the Danube is a symbol of gayety and romance. In Vienna two men come into her life, a thoroughly decent fellow from Yorkshire and a fortune-hunting Count. The Yorkshireman is left without competition when the Count withdraws upon the discovery that the girl isn't the heiress he thought. Miss Mullen gives a charming and sensitive performance as the Scottish miss. The girl is like a breath of fresh air, possessing an elfin quality that captures your heart. What she lacks in glamor she makes up in inner loveliness. Michael Redgrave and Albert Lieven are capital as the Yorkshireman and the Count, respectively. Among the other prominent players are Wilfred Lawson and Kay Hammond. Anatole de Grunwald and Roland Pertwee derived their fine screenplay from a play by Aimee Stuart. Harold French has directed with understanding. The film has a score performed by the London Symphony Orchestra. CAST: Barbara Mullen, Michael Redgrave, Albert Lieven, Wilfred Lawson, Kay Hammond, Joan Kemp-Welch, Rachel Kempson, Percy Walsh, Philip Godfrey, Edward Chapman, Helen Bayley, Katie Johnson, Marjorie Fielding, Googie Withers, Wally Patch, Frank Cellier, Joss Ambler, Meinhart Maur, Lynn Evans, Ann Shelton, Esme Percy, Ian Fleming. CREDITS: Producer, Marcel Hellman; Director, Harold French; Screenplay, Anatole de Grunwald, Roland Pertwee; Based on play by Aimee Stuart; Cameraman, Bernard Knowles; Musical Score, Mischa Spoliansky; Musical Director, Percy McKay; Film Editor, Edward B. Jarvis. DIRECTION, Good. PHOTOGRAPHY, Okay. RKO Closes Calif. Circuit Deal The McNeill-Naiffy circuit of Northern California has closed a deal for RKO's current season product. Deal was set during the recent trip of Robert Mochrie, general sales manager, to the Coast and was participated in by Walter Branson, J. H. Maclntyre and N. P. Jacobs, the latter San Francisco branch manager.