Independent Exhibitors Film Bulletin (1947)

'JEWELS OF BRANDENBURG' ENGROSSING CROOK MELODRAMA Rates • • as dualler generally 20th-century Fox 6'j minutes Richard Travis, Micheline Cheirel, Leonard Strong, Carol Thurston, I^ewis Russell. Directed by Eugene Forde. Though not blessed with any names of marquee value, "Jewels of Brandenburg" is fortified with a swiftly paced scenario which provides suspense and realism throughout, and a cast which accredits itself nobly. The story concerns a fabulous collection of world-famous jewels and the effort of an American agent to retrieve them from a gang of international jewel thieves. Locale of the film is Lisbon which adds color to the intrigues involved. Direction is sure and steady, and except in a few minor instances, the plot never wavers. The lack of known names v/ill force this into the secondary spot on dual bills, but it will please audiences. EXPLOITATION: Impetus to the exploitation campaigns can be furnished by tieups with jewelry establishments, dress and specialty shops. Stress the historic background of the Brandenburg collection, once owned by Queen Marie Antoinette. Play up the duel of American agent versus ruthless foreign jewel swindlers. Ex-undercover agent Richard Travis is commissioned by the State Department to return to service to recover the priceless Brandenburg jewel collection, stolen bv European thieves and reported to be in Lisbon. Travis returns to Portugal and re-assumes his war time role of piano pHyer in t ''; cafe of Leonard Strong, international cook and chief suspect. Travis ascertains that Strong has the collection and proceeds to recoup them with a series of strategems that include dropping a high-priced gem in a coffee cup and making love to the kingpin's wife. The latter proves the ging's undoing, because the lustful wife steals the jewels from the gang leader and discloses their whereabouts to the agent just before she is shot in a gunfire exchange. The hectic climax occurs in the cafe wine cellar where all the prinicpals are involved in a shooting fray which spells finis for the gang and a successful case for the American agent. 'THE GHOST GOES WILD' WILL GET LAUGHS FROM MASS AUDIENCES Rates • • as second feature generally Republic 66 minutes James Ellison, Anne Gwynne. Edward Everett Horton, Ruth Donnelly, Stephanie Bachelor, Grant Withers, Lloyd Cnrrigan. Directed by George Blair. This definitely is not for sophisticated audiences, but less discriminating comedy fans, and the youngsters, particularly, should get plenty of laughs out of this Republic programmer. The idea of real people imitating ghosts and then finding them selves confronted by a real spirit in a climactic courtroom sequence, is amusing enough to provoke anything from titters to guffaws. The proceedings are abetted greatly by the presence of a good cast of comedy players, including Edward Everett Horton, Ruth Donnelly and James Ellison. While George Blair's direction follows the familiar paths of all ghost comedies, he has contrived to keep the events moving at a lively clip. Artist James Ellison, engaged to Anne Gwynne, caricatures her aunt. Ruth Donnelly, for a magazine cover. She sues him and the publisher for a half-million. Anne stands by James until she finds him embracing predatory, prettv Stephanie Bachelor. Stephanie's husband, Grant Withers, aware of his wife's crush on James, eroes gunning for him. A convenient accident makes people think James has died in a fire. He seizes the opportunity to appear as a ghost in order to frighten the aunt into dropping her suit. The real ghost of Ruth's late husband, Lloyd Corrigan, appears and. by tipping James off to a few secrets about Ruth and Grant, enables him to bring them both to heel. 