The Film Daily (1948)

1Ni< DAILY ; Wednesday, August 4, 194? «REVIEUIS« "Rachel and the Stranger" with Loretta Young, William Holden, Robert Mitchum. RKO 93 Mins. AN EXCEPTIONALLY WELL HANDLED COMEDY, DRAMA ACTION STORY EMBELLISHED WITH FINE PERFORMANCES: SHOULD RENDER FULL SATISFACTION TO AUDIENCE. In a performance comparable in many respects to her achievement in "The Farmer's Daughter," Loretta Young once again proves her capacity for delineating a fine role with the right note prevailing constantly. "Rachel and the Stranger" is adapted from Howard Fast's novel of backwoods Americana, the Ohio frontier country in the early part of the 19th Century. It is a simple, yet forcefully told story of primitive domesticity which assumes dignity, feeling and even in its concluding stages some fine excitement. Waldo Salt's screenplay retained the essence of the time, place and people with a good bit of local custom thrown in. Norman Foster's direction sets up a compelling story with simplicity and forcefulness against natural outdoor settings. In basic elements the story is somewhat familiar but it is so well done this time that it emerges on a note of freshness. Male players involved in the proceedings — Holden, Mitchum and young Gary Gray — are in fine form. The widowed Holden and motherless Gray find it rather hard going on their farm which they have carved out of the wilderness. Holden decides a woman is needed about the place. He goes to the nearby town and finds Miss Young, a bondswoman, whom he forthwith buys and marries. This is not to young Gray's liking but she applies herself to the chores and attempts to ingratiate herself with the pair. They tolerate her for a spell until Robert Mitchum, a wilderness cruising hunter given to singing and guitar strumming, pops up on the scene and shows her a good deal more attention than her immediate "family." This perks up Holden, somewhat. Miss Young discloses hitherto unrevealed talents in music. Soon Holden shows a jealous streak. With Mitchum about the place the triangle assumes comic aspects which are handled in good taste and inoffensively disposed of to the end that at length Miss Young decides she will go back to town. As she is journeying there young Gray warms to her and Holden and Mitchum decide they have been playing at damfools long enough. The problem must be brought to a head. An Indian attack, however, occurs at this time. Gray is sent for aid. Mitchum and Holden dash back to the farm. Miss Young joins them. The fight with the Indians is vivid, exciting stuff handled in the best manner. The Indians are driven off but the place is burned. It is Miss Young's application to this last element that brings the light of love to Holden's eyes and she is accepted. The dramatic ingredients of this script are well blended with inserts of comedy, song and action. CAST: Loretta Young, William Holden, Robert Mitchum, Gary Gray, Tom Tully, Sara Hoden, Frank Ferguson, Walter Baldwin, Regina Wallace. CREDITS: A Dore Schary Presentation; Producer, Richard H. Berger; Director, Norman U. K. Goal of 90 Pix Scored Over-simplifying, Says Financial Times h (Continued from Page 1) cinemas in this country change their programs twice weekly," Financial Times declared, "and for them the quota is unrealistic." Quality of features to be produced is another problem, it is emphasized, as well as the question of drawing power of British films as compared to U. S. product. In this connection, Financial Times states: "The new quotas have, in effect, differentiated sharply between the exhibitor and the producer. And of these the exhibitor is the less happy. The film-going public has already become more discriminating. It has been estimated that box ofiice receipts today, when American films are still available in good numbers, are at least 10 per cent below the 1946 peak. The substitution of more British for American films may reduce them further. "The majority of exhibitors — Mr. Rank has indicated himself as an exception — find that, on average, the takings on a British production, both first and second features, are less than those on an American. The possible exceptions are the few outstanding British films. The preference for American productions is particularly characteristic of industrial areas, notably in Scotland, where the difference in receipts can be as much as 25 per cent in America's favour. "Certain exhibitors also find (again this must be a generalization to which there are exceptions), that on an average the rents they pay for British films are slightly higher than those on American. This is also a feature of both long and short films." Combined effect may reduce exhibitors' profits by causing a drop in receipts and an increase in operating costs, it is said, and failure to achieve the production target — leading to the re-issue of old British films — would further depress exhibitor takings. "Reissues," according to the Financial Times, "although they may keep cinemas open (and the twice-weekly houses may be obliged to call on them in any case) attract only, comparatively, small audiences." Second features present an additional problem, according to the paper, which points out: "If the present quality of cinema programs is to be maintained— and it has been found that, on the whole, the public prefers to see two films — the second feature is essential. Few, however, are made in this country, largely because they are a disproportionately high cost production that is paid a comparatively low rental. If