Independent Exhibitors Film Bulletin (1947)

-NIGHTMARE ALLEY' SENSATIONAL NOVEL REDUCED TO TEPID HODGE-PODGE Rates • • + on star's drawing power rwentieth Century-Fox 111 minutes Tyrone Power, Joan Blondell, Coleen Gray, Helen Walker, Taylor Holmes, Mike Mazurki, Ian Keith, Julia Dean, James Flavin, Roy Roberts, James Burke. Directed by Edmund Goulding:. In novel form "Nightmare Alley" was obviously questionable screen material, bound to run afoul of censorship. The Johnston office has deleted — and rightly — much of the shocking material originally in William Lindsay Gresliam's blood-curdling book, while inept editing has removed most of the essential characterization, motivation and incident. What remains is a hodgepodge of psychitary and side-shows, neither fish nor fowl. Clergymen, temperance workers, members of better films groups and parents teachers associations will protest against the extensive footage devoted to drinking scenes and deem the picture unsuitable for juveniles. They need have little fear concerning its effect on impressionable, youthful minds — the youngsters will find it boring, confusing and dreary. Adults, seeking the impact of the best-seller horror, will find Charles Furthman's screenplay has pulled all its punches. Under Edmund Goulding's direction, many of the players give overly-theatrical performances, although Tyrone Power and Joan Blondell give convincing portrayals. Production quality, photography, recording and music are impressive. EXPLOITATION: Stress the sensational nature of Gresham's best-seller. Play this up as Tyrone Power's greatest characterization to date. Spot directional arrows, poster cards, stencils, bumper strips — all pointing the way to "Nightmare Alley." Beat the "dry" element to the punch by circularizing members of temperance groups and solicit their cooperation in furthering the film's two-fisted attack on the evils of drink. Sensational side-show posters will make effective lobby and front display's. Ambitiou c.rnival barker Tyrone Power inadvertently ciuses the death of Ian Keith, boozing hi.sband and assistant of seeress Joan Blonde"!. G!i"'"> a.-d cnportunistic, Power makes love to Joan. He persuades Joan to teach him her act's code, then decamps with it and pretty sideshow performer Coleen Gray whom her guardion Mike Mazurki has forced him to marry. With Coleen as his assistant, Power, using Joan's code, attains stardom as a nightclub mentalist. Greedy for greater wealth, he becomes part REVIEWS in This Issue Nightmare Alley 19 This Time for Keeps 19 Wistful Widow of Wagon Gap 19 While There's Life 20 The Invisible M all £9 Spirit of West Point 2» Railroaded 2L High Tide 21 The Wild Frontier 21 Blonde Savage 23 Furia 23 Midnight in Paris 22 The Blue Veil 22 ners in the "spook racket" with charlatan psychologist Helen Walker. He overreaches himself while trying to fleece financier Taylor Holmes of $150,000 and accidentally kills him. Helen double-crosses Power, steals his money and implants within his mind a suspicion he's insane. Fleeing the police, Tyrone goes to pieces, becomes a sot and hits bottom as a "geek" in the carnival. There Coleen discovers hini. determines toredeem him. 'THIS TIME FOR KEEPS' LAVISH MUSICAL. BUT ONLY MODERATELY ENTERTAINING Rates • • • generally M-G-M 105 minutes Esther Williams, Lauritz Melchior, Jimmy Durante, Johnnie Johnston, Xavier Cugat, Dame May Whitty, Sharon McManus, Dick Simmons, Mary Stuart, Ludwig Stossel, Dorothy Porter, Tommy Wonder, Nella Walker, Holmes Herbert. Directed by Richard Thorpe. There is abundant evidence that Metro did not stint in the production of this latest Joe Pasternak musical. It is lavish, it is in Technicolor and it has some pretty good names for the marquee. But, despite these assets, it offers only moderate entertainment, and the reason is obvious. Mr. Pasternak, who used to do some novel and interesting things with his musicals, has gone "soft" and turned out a picture that is too. too pat. Nothing— but nothing— unusual or unexpected happens from the opening to the closing scenes of "This Time for