Motion Picture Daily (Jan-Mar 1951)

Wednesday, March 7, 1951 Motion Picture Daily 5 Reviews "Abbott and Costello Meet the Invisible Man" (Universal-International) Hollyivood, March 6 A RAINY Monday night audience at the Ritz Theatre in Los Angeles promptly forgot about the "unusual" California weather outdoors when this brightly-conceived and alertly-executed Abbott-Costello comedy followed a sternly-militaristic March of Time subject upon the screen. Laughter that got rolling within the first minute of "Abbott and Costello Meet the Invisible Man," rippled steadily along the first hour and then broke into crashing waves when Costello entered a boxing ring to meet the title challenger, with the Invisible Man alongside to deliver the knockout punch. This left no room for questioning why this comedy team winds up year after year among the top ten "Money-Making Stars" in Quigley Publications' Annual Exhibitors' Poll. Foyer comment in the theatre tended to suggest that this may be their best all-around comedy in years. Produced by Howard Christie, and, directed by Charles Lamont, from a script by Robert Lees, Frederic I. Rinaldo and John Grant, the production makes excellent use of that type of trick photography that was used by the same studio in its highly successful "Invisible Man" some years ago. The story casts Bud and Lou as detective-school graduates who are employed by a prison-escapee who is sought on a murder rap,, although he is innocent. Complications begin when the latter, played by Arthur Franz, is inoculated with an invisibility serum and goes along with the comedy pair, unseen, as they carry out his instructions in an effort to get the goods on a crooked fight-promoter who actually committed the murder. One after another, police and others who witness the unseen man's activities submit themselves to psychiatric examination, with excruciating results. The merriment reaches its peak when Costello enters the prize ring in a supposedly "fixed" bout. Also contributing importantly to the entertainment total are Nancy Guild, Adele Jergens, Sheldon Leonard and William Frawley. Running time, 82 minutes. General audience classification. March release. W. R. W. a Rawhide (20th Century-Fox) C ET in the days when the stage coach was linking America, Tyrone Power <-> is bedecked in Western garb and presented as a casual young man who has set out to "learn the business." Working as an attendant at a relay station, he learns a lot in a short time, all of which makes for a skilled and exciting Western drama that should have little trouble in pleasing. The screenplay, by Dudley Nichols, builds upon the idea of having a handful of people held captive by a group of desperadoes. Thus a strong element of suspense is added to an old and dependable entertainment form. All Westerns of dimension should spotlight a girl, and in this instance Susan Hayward fills the requirement. Travelling Westward with the infant daughter of her sister, her journey is rudely interrupted at the Rawhide stop-off because of a prison break. Miss Hayward is an obstreperous young lady and she does not get along too amicably with Power. Presently Hugh Marlowe, posing as a sheriff, rides up to the station and before long reveals himself as an outlaw. Joined by three other henchmen, Marlowe takes command of the station, imprisoning Power, Miss Hayward and the baby. Edgar Buchanan, another station attendant, has already been killed by Jack Elam, a leering, gun-crazy outlaw. What follows is a long ordeal of fear and uncertainty for the captives as the outlaws await the arrival of a gold-laden stage. In the interval Miss Hayward falls in love with Power while enmity between Marlowe and Elam widens. Efforts to escape by the captives are fruitless. As the climax nears, Elam kills Marlowe, another outlaw flees, a third is shot and, finally, a long gun duel between Power and Elam brings an end to the latter. At this point" in the Samuel G. Engel production, Power feels that he has a right to claim that he is "learning the business." Henry Hathaway directed. Running time, 86 minutes. General audience classification. Release date, not set Mandel Herbstman it if Belle Le Grand (Republic) "D RAWLING, lusty days of the Comstock Lode and the Barbary Coast, reAJ produced through lavish and faithful sets artfully photographed, form the background _ for a familiar portrait of a gambling lady and her trials, loves and tribulations. The picture, based on a Peter B. Kyne story, should satisfy in situations where action and melodrama are a basic requirement. Allan Dwan directed and he kept the story moving, carefully interspersing comedy, song and raw drama. Muriel Lawrence, a coloratura soprano, is introduced, and shows both professional appearance and a voice. The comedy is supplied by Hope Emerson, as a gun-toting, raucous mining town millionairess. The drama comes from Vera Ralston as the gambler, cynical but always watching over and educating anonymously her sister, Miss Lawrence— and secretly loving reckless miner and gambler John Carroll. The villain is Stephen Chase, Miss Ralston's unacknowledged husband, an unscrupulous stock market manipulator who is not above murder. In the end, Miss Ralston disposes of Chase, sees her sister a singing success, and wins her love, Carroll. Others in the cast are William Ching, John Qualen, Henry Morgan, Charles Cane, Thurston Hall, Marietta Canty, Glen Vernon and Muriel Lawrence Running time, 90 minutes. General audience classification.