Independent Exhibitors Film Bulletin (1947)

'THE SECRET LIFE OF WALTER MITTY' HILARIOUS KAYE-STARRER IN TECHNICOLOR Rates • ® • generally KKO-RADIO 105 miniilts Danny Kaye, Virginia Mayo, Boris Ka'rlofff, Fay Bainter, Ann Rutherford, Thurston Hall, Gordon Jones, Florence Bates, Konstantin Shayne, Reginald Di nny. Henry Corden, Doris Lloyd, Fritz Feld, Frank Reicher, Milton Parsons, The Golduyn Giiis. Directed by Norman Z. McLeod. Here's a sure-fire attraction crammed with a vast variety of entertaining features. Grosses should equal those of previous Kaye starrers and, because of the above-average supporting cast, perhaps surpass them. Producer Samuel Goldwyn has gone to town in injecting boxoffice appeal. The film has names; beauty; the glamorous Go'dwyn Girls; a fashion show sequence calculated to leave the feminine patrons sauc:r-eyed; lavi--h sets and costumes; two characteristic Danny Kaye song numbers; lush Technicolor, and, most important, a novel, fastmoving, hilarious story. Critics may carp at the liberties taken by scripters Ken Eng iund and Everett Freeman with James Thurber's original but patrons, to judge by the continual howls of laughter at the New York .sneak preview, will find the entire film to their liking. The antic Kaye happily romps through the film as a mother-ridden youth whose day dreams carry him to imaginary heights as a doughty mariner, a famous surgeon, an icy-nerved RAF ac?, a fearless Mississippi gambler, a sensat'onal designer of millinery, etc. Norman Z. McLeod's dii-ection, Lee Garmes' photography, John Fulton's special effects are all superior. Production quality is up to Goldvvyn's high level. EXPLOITATION: Play up this one as the best Danny Kaye feature to date. Stress the lavish Technicolor, the magnificent rets and breath-taking costumes, the bsauty of Virginia Mayo and the Goldwyn Girls, the popularity of author James Thurber, the hilarious impersonations and song numbers delivered in Kaye's inimitable manner. Arrange for leading stores to stage fashion shows patterned after the one in the film. Browbeaten by his mother Fay Bainter, bullied by his boss Thurston Hall and ridi culed by his fiancee Ann Rutherford, meek and inoffensive Danny Kaye finds escape in imagining himself to be, as his daydreams demand, a dashing RAF ace, a daring sea captain, a steely-nerved card sharp, a genius at designing millinery. On each occasion, the girl in his dream is beautiful Virginia Mayo. Judge, then, his astonishment when, she appears in person and, kissing him full on the lips, whispers desperately she's trying to escape a sinister pursuer, begs Danny's aid. Though terrified of b3mg late for work, he accompanies her to a pier, witnesses the mysterious murder of her companion and becomes embroiled in an international smuggling plot. He's pushed from windows, attacked by gangsters, arrested, given knockout drops. Suspected of insanity, he's taken to psychiatrist Boris KarlolT whom he recognizes as one of the gang. Convinced by friends and foes he has imagined everything, Danny goes to the altar with Ann. At the crucial moment, however, he discovers Virginia is really real and .in danger. Fleeing the ceremony, he manages to capture all the crooks, rescue Virginia, and later wed her. 'BLACK NARCISSUS' BRITISH IMPORT IN TECHNICOLOR MAY CAUSE CONTROVERSY Rates • ® • in class spots; less elsewh Liilversal-International &9 minutes Deborah Kerr, Flora Robson, Jenny Laird, .Judith Furse, Kathleen Byron, Esmond Knight, Sabu, David Farrar, Jean SimTio: s, M£-y Hallatt, Eddie Whaley, Jr., Ley On. Sliaun Noble, Nancy Roberts. Directed by Michael Powell and Emeric Pressburge'r. This British import has several claims to distinction, yet one must be dubious about its general reception in this country. In many respects it is a splendid film, attaining a degree of technical perfection that v/ill win acclaim from critical spectators. The acting is fine, the Technicolor superb, th ■ Powell Pressburger production outstanding. In the cast it boasts the highly publicized ("The Hucksters") Daborah Kerr, as well as Sabu and Flora Rob=on, well known to American audiences. The question marks about the picture are the theme and the deliberate style employd in unfolding the story of a group of nims v.'ho are engaged in a mission among the natives of ere; weak for action houses a Thibetan mountain town. There is some doubt as to how Catholics will feel about 'ihe picture's most dramatic incidents, which deal with the breakdown of morale