Harrison's Reports (1946)

162 HARRISON'S REPORTS October 12, 1946 "The Jolson Story" with Larry Parks and Evelyn Keyes (Columbia, no release date set; time, 126 min.) Excellent! Endowed with ingredients that give it definite mass appeal, this musical biography of Al Jolson's career should prove to be an outstanding box-office attraction, for it is the sort of picture one urges his friends to see. Photographed in Technicolor, produced on a lavish scale, and featuring the songs made famous by Jolson, the picture is chuck-full of entertainment from the start to finish in its unfoldmcnt of the singer-entertainer's fabulous career. The surprise of the picture is the remarkable performance of Larry Parks, as Jolson. His impersonation of the singer is so perfect that, after awhile, one feels as if Jolson himself was on the screen, particularly since, when he sings, one hears Jolson's dubbed in voice. As a matter of fact, the synchronization of Jolson's voice and Parks' gestures and lip movements is flawless. Musically, the picture is thoroughly satisfying; each of the songs is presented so effectively that one wants to hear more. And the story, though simple, is at all times heart-warming and pleasantly romantic. Some of the situations will tug at one's heartstrings. One such situation, a particularly tender one, is where Jolson fetes his parents on their wedding anniversary. Evelyn Keyes, as Jolson's wife; Scotty Beckett, as Jolson as a boy; William Demarest, as his mentor and, in later years, business manager; and Ludwig Donath and Tamara Shayne, as his parents, are excellent in supporting roles. The picture marks the debut of Sidney Skolsky, the Hollywood columnist, as a producer, and, judging from the results, he deserves much credit for an inspired job of picture-making. Alfred E. Green's direction is faultless. The story opens at the turn of the century with Jolson, the stage-struck 12-year-old son of a Jewish cantor in Washington, D. C, running away from home to join Steve Martin (William Demarest) in a vaudeville act. A full fledged singer at the age of eighteen, Jolson joins Dockstader's minstrels. His success with the minstrel show earns him a chance in a Broadway musical and he becomes a sensation on opening night. He rises to stardom quickly and, with the passing years, scores many triumphs on Broadway. Martin rejoins him as his manager and, shortly before he leaves for Hollywood to appear in a talking picture, Jolson falls madly in love with Julie Benson (Evelyn Keyes), a musical comedy star. He persuades Julie to marry him and launches her on a motion picture career. Eventually, Julie tires of both their successful careers and, longing for a home and retirement, induces Jolson to forsake show business. His retirement, however, makes him unhappy, and Julie, realizing that he was a trouper at heart, dissolves the marriage, leaving him free to pursue the life he loved. Stephen Longstreet wrote the screen play. The cast includes Bill Goodwin, Jo-Carroll Dennison, John Alexander and others. Suitable for the entire family. "Gas House Kids" with Robert Lowery, Billy Halop and Teala Loring (PRC, Oct, 7; time, 68 min.) A passable program feature. As indicated by the title, the the picture belongs to the species of comedy-melodramas that revolve around a group of 'teen-aged youngsters living in New York's lower east side slum district. The story and its developement follow a pattern that is quite familiar; nevertheless, it should give satisfaction wherever this type of picture is liked, for human appeal, romance and comedy touches are combined with the melodrama. Human interest is awakened by the efforts of the youngsters to help rehabilitate a disabled veteran. The action towards the end is fairly exciting : Returning home from the war permanently disabled, Robert Lowery, a former policeman, seeks to break his engagement to Teala Loring lest he become a burden to her. Teala assures him that his physical handicap had not diminished her love for him and insists that they proceed with their pre-war plans to buy a chicken farm. Lowery, however, is unable to raise enough money for the down payment. Their problem comes to the attention of a group of neighborhood boys headed by Billy Halop, who determine to help the lovers. In the course of events, a trio of notorious bank robbers, hiding out in a tenement apartment, waylay a rent collector in an attempt to rob him. The collector, trapped, tosses his briefcase, containing several thousands of dollars, out of a window before he is slugged to death. Halop, passing below, picks up the briefcase and runs away. He takes the money to his pals and, together, they deposit it in a bank and make a down payment on a farm that Teala and Lowery wanted. That night, Halop is picked up by the bank robbers and taken for a "ride" because of his inability to give them the money. Two of the crooks stop at a hideout and order the third to dispose of Halop. The youngster, however, manages to attack his kidnaper, sending the car over an embankment. Halop wakes up in a hospital and learns that he and his pals were suspected by the police of having robbed and murdered the rent collector. He proves their innocence by giving the police information that leads to the capture of the crooks. The boys receive a $10,000 reward, which they turn over to Teala and Lowery to purchase the farm. Elsie and George Bricker wrote the story and collaborated with Raymond L. Schrock on the screen play. Sigmund Newfeld produced it, and Sam Newfield directed it. The cast includes Carl Switzer, David Reed, Paul Bryar and others. Unobjectionable morally. "Gentleman, Joe Palooka" with Joe Kirkwood and Leon Errol (Monogram, Oct. 19; time, 72 min.) Although the story is familiar in theme and development, this second in Monogram's "Joe Palooka" series of comedymelodramas is fairly interesting and maintains the quality that made the first picture a better-than-average program entertainment. Its chief shortcoming is that it is given over more to talk than to action; it is not until the closing reel, where a free-for-all fight takes place, that any excitement occurs. Despite this lack of action, however, the picture manages to be consistently entertaining because of the good direction and the capable performances. The same players enact the principal roles, heading a supporting cast that includes a surprising number of well known character actors : After Joe Palooka (Joe Kirkwood) wins his first championship fight, his trainer, Knobby Walsh (Leon Errol), fears that he will lose "color" because the newspapers played him up as a good boy who drank milk. Palooka, however, becomes an important public figure when publisher Charles Aslop (Guy Kibbee), a friend of Palooka's girl-friend (Elyse Knox), assigns sportswnter Harry Mitchell (Lionel Stander) to publicize him. The public begins to idolize Palooka and, in due time, Aslop induces him to head a campaign to have certain federal lands transferred to the state for the construction of a public park. Actually, Aslop was using the campaign as a cover-up for an oil land grab that was being maneuvered through the state legislature by several crooked politicians. Knobby Walsh, suspicious of Aslop's motives in publicizing Palooka, investigates and learns of the land grab. Aided by Mitchell, he obtains evidence of the plot and exposes the scheme to his champion. Disillusioned, Palooka withdraws his support, but Aslop, using bis powerful influence, keeps the story out of the newspapers. Lest Palooka become involved in an unpleasant situation, his girl-friend induces an honest senator to sponsor a statement by Palooka on the Senate floor. Aslop, learning of the plan, engages a gang of hoodlums to keep Palooka and the Senator away from the Senate until the bill is passed. But Palooka and his sparring partners give the hoodlums a sound thrashing, enabling the Senator to expose the crooked scheme. Cyril Endfield wrote the original screen play and directed it, and Hal E. Chester produced it. The cast includes H. B. Warner, Stanley Prager, Warren Hymer, Richard Lane, Cliff Nazarro, Fritz Feld, Ian Wolfe, Louis Jean Heydt, Sarah Padden, Freddie Steele, Roy Atwell and others. Unobjectionable morally.