Keeps." It is all according to all-too-familiar movie musical formula. However, there are elements that assure it reasonable boxoffice success and grosses should be fairly strong in the majority of situations. Esther Williams is an attractive creature in a bathing suit, and she is seldom out of it as she plays a water ballerina. Jimmy Durante, by sheer force of his comic personality, manages to make you laugh occasionally, especially with his "Lost Chord" number. Lauritz Melchior is in fine voice as he rips off a few arias and the title song, and gives evidence of gaining stature as an actor. Xavier Cugat and his band provide several musical interludes. Johnnie Johnston has a passable voice and the most promising screen presence of any of the sub-Crosby crooners. So, you see, the elements are all there for a really sock musical and it will prove disappointing to many, as it did to this reviewer, that they are not better coordinated and supported by a fresher plot. EXPLOITATION: Sell the cast, the Technicolor and Miss Williams in a bathing suit. Refer to Pasternak as the producer of former musical hits. Johnnie Johnston, ex-Gr-I, does not use the name of his doting father, Lauritz Melchior, who wishes him to followin his footsteps as an opera singer. Although he is engaged to a girl of his father's choosing, Johnnie goes a-courting Esther Williams, star of an aquacade show, whom he had met while overseas. Jimmy Durante. Esther's faithful friend and pianist at the water show, induces Xavier Cugat to give Johnnie a singing job with his band. Still not knowing who he is, Esther takes Johnnie to visit her grandmother. Dame May Whitty, at Machinac Island, where he is examined by the old lady and declared eligible for Esther's hand. Meanwhile, impatient to consummate his wedding plans for his son, Melchior publicly announces the engagement of Johnnie to the otner girl. Of course, Esther is heartbroken when she sees the announcement, refuses to see Johnnie, but they are reunited for the grand finale in Xavier Cugat's nite club. •WISTFUL WIDOW OF WAGON GAP' FAIR QUOTA OF LAUGHS IN A & C COMEDY Rates • • + generally; better where stars have follov Universal-International 78 minutes Bud Abbott, Lou Costello, Marjorie Main, Audrey Young, George Cleveland, Gordon Jones, William Ching, Peter Thompson, Olin Howlin, Bill Clauson, Billy O'Leary, Pamela Wells, Jimmie Bates, Paul Dunn, Diane Florentine, Rex Lease, Glenn Strange, Edmund Cobb, Wade Crosby, Murray Leonard. Directed by Charles T. Barton. The idea of Lou Costello in the role of a rather reluctant sheriff governing a wideopen frontier town is funny to contemplate and should give the exhibitor a strong exploitation wedge to sell this latest Abbott 5wrng and Costello comedy. While the idea does not quite come off as it might have, several hilarious gag routines and some occasionally bright dialogue suffice to make it good fare for A & C fans. Costello is first-rate as the lamb-turned-lion (but scared stiff), while Abbott plays the foil with his usual competence. Grosses will be in line with previous A & C vehicles. EXPLOITATION: Feature the Costello role as one of his funniest. Street stunt: A woman in farm garb of the 1880's, possibly driving a buckboard, placarded: "I'm 'The Wistful Widow of Wagon Gap' — See What I Do to Abbott and Costello at the Gem Theatre." Traveling salesmen Bud and Lou arrive in Wagon Gap. a tough frontier town. Lou accidentally kills a local desperado, is saved from lynching by an old Montana law making him responsible for his victim's debts and dependents. The victim's widow, Marjorie Main, and her brood become Lou's responsibility and work him ragged, particularly when he shies at her repeated offers of marriage. Since the town's gunmen won't shoot Lou for fear of inheriting his responsibilities, he's appointed sheriff, becomes the toughest man in Wagon Gap and, trying to escape from Marjorie, frustrates a stagecoach holdup. At end, Bud contrives to trick venal Judge George Cleveland into marrying Marjorie, then makes good his own and Lou's escape. OCTOBER 13, 1947 1»