among the nuns. This phase of the story is bound to provoke controversy, although it may stimulate, rather than retard, the public's interest in "Black Narcissus." Best returns can bs anticipated in class houses, weakest in action and rural situations. It is strictly adult fare. EXPLOITATION: Capitalize on Deborah Kerr's deserved fame, on the many hits turned out by Powell and Pressburger. and the film's fearlessness in realistically portraying life in a convent and the problems besetting its inmates. Play up the Technicolor — more beautiful than any yet seen — the magnificent settings, costumes and Thibetan locale. Endeavor to secure the cooperation of local clergj', particularly Catholic. Arrange counter and window displays at bookstores, libraries and jewelers. Local Thibetan ruler, Gen. Esmond Knight, against the advice of his English agent, David Farrar. turns over his palace to a group of Anglo-Catholic nuns as a school and hospital. Sister Deborah Kerr is in charge. Cynically, Farrar brings to the convent for cloistering a beautiful, sexy native girl, Jean Simmons. Orderliness is again disturbed when Knight's young son, General Sabu, is admitted as a pupil. After months elapse, Deborah realizes the Sisters, including herself, are beginning to stray in thought from the vows of their Order; Sister Kathleen Byron in particulrr, is obviously enduring great mental struggle, falling in love with David. When a child, brought to the dispensary for treatment, later dies, the natives blame the Sisters for killing it and refuse to go near the convent. Sabu elopes with Jean. Kathleen, donning a short black frock she has secretly ordered from Calcutta, flees the convent and goes to David's bungalow, intending to spend the night with him. Sent back by him to the canvent, Kathleen comes upon Deborah ringing the bell in the chapel tower, pounces on her in mad fury. In the ensuing struggle Kathleen slips, hurtles 6.000 feet to the valle.v below. As predicted by David, Deborah and her group of Sisters, utterly depressed by their failure, return to Calcutta. 'SLAVE GIRL' COLORFUL, LAVISH TECHNICOLOR FANTASY Rates © • • — generally Universal-International ro minutes Yvonne De Carlo, George Brent, Broderick Crawford, Albert Dekker, Lois Collier, Andy Devine, Carl Esmond, Arthur Treacher, Philip Van Zandt, Dan Seymour, Trevor Bardettp, Eddie Dunn, Mickey Simpson, Rex Lease, George J. Lewis, Jack Ingram, Harold Goodwin, Don Turner, Phil Schumacher, Jack .Shutta, Paul Bratti, Joseph Haworth, Toni Raimondo, June Marlowe, Roseanne Murray. Directed by Charles Lament. Michael Fessier and Ernest Pagano, writers and producers of "Slave Girl," have gone to town on this lush and lavish, tongue-incheek extravaganza. Like previous Yvonne De Carlo vehicles, it creaks in plot, but is overflov.'ing with harem beauties in revealing costumes, nautch dancers, bearded bedouins, picture-postcard Technicolor, chases, rescues and escapes. In addition, it has .a better-than-average cast and considerable humor — comedy stemming from the narration by Lumpy, a camel speaking Brooklynese. Suitable for the top slot in most situations. "Slave Girl" unquestionably will prove entertaining to the younger trade; the majority of adults will take it as purely escapist fare. EXPLOITATION: Stress the lavish production, the flamboyant Technicolor, the curvaceous cuties. the thrilling chases, hairbreadth escapes and daring rescues. Play up the advent of the screen's newest, most glamorous star — Lumpy the Camel from Brooklyn. Catchline: "See 'Slave Girl' -It's Historical — It's Hysterical!" George Brent, gay blade of the early 1800's, is sent from Washington to Tripoli with a chest of gold to buy the freedom of ten American seamen held as hostages by Albert Dekker, the cruel pasha. Arriving in Tripoli. George falls heavily for Yvonne De Carlo, beautiful and mysterious Venetianborn adventuress, who robs him of his gold. Deprived of his ransom, Dekker flings George and his bodyguard Broderick Crawford into prison with the captive seamen. Yvonne, caught in the arms of Dekker's enemy, Carl Esmond, for whom she stole the gold, is taken to a torture chamber. George and the other Americans effect their escape, rescue Yvonne and agree to help Esmond dethrone Dekker. Told Esmond plans to doublecross the Americans, George and the seamen escape from his camp, are trapped by Dekker's forces. Yvonne effects their release, lures both native armies to their destruction, weds George. 20 FILM BULLETIN