'FUN ON A WEEKEND WHIMSICAL BRACKEN FARCE HAS MOMENTS OF HILARITY Rates • • + as supporting feature; wea United Artists 93 minutes Eddie Bracken, Priscilla Lane, Tom Conway, Allen Jenkins, Arthur Treacher, Clarence Kolb Alma Kruger, Rnssell Hicks. Directed by Andrew Stone. Judging by the reception accorded it by a representative audience at its preview in a naborhood theatre, "Fun On A Weekend" should satisfy all but the most discerning customers and action fans. Despite its synthetic plot and comic-strip characterizations this lightweight situation comedy, written, directed and produced by Andrew Stone, is laden with laughs, and, in one sequence where Fritz Feld performs a piano concerto under overwhe^lming and hilarious difficul k for action spots ties, is packed with guffaws. Co-stars Bracken and Lane are supported by a cast abov.i average in popularity and abilityProdi'ction oualilv is good. EXPLOITATION: Go after Bracken's film and radio fans, legion among the juveniles. Co-op newspaper ads may be based on the idea: "For 'Fun on a Weekend' Buy Your Sports Clothes at Blank's" Stress tre film's theme: "If You've Enough Brass, You'll Strike Gold." On a Florida beach Eddie Bracken meets Priscilla Lane. Broke and hungry, they pool their funds, buy one cup of coffee and two donuts at Allen Jenkins' lunchwagon. On the theory that if you've enough brass you'll strive gold, Eddie and Priscilla pawn their nondescrint clothes for smart bathing garb, boldly enter Arthur Treacher's (More Reviews on Page 17) realtv office, introduce themselvs as Mr. and Mrs Peterson Price Porterhouse III. o*' the Wall St. firm of the same name. Told thev're looking for a large estate, Treacher personally conducts them over several fabulous homes, enabling them to make contacts with the owners and their socially and financiallv prominent friends. Rich l<--cgl nia''-bov Tom Cnnwav eroes on the make for Priscilla, while the resort's bie bnsin'^'=s tvcoons try to promote financial deals with Eddie. The couple promote swank wardrobes ^^■"d accommodations on credit, neatly side-stepping disaster at everv turn. Co^^nlic^tions ensue but at end, Priscilla we-ls Eddie and with him enters a partnership with Jenkins: the nroiect. fin-^nced bv fVip lo'-'ii bqnk head, cat^^^ulto .Jenkin's humble eatery into the four-star bracket. RE-ISSUES Reviewed April 5, 1941 ■THE SEA WOLF" Original Rating • • • generally; better in action houses. Warner Bros. Edward G. Robinson, Ida Lupino, John Garfield, Alexander Knox, Barry Fitzgerald, Gene Lockhart. Thrilling and exciting ..Cast plus the enthusiastic v/ord of mouth advertising make it good boxoffice for all locations. A natural fo Taction spots. (Re-release, April 26, 1947) Reviewed August 10, 1940 •THE SEA HAWK" Original Rating • • • on name value Warner Bros. Errol Flynn, Brenda Marshall, Claude Rains, Donald Crisp, Flora Robson Alan Hale. Uninspired, routine opus. . .Action scenes poor imitation of those in silent version. Box office returns should toe above-average for deluxe matinee and family nabe trade thanks to the spectacle of dead-pan Flynn in tights! (Re-release, April 26, 1947) Revi-w^d June 4, 1938 'ALEXANDER'S RAGTIME BAND' Original Rating • • • • '20th Century-Fox Tyrone Power, Alice Faye, Don Ameche, Ethel Merman, Jack Haley. A smash hit! Grand and thrilling musical cavalcade — a. picture of limitless boxoffice appeal. Returns should be far above average. Magnificent musical score. (Re-release, April, 1947) Reviewed September 21, 1940 'KIT CARSON' Original Rating • • + in action spots only; less elsewhere PRC (formerly United Artists — Edward Small) Jon Hall, Lynn Bari, Dana Andrews Photography is magnificent and cowboy-indian battles humdingers. When "Kit Carson" reverts to story telling and histrionic talents it is far below what one expects fr-om a major production. Action houses should, have no problem, getting above average grosses but better class houses will find it suitable only for dual billing. Reviewed November 19, 1938 ■THE GREAT WALTZ' Original Rating 9 # C for class houses only; weak for action houses Metro-Goldwyn-Mayei' Luiso Rainer, Fernand Gravet, Miliza Korjus, Hugh Herbert, Lionel Atwill. Immortal Strauss music itself is lovely and beautifully recorded, photography magnificent, the production dazzling. But offsetting these virtues is the poorest excuse for a story. Deluxe first-runs and arty spots will get good returns. Elsewhere, grosse.? will be only fair. Very weak for action houses. (Re-release, May, 1947) 14 FILM BULLETIN