Harrison's Reports (1950)

138 HARRISON'S REPORTS September 2, 1950 "Triple Trouble" with the Bowery Boys (Monogram, August 13; time, 66 min.) A fair "Bowery Boys" comedy-melodrama. The trouble with it is the fact that the story is unbelievable. For example, Leo Gorcey and Huntz Hall plead guilty to a robbery charge so that, by going to jail, they might uncover the criminals who had been communicating with the outside world by means of a short-wave radio. It might have been made believable if Gorcey had persuaded the judge to stay their sentencing until they were given a chance to catch the guilty persons in the penitentiary. Thus they would have had the aid of the prison authorities. The direction and acting are acceptable, considering the weakness of the story: — While returning from a party still wearing masks, Gorcey and his gang witness a warehouse robbery. Their attempt to capture the crooks is unsuccessful and, when the police arrive and find them there, they suspect them of the robbery and arrest them, despite their pleas of innocence. The boys appeal to Gabriel Dell, their friend, who had just opened up an office as an attorney-at-law. Dell accepts the case and effects their release to await trial. One of the boys (William Benedict), a short -wave radio fan, picks up information that leads him to believe that the crooks had been communicating with other crooks in the penitentiary as to what warehouse to rob each time. Gorcey and Hall decide to plead guilty so that, by being imprisoned, they may discover the identity of the crooks. Arriving at the prison, the boys pose as hardened criminals from Detroit. They soon meet Pat Collins, leader of the criminal gang in prison, and learns that he is sending to Effie Laird, his mother, leader of the out' side gang, a message by a concealed short-wave radio as to the gang's intention to break jail. Benedict intercepts the message and informs the police. Meanwhile, Collins discovers that Gorcey and Hall are "imposters," and forces them to join the jail break. Once outside the prison walls, the criminals are surrounded by the guards and captured. Thus Gorcey and his gang prove their innocence. The picture was produced by Jan Grippo, and directed by Jean Yarbrough, from a screen play by Charles R. Marion. Unobjectionable for the family. "The Showdown" with William Elliott, Walter Brennan and Marie Windsor (Republic, August 15; time, 86 win.) Good. It is a better-than-average western melodrama that should more than satisfy the followers of this type of entertainment. Not only does it contain all the action desired in a western, but it has an interesting story that grips one's attention throughout because of a touch of mystery that is not solved until the finish. William Elliott, as an exTexas Ranger seeking to avenge his brother's murder, is excellent in a forceful characterization, and there is considerable suspense and thrills in his efforts to detect and bring the guilty person to justice. The other players, too, are very good. The capable direction by Dorrell and Stuart McGowan, who also wrote the effective screen play, has given the film an exciting tempo: — Learning that his brother had been killed and robbed of the money he had given him to buy a ranch, Elliott arrives in an Arizona cattle town to track down the killer. He becomes convinced that the murder had been committed by one of the cowhands employed by Walter Brennan, a genial cattleman. The cowhands resent Elliott's accusation and gang up on him in a saloon owned by Marie Windsor, but Brennan intervenes in time to save him from harm. When Brennan offers him a job to lead a cattle drive to Montana, Elliott accepts, figuring that he will have an opportunity to find the killer among the men. Marie, having bought a share of the herd, goes along on the drive. As trail-boss, Elliott drives the men relentlessly to get the herd to Montana before the snow flies. The men hate him, and several revolt against him as he ruthlessly pursues his campaign to uncover the killer. Brennan begs Elliott to forget revenge and tries to convince him that natural retribution will take care of the murderer, but Elliott refuses to listen to his preaching. He suspects everyone, but from time to time he finds reason to clear one of them of suspicion. Fate steps in towards the finish when Brennan, gored by a mad steer and knowing that he will die, confesses that he is the killer and begs Elliott to shoot him to put him out of his misery. Elliott refuses to shoot, and insists that Brennan be left on the trail to suffer and die alone. But at the last minute his desire for revenge fades, and he permits the others to aid Brennan, knowing full well that the old man would soon become the victim of the retribution he had been preaching. The screen play is based upon an Esquire Magazine story by Richard Wormser and Dan Gordon. It was produced by William J. O'Sullivan. Unobjectionable morally. "Mr. Music" with Bing Crosby, Nancy Olson and Charles Coburn (Paramount, December; time, 113 min.) Although this is not one of Bing Crosby's better musical pictures, it makes for pleasant and relaxing entertainment all the way through, in spite of the fact that it is overlong and has some dull stretches. The story is lightweight, but this is incidental since the entertainment values stem from the amusing situations, the glib dialogue and, of course, Crosby's singing. Also on the plus side are guest appearances by Groucho Marx, Dorothy Kirsten, Peggy Lee, Marge and Gower Champion, and the Merry Macs — all appear with Crosby in different musical routines in a show staged at the finish. As a successful music composer who is broke because he would rather loaf than work, Crosby is cast in the type of role his fans will enjoy seeing him in, for it suits his charm and personality. Nancy Olson, as a prim secretary who is hired by Crosby's producer to see that he keeps on working, is exceptionally good, as is Ida Moore, who is highly comical as Nancy's flighty aunt. The songs are melodious, but not one is of the sort that remains in one's mind : — Crosby, preferring to enjoy life and relax, disregards the pleas of Charles Coburn, his producer-friend, to resume his song-writing. Crosby soon finds himself in debt and goes to Coburn for a $15,000 advance on an unwritten show. To make sure that Crosby will keep his promise to start work, Coburn engages Nancy, a college student, as secretary for Crosby, and gives her the money with instructions to pay Crosby's essential bills so long as he keeps composing. Nancy moves into Crosby's swank apartment with her aunt as chaperone, and her rigid control of his funds soon compels him to start work seriously. She inspires him, and before long he turns out a fine musical score. Meanwhile Nancy finds herself falling in love with Crosby, but he, presuming that she is in love with Robert Stack, a brash college athlete, showers his attentions on Ruth Hussey, a glamorous sophisticate, whose affections are measured by the size of a man's pocketbook. Complications arise when Coburn, whose last three productions had been failures, is unable to obtain backing for Crosby's musical. Financing is offered to Crosby direct, but his loyalty to Coburn is so intense that he refuses to do the show without him. To overcome the difficulties, Crosby, aided by Nancy, arranges for the college to stage the show and calls upon his friends in the entertainment world to lend their talents. The prospective backers invited to the show like it, but they still refuse to back it unless Coburn is removed. Crosby refuses to bow to their demands, and the situation is saved when Nancy's aunt shows up with an eccentric elderly boy-friend who puts up the needed funds. It all ends on a happy note when Crosby realizes that he is in love with Nancy. It was produced by Robert L. Welch and directed by Richard Haydn from a screen play by Arthur Sheekman, suggested by a play by Samson Raphaelson. The cast includes Tom Ewell, Donald Woods and others. Suitable for the family.