The Film Daily (1945)

^ MILY Wednesday, September 5, 1945 Week-End Labor Day Biz at 1941 Level i (Continued from Page 1) many houses, indie as well as circuit, reported new records. In Chicago in particular, new highs were chronicled. "Over 21" Very Big At Radio City Music Hall, business with "Over 21" was described as "very big" with attendance rocketing to more than 136,000 from Thursday morning through Monday night, with a strong percentage of the aggregate garnered on the holiday. The Roxy clarioned that it had shattered every Labor Day week-end record with revenue hitting the sensational figure of $98,600 from Thursday through Monday, with the house scheduling extra shows each day in order to take care of the crowds. This five-day "take" is declared to be 20 per cent over and above any previous Labor Day week in the theater's history. Roxy officials said that they had never experienced anything like it, and predicted that business would hit $130,000 by tonight, which marks first full week of the engagement of "State Fair." Business at the Paramount was also big, particularly on Sunday and Monday, for the show headed by the potent gross grabber, "Incendiary Blonde," Paramount's One Third of a Century anniversary attraction. Capacity at Capitol The Capitol played to solid capacity with "Anchors Aweigh," the film's seventh week at that stand, and the management described attendance as "terrific." It was much the same story at the other Great White Way outlets, the Astor with "Wonder Man," the Rivoli with "Love Letters," the Palace with "Along Came Jones," the Strand with "Pride of the Marines," the Hollywood with "Rhapsody in Blue," the Criterion with "Uncle Harry." The other houses in the area likewise clocked sharp returns. There was another reason for managerial satisfaction, — the fact that business continued stronger than usual yesterday at virtually all Great White Way theaters. "Momentum," "weather," and "good product" were all advanced as the reasons. Mayer to Japan, China and India for the Red Cross (ConHnued from Page 1) and Japan to survey Red Cross activities in those countries and to study proposals for additional services for the Army of Occupation. Mayer also will supervise the production of a factual film illustrating Red Cross work in the Far East. This will be Mayer's third trip for the Red Cross; his first assignment was to the Hawaiians, and later he went to Europe. Prior to assuming his present position, he served as civilian advisor to the Secretary of War and Assistant to the WAC's Coordinator. ^ REVIEW Of THE DEUI flimS i^. "The True Glory" Columbia for OWI-WAC 84 Mins. ONE OF THE GREAT FILM DOCUMENTS TO COME OUT OF THE WAR; ACE PIC FOR ALL THEATERS. With awesome magnificence, "The True Glory," conservatively described by the War Department as the most important film to emerge from the war, comes to the nation's screens to give theatergoers a close-up, eye-witness account of the taking of the vaunted Fortress Europe by Allied arms from D-Day to V-E Day. It is easily the most spectacular and stirring motion picture yet fashioned from the conflict, and it will thrill to the marrow every onlooker. It is the story of the teamwork, all the way from the Supreme Headquarters AEF down to the lowliest dogface, gob and merchant seaman, which made possible the triumph over the Nazis, from the beaches of Normandie to the ultimate downfall. Gen. Dwight D. Eisenhower personally delivers the introduction, and later interjects remarks such as the well-merited praise which goes to the Allied navies for their role in effecting the German demise. The combat scenes are without equal in conveying the scope, intensity, and strategy of the campaign. But the outstanding attribute of the picture is the technique employed for full dramatic punch for throughout the story is told by the fighting men themselves. It is this technique, plus the scenes which stagger the imagination, which welds "The True Glory" into the war's ace film document. The theater patron will see each service branch precisely co-ordinated with all others, whether in advance or retreat. It is not all plunging forward, for the Battle of the Bulge and the dogged resistance to Nazi counter-attacks are presented just as history will record them. Much of the narration is studded with that priceless humor of the doughboy, humor, which, as much as any material weapon, brought victory. By means of "The True Glory," Americans now and in the future can have a ringside seat at the world-shaking events which the film portrays. The picture pcints up the terrible destruction of life and property, and the absolute necessity for war's abolition. It also cannot fail but to impress all who see it with the miracle of the motion picture as a recorder of history. Every showman worthy of the name will play "The True Glory." It is one of the great films of all time. CREDITS: Produced by the Joint Anglo-American F'lannng Committee; Directors, Capt. Carson Kanin, Carol Reed; Writers, S/Sgt. Cuy Trosper, Pvt. Harry Brown, Sgt. Saul Levitt, Lt. Col. Eric Maschwitz, Pvt. Peter Ustinov, Capt. Frank Harvey, Fit. Lt. Arthur Macrae; Photographed by British Army Film Unit, U. S. Army Pictorial Service, SHAEF Film and Photo Section, Field Photographic Branch ot U. S. Office of Strategic Services, The Royal Navy, The Royal