Harrison's Reports (1942)

94 HARRISON'S REPORTS June 13, 1942 "Private Buckaroo" with Harry James, the Andrews Sisters, Dick Foran and Joe E. Lewis (Universal, June 12; time, 68 min.) This program musical should go over with the "swing" fans, since it is a continual round of "jive" music, dancing, and singing, interspersed with comedy bits. The story — if it is a story — merely serves as an interlude for the sixty-eight minute "jam" session. The action unfolds in somewhat the same manner as a variety show, with each of the performers given ample opportunity to display his individual talents, of which they give generously. Although the background is an army camp, army life is shown very little. The music is played by Harry James and His Music Masters, the vocalizing is by the Andrews Sisters, and the dancing by the Jivin' Jacks and Jills. Dick Foran, too, sings a few songs. Shemp Howard, as the tough army sergeant, and Mary Wickes, as his girl-friend, provoke the comedy. Additional comedy is furnished by Joe E. Lewis, but his brand of fun, though famous on the stage, does not seem to register on the screen. The popularity of the players among the "jitterbugs" should be of considerable help to the box-office. The fragmentary story begins with Harry James receiving his army draft summons while playing at a swank night club. The boys in his band enlist so that they could be with him, while Helen Forrest, his vocalist, and the Andrews Sisters, a singing trio, join the USO at the army camp, thus keeping the combination together. The boys enjoy life in the army, except Dick Foran, who complains of the hard work. This makes him unpopular with the others. But when he falls in love with Jennifer Holt, a lieutenant's sister, Foran changes his ways and becomes a first-class soldier. While the troupe is putting on a big show at the camp, an order is received to embark immediately for the battlefront. Singing and playing, they march out of the camp. Edmund Kelso and Edward James wrote the screen play, Ken Goldsmith produced it, and Edward F. Cline directed it. Nothing objectionable in it. "Parachute Nurse" with Marguerite Chapman, William Wright and Kay Harris (Columbia, June 18; time, 63 min.) The best that can be said of this picture is that its title is attractive, and it deals with a timely subject. Beyond that it is quite ordinary program fare. Except for the fact that the action revolves around women, the picture is a carbon copy of other pictures treating on life in army training camps. There is some comedy; but it is forced : — With a group of other nurses, Marguerite Chapman and Kay Harris join the "Paranurse Corps," which the government is training for war service. Lieutenant William Wright, instructor at the camp, and Sergeant Frank Sully, his aide, attempt to get acquainted with the girls at the camp canteen, but are snubbed. To spite Marguerite, Wright makes a date with Louise Allbriton, with whom Marguerite was at odds. Marguerite becomes friendly with Evelyn Wahl, a "paranurse," who is shunned by the others because of her German parentage. After a few meetings, Marguerite and Wright take a liking for each other, much to Louise's consternation. Seeking to discredit her, Louise deliberately tangles Marguerite's parachute, just before inspection. As a result, Marguerite is ordered to pack many parachutes, causing her to miss the dance that night. The camp is saddened by the death of Evelyn, who had deliberately jumped from a plane, without making an effort to use her parachute. Shortly afterwards, Marguerite's company makes its first flight. All jump safely but Marguerite; at the last moment she loses her nerve. Heartbroken, Marguerite prepares to resign from the corps. Meanwhile, Louise is asked to resign when it is found out that she had tampered with Marguerite's parachute. Just before Marguerite leaves camp, news comes that a plane piloted by Wright had crashed in the mountains, and that Kay was going to jump to bring him firstaid. Marguerite's plea that she be allowed to bring him first-aid is granted. She jumps, landing safely, only to find Wright grinning near a broken up plane, used for bombing practice. The ruse had made her jump. Rian James wrote the screen play, Wallace MacDonald produced it, and Charles Barton directed it. Morally not objectionable. "You're Telling Me" with Hugh Herbert, Anne Gwynne and Robert