The Film Daily (1948)

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Wednesday, January 21, 19< * f ILfll DfllLV ReVIEUIS Of DEW f€ATUR€S -Vl 'Trfll Wa^c?^0 777" "Cn«««t,m«" "Ci; TVA-.i~« » »n.i -n. , « . 1 'Call Northside 777 with James Stewart, Richard Conte, Lee J. Cobb, Helen Walker 20th-Fox 111 Mins. SHOULD CLIMB FAST TO TOP MONEY; INTENSELY HUMAN, HIGH PROOF DRAMA; HAS NAMES; DARING TREATMENT OF TRUE-TO-LIFE STORY IN DOCUMENTARY TECHNIQUE. Like "Boomerang" this is a true story. Like that film it is handled in the realistic, vivid documentary style. And also like previous jobs from the hand of Henry Hathaway this one should climb high among the top money makers of the next month. It adds Hathaway's list to a full quartet of sound dramatic hits. Wherever possible the actual locale of the story, in and around Chicago was used. This accounts for penetrating credibility that is gotten over with a minimum of acting because the players hew to a line of understatement for fuller effect. A fair number of unknowns have supporting roles. This further emphasizes reality of the yarn. The screenplay is tautly constructed. It is a story that alternately, by virtue of ingredients, attains climaxes and then slips to disillusion, to eventually evolve triumphant. But not until it lays heavy tension on the element of suspense. Contrivance of the plot by Jerome Cady and Jay Dratler indicates they used the real newspaper articles by James P. McGuire, the Chicago newspaperman, whose follow up of a sketchy lead in the classified ad columns of the "Times," led to the ultimate release of "Frank Wiecek" from the Illinois State Penitentiary. He had been convicted 11 years previous for the murder of a cop in a speakeasy. Handed a lead by Lee Cobb, his city editor, James Stewart finds the convicted man's mother, a scrubwoman, who had saved $5,000 for information that would clear her son. Stewart investigates the case, hesitates to believe his innocence. After a series of exploratory and quite lurid pieces, Stewart is about to give it all up but Richard Conte. the convicted man, sounds convincing. Stewart arranges a lie detector test and soon after applies himself with a good deal more sincerity than he evinced at the outset. He combs police files, newspaper morgues, contacts witnesses, obtains affidavits. Final culmination of his research shows results. It is a matter of a dateline that proves Conte's innocence and ultimate release. In real life the man who v/as wrongfully imprisoned received $24,000 after he was pardoned. The cinematic treatment probes to the ouick. It is intensely human, high proof drama. CAST: James Stewart, Richard Conte, Lee J. Cobb, Helen Walker, Betty Garde, Kasia Orzazewski, Joanne de Bergh, Howard Smith, Moroni Olsen, John Mclntire, Paul Harvey, J. M. Kerrigan, Samuel S. Hinds, George Tyne, Richard Bishop, Otto Waldis, Michael Chapin, John Bleifer, Addison Richards, Richard Rober, Eddie Dunn, Percy Helton, Charles Lane, Jane Crawley, E. G. Marshall, Lou Eckels. CREDITS: Producer, Otto Lang; Director, Henry Hathaway; Screenplay, Jerome Cady, Jay Dratler; Adaptation, Leonard Hoffman, Quentin Reynolds; Based on articles by James P. McGuire; Photography, Joe MacDonald; Art direction, Lyle Wheeler, Mark-Lee Kirk; Set decorations, Thomas Little, Walter M. Scott; Film editor, J. Watson Webb, Jr.; Special effects, Fred Sersen: Sound, W. D. Flick, Roger Heman. DIRECTION, Splendid. PHOTOGRAPHY, Fine. Show "The Bride" Feb. 27 M-G-M will tradeshow "The Bride Goes Wild" in all exchange centers on Feb. 27. Springtime with Carol Raye, Peter Graves Four Continents 80 Mins. GOOD BRITISH VARIATION OF FAMILIAR SHOW BUSINESS PLOT WITH SONGS, DANCE. Polished up anew, story basis of this British number is made to register effectively. It is a variant of the show business story replete with song, dance, romance and backstage theatrical life. Element of family also enters the picture and it all boils down to the effort of a father to prevent his daughter from entering into marriage with a descendant of a tribe that