Hollywood Spectator (1937-39)

HoHywood Spectator Page Thirteen ing to note that Wayne seems destined to Big Trail epics. The Big Trail, as you will remember, gives us the saga of an heroic cross-country trek. California Straight Ahead repeats the tempo with gas wagons instead of covered wagons. Mary Porter, a newcomer, shows definite promise; her work is not yet smooth but there are moments which show that Miss Porter is to be heard from later. Theodore Von Eltz is his usual flawless self ; and that grand old trouper, Tully Marshall, gives us the kind of bits that once made Hollywood great. Emerson Treacy is another we see too little of; his work is consistently good. First brought to the attention of screenland by his ability with the Henry Duffy players when he teamed with Gay Seabrook, Treacy has been neglected unfairly. In the same category is Leroy Mason. An amazingly versatile athlete, he personifies the out-door type. He is an all-around grand fellow, and I always am elated when I see his name on the credits. But for me, the high point of California Straight Ahead is the brilliant characterization of Robert McWade. His irascible “Boss Corrigan” is a gem and typical of this old master. Others of significances are Harry Allen, Grace Goodall, Olaf Hytton and Monty Vandergrift. In summary, then, California Straight Ahead has moments of brilliance which do not compensate for its weakness. But you could do a great deal worse with your money. (Reviews by CAllan Hersholt The Army Grows MIDNIGHT TAXI, 20th-Fox production and release. Directed by Eugene Forde; associate producer, Milton H. Feld; screen play by Lou Breslow and John Patrick; based on the story by Borden Chase; photographed by Barney McGill; art director, Hans Peters; assistant director, William Eckhardt; film editor, Al De Gaetano; costumes by Herschel; sound by S. C. Chapman and Harry M. Leonard; musical direction by Samuel Kaylin. Cast: Brian Donlevy, Frances Drake, Alan Dinehart, Sig Rumann, Gilbert Roland, Harold Huber, Paul Stanton, Lon Cheney, Jr., Russell Hicks, Regis Toomey. Running time, 72 minutes. O Hollywood’s large and steadily-increasing army of B-class G-man productions is added Midnight Taxi, i Century offering superior in some respects to many of its predecessors and quite likely to gain approval from the majority of its spectators. At no time bearing even slight suggestion of notable cinematic art and disclosing none of the qualities that spell memorable screen entertainment, which is customary of this type of photoplay, it will achieve the purpose for which it has been fabricated. Very satisfactorily will it hold the secondary place of a doublefeature program in any theatre, and the commercial outcome will cause its producers to give us at least one more like it. Recorded with conviction, the Taxi story has a wealth of exciting incidents, none of which bears the imprint of being contrived merely to keep the story going — a rarity in films of this sort. Thematically conventional, present ing familiar situations and characters, the picture reveals direction that is considerably above the average. Eugene Forde’s interpretation of the Lou Breslow-John Patrick script, based upon a Borden Chase story, merits acclaim as a thoroughly creditable job. Again displayed in his work are notably good screen sense, sound knowledge of entertainment values and complete understanding of the material on hand. The picture moves briskly, vigorously and smoothly, sustaining suspense admirably. It offers some unusually fine photography, credited to Barney McGill, a master of his profession. Midnight Taxi is distinguished for a splendid portrayal by the dynamic Brian Donlevy, one of the most engaging he yet has given. If Century handled Donlevy’s career with more wisdom, he might be its leading male box-office attraction. He appears in far too many pictures, all of them of B classification, and almost invariably is cast as a G-man. If such treatment continues, his screen life will be short. Given four carefully-selected stories a year, something besides G-man material, he would, I believe, attain a place among the industry’s box-office leaders. Frances Drake’s performance is excellent, and convincing work is done by Alan Dinehart, Harold Huber, Gilbert Roland, Sig Rumann and the others. Particularly fine is that sterling actor, Regis Toomey, seen too infrequently. Milton Feld, associate producer, has provided noteworthy guidance. With Thanks to Herbert THAT MAN'S HERE AGAIN, Warners release of a First National production. Produced by Bryan Foy; directed by Louis King; screen play by Lillie Hayward; from story by Ida A. R. Wylie; photographed by Warren Lynch; Harold McLernon, film editor; Esdras Hartley, art director; Joseph Graham, dialogue director; Drew Eberson, assistant director. Cast: Hugh Herbert, Mary Maguire, Tom Brown, Joseph King, Teddy Hart, Arthur Aylesworth, Dorothy Vaughan, Tetsu Komai and James Burtis. Running time, 60 minutes. EAK, almost wholly transparent, commonplace, inconsequential and uninteresting in point of story, its efforts for compelling drama failing, yet I have no hesitation in recommending That Mans Here Again, a Warner-First National “quickie.” The answer is Hugh Herbert, whose extraordinary ability performs a small miracle by concerting this most unworthy narrative into a quite diverting little screen attraction. Were the production dramatically successful, I would center adverse criticism on the Herbert character. I would charge it with being out of place and I would call detrimental the fact that at nearly all of his appearances, story development is stopped to make way for comedy which has insufficient bearing on the plot. But because this series of interludes is practically the only redeeming feature the picture possesses, I have only praise for its inclusion. Fundamentally the flimsy narrative is not what the title immediately suggests — a comedy. It is dramatic, and its drama is a great deal too unsubstantial and devoid of genuineness for even slight commendation. Entirely lacking is suspense. I lay no blame to Louis King for the fact that the picture does not achieve its goal. He has tackled his tough assignment valiantly and merits praise for a sin