Harrison's Reports (1939)

October 14, 1939 HARRISON'S REPORTS 163 "Babes in Arms" with Mickey Rooney and Judy Garland (MGM, October 13; naming time, 95 min.) Excellent ! It seems as if Metro has hit it well this time, to the benefit of the box office, not only because of thz presence of Mickey Rooney and Judy Garland, but also because the piccui e is a real entertainment ; it has in it everything that appeals to every one who sees pictures — a few teais, a load of laughs, delightful music, and youthfulness. Mickey Kooncy certainly proves to be a real trouper : he not only is a good clown, but also can bring tears. In the scenes where ne mimics Clark Gable and Lionel Barrymore, people shouid scieech from laughter, ihe youngsters who appear m tiie picture aie capable performers, ihe entire picture holds one in its grip ; and it leaves one in so joyful a mood that many picture-goers will undoubtedly see it a second time. The story deals with "has been" vaudeville actors' children, who find it impossible to convince their parents that they, too, had talent. The old folk organize their acts into a vaudeville show and go on the road, but they refuse to take their children along ; so the children take matters in their own hands: Mickey Rooney decides to write a show to be performed by them all. In the meantime, a busybody woman calls on the justice of the peace and insists that he send the children to trade schools, where they could learn something useful. The children are hailed before the judge but he, being a good judge, is persuaded by Mickey Rooney to let them try their hand at producing a show themselves. The judge gives them thirty days to prove their ability. Their lack of the necessary capital is taken care of by a young girl, daughter of wealthy parents (without their knowledge), on the understanding that she be given the leading part. This naturally is a shock to Judy Garland, who loved Mickey, but Mickey is able to pacify her when he tells her that they have no other way out. The show is a success, but a sudden storm ruins the show before it is over. Mickey, however, receives a letter from a New York producer inviting him to call on him to talk terms. The producer happened to be an old friend of his father's. The oldtimers return from their tour, broke. The producer sends for Mickey's father to take charge of the children's production. Mickey is happy when his father accepts the offer. The screen play by Jack McGowan and Kay Van Riper was founded on the Richard Rodgers and Lorenz Hart stage production. Busby Berkeley directed it and Arthur Freed produced it. Class A. "Intermezzo" with Leslie Howard, Ingrid Bergman and Edna Best (United Artists, September 22; time, 70 min.) Artistically, this is as fine a production as one wishes to sec, but its appeal will be directed mainly to cultured audiences ; picture-goers of the rank-and-file may find it only fair, and even boresome. The trouble with it is the story — it is really no story to speak of : — The hero, a famous concert violinist, happily married and the father of two young children, falls madly in love with his little daughter's tutor, a pianist of great promise, an ardent admirer of his. Realizing that their situation is irregular, she decides to leave him, but he, unable to bear their separation, follows her to the railroad station, and induces her to remain. He deserts his family and takes her to Europe, where they are, or are supposed to be, happy. The girl is informed by her own tutor, a sort of counselor to her as well as to him, that she had won a scholarship, but now she does not want it. He calls on them, and induces her to give him up. The hero returns home just to see his little daughter, whom he adored. While he awaits her outside the school, she sees him and rushes to him. But, in crossing the street, she is run over by an automobile. He rushes the child to her mother. The doctor finds that the child will live. The tragedy to the child becomes the means of reconciliation between husband and wife. Such a story cannot help being weak for general picture audiences, who do not relish the sight of a happily married man's deserting his family for another woman, no matter how helpless he may be to prevent such a happening. The best situation is that in which the father is shown tail ing to his young hostile son and telling him that he, the father, needed him in that hour of trouble, and that some day be. the son, might forgive him for his mistake. Gregory Ratnff's direction is without blemish. The acting of both, Leslie Howard and Ingrid Bergman, is superb. Highly meritorious, but suitability Class B. "Dancing Co-Ed" with Lana Turner and Ann Rutherford (MGM , September 29; running time, 84 min.) If the producers meant to make a star out of Miss Turner with this picture, they could not have selected a worse story for the purpose. It is not novel, and shows no significant action, riven the contest is won by another character although one is led to believe that it v/ould be wen by her. The worst drawback, tiowever, is the fact that the story is based on the deception theme. Miss Turner docs a good bit of dancing, and the Artie Shaw orchestra, one of tne most popular in the country, does some playing : — 'i ne story deals with the efforts of a film company's publicity agent to "plant" the heroine in a college so that, when the company's radio time and Artie Shaw's band were used to put over a nation-wide campaign to choose a girl to co-star with the film company's leading man in a forthcoming production, the heroine would be chosen. Lana is planted in a mid-western college. She falls in love with the hero, editor of the college's paper. Having sensed that a "plant" might be used to win the contest, he carries out an investigation with a view to discovering the girl. He is shocked when she confesses to him. He advises her not to take part in the contest but she refuses. So he kidnaps her. Although she is freed in time to reach the place and take part in the contest, her friend is chosen as the winner. The hero is naturally glad; they become engaged. Albert Treynor wrote the story, and Albert Manheimer the screen play. Sylvan Simon directed it, and Edgar Selwyn produced it. Lee Bowman, Thurston Hall, and Leon Errol are some of those in the cast. Suitability, Class A. It may appeal to young folk. "$1,000 Touchdown" with Joe E. Brown and Martha Raye (Paramount, September 22; running time, 73 min.) Poor ! The Joe E. Brown style of comedy seems to have become outmoded, and the star will have to change it if he should hope to retain a substantial portion of his former following. The spectator manifests no interest in the doings, except perhaps in the football sequences toward the end. Not even the presence of Martha Raye can change one's attitude. Martha Raye's bribing the opposite team by promising them $1,000 for every touchdown they will let her team make is not very edifying, even in a burlesque comedy. Screen play, by Delmar Davis ; direction, James Hogan. Morally, Class A. Good for a double bill. "Fast and Furious" with Franchot Tone and Ann Sothern (MGM, October 6; running time, 73 min.) A good program murder melodrama, unfolding during the staging of a beauty carnival. There is some comedy, and the spectator is held in tense suspense because of the danger to the life of the hero, who attempts to solve the murder mystery, and because of the fact that it is difficult for the spectator to guess the identity of the murderer. Mr. Tone does good work, and Ann Sothern, as the heroine, wife of the hero, contributes some of the comedy, and aids in the solution of the mystery. Franchot Tone lends Lee Bowman, a friend of his, $5,000 with which to buy an interest in a beauty carnival, conducted by John Miljan at a seashore resort. Under the excuse of needing a vacation, Tone takes his wife and goes to the resort. He soon obtains information leading him to believe that Miljan was a crook, and that he intended to abscond with the receipts, and so informs Bowman. Bowman calls on Miljan and demands the return of the money invested by him. Miljan, ridiculing his suspicions, pretends to go to his safe in the next room to get the money. Suddenly the report of a pistol shot resounds and when they open the door they find Miljan dead. Bowman is naturally arrested for his murder. Tone knows that his friend was innocent and proceeds to obtain the necessary evidence to clear him with. During the course of his investigations a second murder occurs. In the end. Tone proves that the murder had been committed by a newspaper reporter. The plot has been founded on an original story by Harry Kurnitz. Busby Berkeley directed it, and Frederick Stephani produced it. Being a murder story, it is hardly suitable for children under twelve. Class B. Title is $1 ,000 A TOUCHDOWN.