caused her mother anguish. Yarn is completely put forward. Carol Raye, who has been seen hereabouts, is an able delineator of song and dance. Essaying a dual role of mother and daughter she does it well. He has a good voice. Her numbers are properly romantic and light. She also renders "My Little Grey Home in the West." Seeking the anonymous donor of a brooch to a charity auction, Peter Graves meets Miss Raye and her father, Lawrence O'Madden. A budding romance develops until O'Madden learns of the brooch whereupon he sends Graves packing and tells his daughter all about it. The flashback reveals Graves' family owned the heirloom and it was always presented to a prospective bride. Miss Raye's mother was such. Her lover was something of a scoundrel. She married O'Madden on the rebound. After almost an hour of tracing past history it comes out that Graves is a rather decent sort and O Madden loses out in his endeavor to discourage his daughter. She runs to him and the regulation clinch concludes the proceedings. This one is good program fare with creditable production and general handling. Montgomery Tully directed. CAST: Carol Raye, Peter Graves, Lawrence O'Madden, Leni Lynn, Netta Westcott, David Home, Diana Calderwood, Alan Wheatley, Peter Penn, Lois Maxwell. CREDITS: Producer, Louis H. Jackson; Director, Montgomery Tully; Screenplay, Montgomery Tully, James Seymour; From an original story by Lore and Maurice Cowan; Sound, Harold V. King; Photography, Ernest Palmer; Art director, Wilfred Arnold; Dance director. Jack Billings; Produced at National Studios, Elstree. DIRECTION, Okay. PHOTOGRAPHY, Good. The Eternal Return "Slippy McGee' with Donald Barry, Dale Evans, Tom Brown with Jean Marais, RePubl,c 65 Mins. ! Jean Murat COMPACT PROGRAM NUMBER SHOULD Discina Int'l 101 Mil SATISFY GENERAL AUDIENCE ELEMENT. I FRENCH NUMBER SHOULD ATTRAC A compact, competently played program [ GOODLY PROPORTION OF FOREIGN. AF ber should find accept ' " "Paradine" Sales Policy To Be Set at Meetings (Continued from Page 1) F. Agnew, SRO president, announced yesterday. Agnew contemplates booking "Paradine" initially in 10 long-run engagements in key spots at advanced admissions. Currently the film is playing the Music Hall and in seven Los Angeles area theaters at advanced prices. Divisional meetings will be held at the Warwick Hotel, with Agnew presiding over sessions. Attending from the home office will be Milton S. Kusell, vice-president in charge of domestic and Canadian sales; Sidney Deneau, assistant general sales manager; Leonard Case, assistant treasurer, and Robert M. Gillham, Eastern advertising-publicity director. Also attending will be the following division managers: Henry Krurara, Southern; Sam Horowitz, Midwest, and J. E. Fontaine, Eastern. offering. Th ance by the general run of audiences that likes a moral reform tale from time to time. It is a smooth, albeit lower case production, that should have no trouble fitting in. After knocking off his first safe, Donald Barry heads for Middleton. His cohorts have been instructed to follow. He is injured saving a youngster. Tom Brown, local parish priest, takes him in and calls Dale Evans as nurse. Maude Eburne does not like the looks of things. Recovering, Barry gets on romantically with Miss Evans. Then his pals show up. Shortly after they buy a local garage the Middleton bank is robbed and what with one thing and another the finger points at Barry. But the money is returned. Barry goes off with Sheriff Dick Elliott to face the previous charge. Miss Evans will wait for him. Albert Kelley directed capably. CAST: Donald Barry, Dale Evans, Tom Brown, Harry V. Cheshire, James Seay, Murray Alper, Uick Elliott, Maude Eburne, Raymond Largay, Eddie Acuff, Michael Carr, George Nokes. CREDITS: Associate producer, Lou Brock; Director, Albert Kelley; Screenplay, Norman S Hall, Jerry Gruskin; Based on a novel by Maris Conway Oemler; Photography, John McBurnie Art director, James Sullivan; Musical director Mort Glickman; Film editor, Les Orlebeck Sound, Earl Crain, Sr.; Set