Independent Exhibitors Film Bulletin (1947)

'SECOND CHANCE' SUSPENSEFUL COPS-AND ROBBERS PROGRAMMER Rates as supporting dualler for act 20ih Cenluiy-Fox (Sol M. Wiiitzel) (i3 minutes Kent Taylor, I^ouise Curiie, Dennis Hoey, Larry Blake, Ann Doran, J,)hn Eldrid°;e, Paul Guilfoyle, William Newell, Guy Kin^sford, Charles Flynn, Eddie Fetherston, Francis Fierlot, Betty Compson. Directed by James S. Tinlinij This tautly constructed programmer about international jewel thieves follows the usual cheating-cheaters pattern. Lacking names, it will be used as a supporting feature and shouid give satisfaction to general patronage. Kent Taylor, Larry Blake and the photopenic Louise Currie give workmanlike parforniances and Paul Guilfoyle stands out ion and naborhood houses in a minor role, but Dennis Hoey is guilty of overacting. Based on an original by Louis Breslow and John Patrick, Arnold Belgard's fast-moving screenplay is packed with suspense, action, plot twists and crisp dialogue, yet does not resort to a single killing. Production quality, recording and photography are good, James S. Tinling's direction is sharp and sure. EXPLOITATION: Play up the film as an expose of new angles in an old racket — how international gem thieves operate. Catchline: A Million in Gems at Stake, Yet She Betrayed the Man She Loved to Save Him from Himself. Following a chance meeting, Louise Currie helps Kent Taylor steal a $30,000 diamond. The tv/o are unable, however, to cash in on the theft, because police detective Larry Blake arrests Kent's fence, Paul Guilfoyle, as he pockets the $10,000 reward paid him by insurance agent Michael Brandon. Enamored of Louise, Kent wishes to cut her in on a $1,000,000 diamond robbery planned by Dennis Hoey, leader of an international gang. Hoey's suspicions that Louise is working with the police are well founded; she tips off Blake. But Hoey cannily uses an alternate plan, steals the gems and tries to kill Louise. Blake and the police enter, rescue the girl and round up the gang. Kent, slightly wounded in shielding Louise from Hoey's bullet, is arrested with the others. Blake promises Louise that Kent, for whom she has promised to wait, will not receive too heavy a sentence. ■RUSTLERS OF DEVIL'S CANYON' FOLLOWS 'RSD RYDER' PATTERN Rates • © + for western houses Republic 58 minutes Allan Lane, Bobby Blak Martha VVentv.orth, Peggy Stewart, Arthur Spac<», Emmett Lynn, Roy Bancroft, Tom Lond:;n, Harry Carr, Pierce Lyden, Forrest Taylor. Directed by R. G. Springsteen. Latest of the Red Ryder series, "Rustlers of Devil's Canyon," with Allan Lane in the old Bill Elliott role, has plenty of riding, shooting and fist fights, hence should satisfy western fans. Lane does well as Red Ryder, Bobby Blake gives his routines portrayal of Little Beaver and Peggy Stewart is spirited in the inguene role. A relative newcomer to the cast, Emmett Lynn furnishes adequate comedy relief as a veteran Ir.dian-fighter. Photography is good, particularly in the cattle stsmpsde scenes and I'^ing shots. R. G. Springsteen's direction and Earle Snell's original screenplay maintain a snappy tempo and suspense commendably. Allan Lane returns from fighting in Cuba to find Sioux City, Wyoming, terrorized by rustlers. With his little Indian pal Bobby Blake, Allan does a bit of trailing and discovers the rustlers are using Lava Basin as a hideout. A group of Cuban War veterans headed by Peggy Stewart and her brother Harry Carr arrive, intending to homestead in the Basin. Allan tries to warn them it's dangerous country, previous homesteaders having been massacred there bj the outlaws, but Peggy resents his advices, attributing them to the cattlemen's traditional enmity toward nesters. To cover up their own rustling operations, the outlaws stir up strife between the cattlemen and the nesters. Peggy blames Allan for a brutal attack on Harry perpetrated by Doctor Arthur Space's rustling henchmen. At end Allan and Peggy shoot it out with the rustlers, are saved by the timely arrival of Sheriff Tom London's posse, summoned by Bobby. 'GAS HOUSE KIDS GO WEST' LOW-GRADE COMEDY A TIME-WASTER Rates • ^ in lower slot in minor action spots Pile (i3 minutes Kmory Parnell, Chili Williams, Vince B2rnettt, William Wright, Lela Bliss, Ronn Marvin, Ray Dolciame, Carl Switzer, Bennie Sartlett, Rudy Wissler, Tommy Bond Directed by William Beaudine. This boring, humorless programmer has nothing to recommend it and will get by only with juvenile audiences in minor action houses. Grosses will be negligible since the cast is devoid of names. Best perform ance is by Emory Parnell as a New York police sergeant chaperoning the Gas House Kids on a cross-country tour; Chili Williams, much publicized "Polka Dot Girl," does not photograph well; Vince Barnett g^ives one of his routine characterizations as a dealer in stolen cars, and Carl "Alfalfa" Switzer. given overmuch footage as leader of the Gas Hous Kids, simply lacks talent, his one song number being the worst of many dull moments in the picture. Production quality is satisfactory, photography above average. William Beaudine's direction is perfunctory. As reward for winning the district basketball championship, the Gas House Kids are given a free vacation at the California ranch of Lela Bliss. For the trip west, the boys and their adult escort, Sgt. Emory Parnell, drive a new auto a local dealer instructs them to deliver to West Coast fence, Vince Barnett. The car safely delivered, they proceed to the ranch and meet Lela's daughter Chili Williams and her fiance William Wright, foreman. They learn the car they've delivered is a stolen one, and Vince and William are partners in a stolen car racket. After several exciting adventrures the boys bring the crooks to justice. 'THE GREEN COCKATOO' DATED BRITISH WHODUNIT DRAGS Rates • in lower slot Devonshire Films 63 minutes John Mills, Rene Ray, Robert Newton, Charles Oliver, Bruce Seton, Julian Vedey, Allan Jeayes, Frank Atkinson. Directed by ^Villiam Cameron Menzies. Produced about ten years ago for the 20th Century-Fox British studios by William K. Howard, this pedestrian and dated whodunit has little to offer American audiences. Its lack of names, pace and suspense definitely earmark it as a supporting feature. Based on a story by Graham Greene, the picture has two names slightly known to U. S. filmgoers: John Mills, star of "Great Expectations," and Robert Newton, featured in "Odd Man Out." Under William Cameron Menzies' direction, Mills, Newton and Rene Rajturn in commendable portrayals. Production qur^lity is adequate, although photography is somewhat low key, and recording of Mills' one song sub-standard. Mortally stabbed by gamblers whom he has double-crossed, Robert Newton dies in a shabby London hotel room. Its occupant, newly-arrived small-town girl Rene Ray, suspected of murder, flees as the police arrive. As previously instructed by the dying man, she goes to The Green Cockatoo, a shady night spot where Newton's brother, John Mills, is the entertainer. Through a misundeistanding, she is unable to give John his dead brother's last words — the name of his killer, Charles Oliver. Rene and John, each unaware of the other's identity, are drawn together by circumstances. He shields her from the police, protects her from Oliver's gang, but becomes increasingly suspicious of her. John is beaten up by Oliver's men, accuses Rene of betraying him. However, finally aware of his identity, she brings in the police at the risk of her own freedom, and enables John and the officers to round up the gang. At end, they wed. 22 I FILM BULLETIN