Paige (Universal, May I; time, 60 min.) If prizes were given for tiresome pictures, this socalled comedy should win the award hands down. Seldom does a picture prove to be so boring; it is doubtful whether audiences of even small town theatres will have the patience to see it through. The story is inane; it serves as a framework for Hugh Herbert's familiar antics, and is a mixture of time-worn situations and silly dialogue, none of which provokes as much as a grin. The performers do their best, but they are up against hopeless story material: — Ernest Truex is induced by Esther Dale, his domineering wife, to give Hugh Herbert, her nephew, employment with his radio advertising firm. Herbert, an eccentric fellow, upsets the office routine by his idiosyncrasies. He is sent to sign up Edward Ashley, celebrated big game hunter, for a radio program. To escape involvme.it in a divorce suit, Ashley informs reporters that the only girl he loves is Anne Gwynne. Actually she is the fiancee of Robert Paige, Ashley's associate. Paige insists that Ashley go to Anne and explain. Herbert and his aunt go with them. Furious at Paige for allowing Ashley to call her his fiancee, Anne deliberately becomes attentive to Ashley, hoping to arouse Paige's jealousy. After a series of vagaries, Herbert induces Ashley to sign the contract. But neither one realizes that Ashley had signed a paper other than the contract. To help Paige avenge himself on Anne, Herbert has Linda Brent pose as a heartbroken native girl, who had ostensibly followed Paige from Africa. When Ashley feigns illness to get Anne's sympathy, Herbert attempts to aid him. His treatment causes Ashley to become feverish and, while in this condition, he reveals to Anne that not he, but Paige, was the hero of their jungle exploits. When Anne exposes Ashley, the advertising firm is furious at Herbert for having signed him. But Herbert becomes a hero when it is found out that Ashley had absentmindedly signed the wrong paper. Paige obtains the radio contract and wins Anne back. Herbert becomes an executive with the advertising firm. Frances Hyland and Brenda Weisberg wrote the screen play, Ken Goldsmith produced it, and Charles Lamont directed it. Suitable for all. "Almost Married" with Eugene Pallette, Jane Frazee and Robert Paige (Universal, May 22; time, 64 min.) Where something light is needed to round out a double bill, this farce-comedy, with music, should suit the purpose. Although neither novel in situations, nor hilarious in comedy, the picture is pleasantly entertaining. It is a story revolving around a mock marriage, resulting in the usual bedroom situations when the father of the girl pays a visit to the supposed-to-be bride and groom. The production values are adequate: — Jane Frazee, a singer, cannot obtain a job in a night club because she lacks a reputation. When her trunk is delivered by mistake to socialite Robert Paige, she inadvertently is given a chance to acquire a "name." She arrives at Paige's home just as Elisabeth Patterson, his aunt, endeavors to arrange his marriage to a girl he does not love. To aid him, Jane agrees to pose as his secret bride. When the newspapers publicize the "secret marriage," Jane secures a night club job, because of her social status. Paige's aunt orders him to put a stop to his bride's singing. More complications arise when Eugene Pallette, Jane's father, arrives to live with the "bride and groom." Paige's attorneys advise him that the only way out of his predicament is an actual secret marriage and, later, a divorce. Accompanied by Pallette, the couple leave on what they infer is a honeymoon. They seek and find a small town where their marriage would not receive publicity, and manage to evade Pallette long enough to become married. Jane falls in love with Paige, but he asks her to arrange for a divorce, offering her a settlement. Humiliated, she defiantly obtains another cabaret job. Paige spoils her chances of recognition by buying up all the club's reservations. Gloria then sets out for Reno, determined to divorce him. When she leaves, Paige comes to the realization that he loves her. With Pallette, he takes a plane and intercepts the train, then woos her back with a series of singing telegrams. Hugh Wedlock, Jr. and Howard Snyder wrote the screen play, Ken Goldsmith produced it, and Charles Lamont directed it. Not objectionable morally.