decoration, John McCarthy, Jr., Charles Thompson. DIRECTION, Capable. PHOTOGRAPHY, Okay No "Arch" Roadshow But Will Have Advanced Prices (Continued from Page 1) Sears, UA president, announced yesterday. Decision to eschew a two-a-day policy was made in order to avoid limiting the daily audience capacity and thereby bring the picture to the greatest portion of the waiting American movie-going public as quickly as possible. Results of test and polls conducted by Audience Research indicate that "Arch" has the highest "wantto-see" in audience potential of any film ever made in Hollywood, UA executives declared. $800,000 Trust Suit by Chi. Operators vs. Distribs. (Continued from Page 1) Root. Latter case is set for Judge Michael Igoe's Court and Rivoli action for Judge Phillip Sullivan's Court. Defendants include B & K, Essaness Circuit, Loew's, Paramount, RKO, 20th-Fox, Columbia, Warners, Universal, UA, Republic and Eagle Lion exchanges. Defendants have 20 days to answer, after being served by plaintiff. Arthur Voegtlin Dies on Coast West Coast Bureau of THE FILM DAILY Hollywood — Arthur Voegtlin, 90, who staged the mammoth spectacles at the old New York Hip., is dead here. HOUSE TRADE. This French export has the Jej" " cte signature. He is credited with .-.y a> • dialogue, rather than with direction, whicj" next to the photography is the film's be '■'■ point. Cocteau has rewritten the Tristan ai Iseult story with modern embellishment, r has given the characters jalopies, outboa motors, plumbing and such like accoutr, ments of modernity. Also, he has added the cast, peopling it with products of r creation. The basic yarn is the better f it. It is a mystic tale. The patrons of fo eign product should find it to their sati faction. It is acted out with sincerity, ski Mile. Sologne has a rare pale blonde beaut Camera work is of high quality. Script has to do with a middle-aged m, whose nephew marries him off to a beauf' ful girl. The nephew later falls in love wi the girl and is sent away. But he tak I the girl with him. They part again. On death brings them together. The Cocteau theme demonstrates ho great romances of history keep cropping i U from time to time. In this version the id< looks good. CAST: Jean Marais, Madeleine Sologne, Yvoni DeBray, Junie Astor, Roland Toutain, Pierc j Jeanne Marken, Jean D'Yd, Alexandre Rignaul CREDITS: An Andre Poulve Production; Dire tor, Jean Delannoy; Story and dialogue, Jet Cocteau; Settings, Roger Hubert; English title : Herman G. Weinberg. DIRECTION, Very Good. PHOTOGRAPHY, Fin "The Great Glinka" : with Boris Chirkov Artkino 99 Mir EFFECTIVE BIOGRAPHICAL HANDLING , SHOULD ATTRACT IN RIGHT SPOTS. Aptly handled in production details, th new Russian export has some of the mo ambitious accomplishment in that catego . fo be seen in recent times. As a biograpl , of Glinka the script works up a good de of interest and there are portions of which, if the titles aptly translate, v cause critical eyebrows to lift when the h)n% significance of the spoken word is unde stood. As a musical film for lovers of the Glink j work, the picture offers the famous overture to the opera, "Ruslan and Ludmilla with much detail concerning its initial met tal inspiration, ultimate execution and pe formance. Choir and ballet of the Bolshoy Theat< in Moscow handles facets of the pictui I calling for their respective polishing cor .'.■ tribufions. Performances are uniformly goo -i. Piece has creditable fidelity to the period CAST: Sasha Sobolyev, Boris Chirkov, Valentir Serova, Victor Merkuriev, Katya Ivanovo, Lyd Lipskerova, Peter Alevnikov, Boris Livanov. I CREDITS: Produced" at the Mosfilm Studio Director, Lev Arnshtam; Scenario, Lev Arnshtar Musical arrangements, Vissarion Shebalin; Ph. tography, Alexander Shelenkov, Yolanta Che" English titles, Nicholas NaDoli, Charles Clemen DIRECTION, Good. PHOTOGRAPHY, Very Goo "Idiot" Into Golden French version of Dostoievsky"^ "The Idiot," with Edwige Feulliei » and Gerard Phillipe, will open Feb. "r at the Golden. E. C. D., Inc., is dis ?; tributing in the U. S.