their production is to be increased it seems inevitable that financial assistance should be extended to the producers by the new corporation or that the rentals paid on the films should be increased." Latter course is said to face exhibitors with a further difficulty. Short films would become uneconomic to show unless the exhibitor could compensate by cutting the cost and therefore the quality of first-features. Summing up its analysis of the film industry in the wake of the Anglo-American agreement, the new quota and the proposed Film Bank, Financial Times concludes: "Briefly, therefore, the position is this. The exhibitors of films, particularly the independent exhibitor who may change his program frequently or who may be acting in competition with a local circuit cinema, may experience difiiculties under the new quota. The exhibitor who is also a producer — for example, ABPC or Gaumont-British will — be in a definitely better position. "It is reasonable to predict that for them, the advantages on the side of production will more than outweigh any possible falls in receipts from exhibition. The independent producer — of these London Films is the major example— who has adequate financial and other facilities for production now has every assurance that his films will receive wide distribution and extensive runs." Altec Service Moves New York Headquarters Altec Service Corp. has moved its headquarters office from 250 W. 57th St. to 161 Sixth Ave. Milder Interment Here London (By Cable) — Interment of the late Max Milder, former WB managing director here, will be in the U. S. Body is being taken to America. Foster; Screenploy, Waldo Salt; Executive producer. Jack J. Gross; From the story by Howard Fast; Photography, Maury Gertsman; Art, Albert S. D'Agostino, Jack Okey; Sets, Darrell Silvera, John Sturtevant; Music, Roy Webb; Musical director, C. Bakaleinikoff; Music and lyrics, Roy Webb, Waldo Scott; Editor, Les Millbrook; Sound, Earl Wolcott, Terry Kellum. DIRECTION: Fine. PHOTOGRAPHY: Very Good. Packard, Rank Son-in-law, Enters Coast Production West Coast Bureau of THE FILM DAILY Hollywood — Fred M. Packard, J. Arthur Rank's son-in-law, turning indie producer, will make the Robert Smith original, "Quicksand," as his first. Distribution via 20th-Fox is reported set. Clearance Adjustment Ends Roy Miller Action Chicago — Granting of improved clearance has ended the action instituted by Roy Miller of the Colony Theater, MoHenry, through Attorney Seymour Simon. » REVIEUIS> Two Guys From Texas" I with Dennis Morgan, Jack Carson, Dorothy Malone, Penny Edwards (Technicolor) .^.^ Warners CMM'" THE GAY CAVORTING IN ThTif NUN/ BER SHOULD DELIVER FULL SATISFAC HON TO THE PATRON SEEKING LIGH DIVERSION: HAS MUSIC, UUGHTE LOVELIES AND THE RIGHT TOUCH. Poking many pleasantries at the Tex scene and at its citizenry, this humoro sally is an entertaining double portion boy meets girl with additional plot embroil ery in the nature of romantic and com^ songs to lift its prime diverting qualil Also taken along the trail for laughter an animated cartoon gag treatment psychiatry. With Dennis Morgan and Jack Carsi tossing the quips, the generally light coii tent evolves a parody on westerns with tl '" siick city fellers coming out ahead of tlji]] game in just about every respect exce where Carson's lovelife is concerned. Ca ' as a couple of song and dance men fro Rhode Island, the boys are en route to tl Coast via Texas when their car is stoli and they arrive at Dorothy Malone's dui ranch. Carson has a phobia — animals, h matter what species they belong to, th. upset him physically, emotionally. ' Carson and Morgan meet Penny Edwarctij She's an old member of the act and fix it with Miss Malone so they can stay. Song dances, romance and comedy follow in f; profusion. Morgan gets his sidekick psych analyzed by a vet. He is cured of the an,^ mal phobia. The girls are lovely. Meanwhile, behind the scenes, a coup of crooks have been up to dirty work. Tl finger points guiltily at Morgan, Carso They are locked up. Then they escape. ^ a rodeo Carson rides a nasty bronc, wi $1,000. Shortly after the crooks are round( up. Morgan gets Miss Malone. Sheriff Fo rest Tucker gets Miss Edwards. It must I said about here that during the genera hectic proceedings listed above, a hef Indian squaw has been trying to catch Cal son's eye. When she finally achieves tff at the finish, it turns out she has a begu ing Indian maiden who just craves an intr duction. Piece is well larded with specia ties including the Philharmonica Trio. Son are good. David Butler directed. CAST: Dennis Morgan, Jack Carson, Dorot Malone, Penny Edwards, Forrest Tucker, Fr Clark, Gerald Mohr, John Alvin, Andrew Tombe Monte Blue. CREDITS: Producer, Alex Gottlieb; Direct! David Butler; Screenplay, I. A. L. Diamon Allen Boretz; Suggested by a play by Robe Sloane, Louis Pelletier; Photography, Arth Edeson, William V. Skall; Art, Edward Carrer Editor, Irene Morra; Sound, C. A. Riggs, Day Forrest; Sets, LyIe B. Reifsnider; Musical nut bers, Leroy Prinz; Arrangements, Ray Heindoi Music, Jule Styne; Lyrics, Sammy Cahn; Musi? director, Leo F. Forbstein. DIRECTION: Smart. PHOTOGRAPHY: God Tulipan, Frick Swap Jobs New duties for two of his sta were announced yesterday by CharL Schlaifer, ad-publicity director f< 20th-Fox. Ira Tulipan, trade pu licity rep., and Lou Frick, press bo( editor, exchange positions. Be Tulipan and PYick are long tin members of Schlaifer's departmer with time out for service during tl war.