Marines, The Royal Canadian Navy, The Royal Canadian Air Force, The USAAF, The Royal Air Force; Commentator, Robert Harris; Art Director, Lt. Roger Furse; Sound Recording, Capt. D. P. Fields, Sgt. C. Gardiner; Musical Score, WilKam Alwyn; Music Performed by the London Symphony Orchestra. Gutilla Re-opens the Attica Attica, O. — Jack Gutilla has reopened the Attica Theater, closed several years. "First Yank Into Tokyo" with Tom Neal, Barbara Hale RKO 82 Mins. STRONG AND VIVID MELODRAMA DEALS WITH A HOT AND TIMELY SUBJECT; EXPLOITATION GEM. A few hurried changes in which the atcmic bomb becomes the secret weapon around which the action revolves have made "First Yank Into Tokyo" as hot as a firecracker. The production places RKO Radio first under the wire with a feature that touches on the subject of death by atomic power. This "beat" gives tfie offering status as an exploitation picture. In selling this one the showman can let himself go with results that will repay him handsomely. "First Yank Into Tokyo" is a vivid and meaty melodrama that makes extremely strong entertainment of appeal more to men than women. J. Robert Bren has turned out an interesting production in which the element of suspense is an important consideration. Bren, who wrote the screenplay as well as produced it, has sacrificed plausibility for the sake of excitement and entertainment. Gordon Douglas lends emphasis to this purpose with direction that moves the story along with no slackening of action. The plot deals with the efforts of an AAF major to contact an Army ordnance expert who is a prisoner of the Japs and obtain from him secret information having to do with the atomic bomb. To carry out his mission the hero, chosen for the task because of his knowledge of the Japanese people and their language, has to submit to plastic surgery that gives him the appearance of a son of 'Nippon. A note of pathos is struck by the fact he must go through life looking like a Jap. This means finis to his aspirations of finding happiness with the girl he loves. The story ends tragically for him. Tom Neal performs acceptably as the hero. Barbara Hale is the girl; Marc Cramer, the ordnance expert. CAST: Tom Neal, Barbara Hale, Marc Cramer, Richard loo, Keye Luke, Leonard Strong, Benson Fong, Clarence Lung, Keye Chang, Michael St. Angel. CREDITS: Executive Producer, Jack |. Cross; Producer, J. Robert Bren; Director, Cordon Douglas; Screenplay, J. Robert Bren; Based on story by ). Robert Bren; Gladys Atwater; Cameraman, Harry ). Wild; Musical Score, Leigh Harline; Musical Director, C. Bakaleinikoff; Special tifects, Vernon L. Walker; Art Directors, Albert S. iD'Agostino, Walter Keller; Set Decorators, Oarrell Silvera, Charles Nields; Film Editor, Philip Martin, Jr.; Sound, John L. Cass. DIRECTION, Good. PHOTOGRAPHY, Good. Beck in Partnership With Glass Associates Meyer P. Beck yesterday announced the signing of a partnership deal with George Glass Associates of Hollywood. Beck will immediately establish an Eastern office to handle publicity and exploitation at 729 Seventh Ave. Formerly with UA and Warners, Beck more recently has been Eastern manager for Russell Birdwell. ^ SHORTS ^ "Palestine Problem" (March of Time) 20th-Fox 16 mil Everyone's Problem — ^Play It! In the wake of V-J Day no mor« timely or poignant issue faces th< world than the quest for tolerance ii a bid toward reverential peace "Palestine Problem" poses a chal lenge to further world peace in i concise well-edited film document o; the Palestinian situation since 191' when Lord Allenby conquered thi Holy Land. The film, calling attention to th( White Paper, pleads for a revision o: British policy — co-incidental witl that portion of the new British La bor Party's platform supporting i Free Palestine. The subject builds interest in th Jew as an individual, deserving of national homeland, who has provei his capabilities in education, science health, and agriculture; and off en the city of Tel Aviv as a credit ti their prowess. Reception to this film should servi as a barometer of tolerance America; and, for its expert han dling, deserves widespread, maxi mum playing time. Necessarily careful exploitation should accom pany its presentation. Dave Lipton Out of Army; Will Resume at Columbia (Continued from Page I) sence from Columbia for 20 monthi Lipton was attached to the Arm Pictorial Service, Signal Corps, am for the past year served as Arm liaison with the WAC in handlini war films released through OWI an WAC. Francis S. Harmon, co-ordinate of the WAC, announced yesterda that Lipton will serve as public rela tions consultant to the WAC for th remainder of the organization's ex istence. In that work he will assis and advise with Maurice Bergmar chairman of the public relations di vision, and Walter T. Brown, asso ciate co-ordinator and public rela tions director of WAC. Lipton assisted in the exploitatio and exhibition of important OWI WAC war films, and also was a con tributing editor and columnist fo the Signal Corps Photographic Cen ter's newspaper, "Close Up." H prepared the first issue of the Signa Corps pamphlet, "Combat Photogra phy." Rosenberg in Coast Spot? West Coast Bureau of THE FILM BAIL Hollywood — ^Frank Rosenberg, wh! has been functioning as Columbia] ad-publicity head, is vacationing her and, according to reports, may get studio post. 1 I