Motion Picture Herald (Jul-Aug 1937)

July 24, 19 3 7 MOTION PICTURE HERALD 47 a time Jim is content with a small job in a small town, but, bitten by the gambling bug again, he takes Marjorie to Santa Anita. Between coups at the track, on the dice and roulette table, he comes into another fortune, but Marjorie leaves him. Good theatre must have Jim, broke, go back to Marjorie. She's all for giving him another chance, particularly because Jim is so sorry their baby died. But a tongue-lashing administered by mother-in-law Mrs. Mayhew drives Jim back to Valerie. The finale seems to have him embarked on a happier and more prosperous gambling career, while, even though the audience doesn't see it, Marjorie is presumed to be left to suffer in silence. Previewed at Warner Hollywood theatre. The audience attracted to see "The _ Singing Marine" seemed to be patiently awaiting the finish of the preview and the appearance of Dick Powell and company on the screen. — G. M. Produced and distributed by Warner Bros. Directed by Louis King. From a novel by W. R. Burnett. Screenplay by Roy Chanslor. Photographed by James Van Tress. Assistant Director, Arthur Leuker. Edited by Jack Saper. Art Director, Esdras Hartley. P. C. A. Certificate No. 3295. Release date, July 29. Running time, 60 minutes. General audience classification. CAST Jim Turner Barton MacLane Valerie Ann Sheridan George Mayhew Dick Purcell Marjorie Mayhew Peggy Bates Pres Barrow Walter Cassell Mrs. Mayhew Lottie Williams Bright Kenneth Harlan Eight Ball Eugene Jackson Broadway Charley Foy Joe James Bobbins Wild and Woolly (20th Century Fox) Comedy-Melodrama There is in this picture practically all the characteristic material demonstrated saleable to the substantial public of Jane Withers accountable for her runner-up position in Motion Picture Herald's annual poll of money-making stars. It gives her bright but not overbright lines to speak, precocious but not incredible deeds to perform, and it employs what amounts to a turning back of the clock in time setting to make certain extraordinary incidents seem plausible. The action takes place today in a small western town, Mesa City, but the town is in the throes of a three-day Pioneer celebration during which the citizens dress and act as they believe their forebears did 40 years ago. This device lends seeming logic to such events as a locomotive runaway, with rescue, and a bank robbery by stagecoach, with horseback pursuit and capture of the criminals. There's considerable shooting in this connection, yet the picture is in no sense a routine Western. Miss Withers is cast as the granddaughter of a reformed bandit who, having served as sheriff in the long ago after his redemption, seeks reelection. Against him are opposed the town banker, with whom he has conducted a feud since boyhood, and as the picture opens the banker is engaged in splitting with itinerant crooks the profits from a dishonest gambling concession permitted to operate during a civic celebration. The grandfather and his ancient foe are in amusing conflict, with the little girl and a youthful associate trying to keep matters from developing into tragedy, until the crooks try to rob the bank, when the former bandit captures them and peace is restored all around. A young newspaper editor and a school teacher work out their romance while all this is going on. Walter Brennan's performance as the grandfather is an exploitation asset. Carl "Alfalfa'' Switzer's handling of the secondary juvenile role drew an unusual preview reception. JaclSearl portrays a bad boy in his usual manner. The Wild West character of proceedings and dress justify ballyhoo of the sort dear to the hearts of juvenile Withers fans. Previewed July 13th at the Uptown theatre, Los Angeles. The audience, predominantly payees, laughed in the right places, applauded without prompting and gave every indication of considering the production one of Miss Withers' best.—W. R. W. Produced and distributed by Twentieth Century -Fox. Associate producer, John Stone. Directed by Alfred Werker. Screen play by Lynn Root and Frank Fenton. Assistant director, William Eckhardt. Editor, Al De Gaetano. Photographed by Harry Jackson. P. C. A. Certificate No. 3441. Release date, September 10, 1937. Running time, when seen in Hollywood, 65 minutes. General audience classification. CAST Arnette Flynn Jane Withers Gramp Flynn Walter Brennan Ruth Morris Pauline Moore Zero Carl "Alfalfa" Switzer Chaunce Ralston Jack Searl Edward Ralston Berton Churchill Blackie Morgan Douglas Fowley Frank Bailey Robert Wilcox Leon Wakefield Douglas Scott Dutch Lon Chaney, Jr. Barton Henshaw Frank Melton Lutz Syd Saylor Confession (Warner Brothers) Melodrama Showmen whose audiences respond readily to a Kay Francis billing have reason to inform them that in this picture the star steps over into what might be called the field of undiluted dramatics. The character and play are of the kind that Bernhardt and Duse were wont to give themselves to in their era. It probably isn't quite Hoyle to mention "Madame X" and "East Lynne" as directly comparable productions, but it is of the stuff of which those were made. Like them, too, "Confession" makes no concessions to modern tradition in comedy relief. Miss Francis is cast as "Vera," a concert hall singer who murders "Michael Michailow," a pianist and conductor, when he visits her place of employment with "Lisa," a young music student. Brought to trial, she pleads guilt v and declines to give her reasons until the court room has been cleared. Then she tells judge and jury that her victim betrayed her years ago, causing her husband, now dead, to divorce her, and that "Lisa" is, unknown to herself, her daughter. She receives a light sentence and the judge explains this to the public by saying that the murder was committed to prevent the victim's seduction of a young girl, preserving the secret of her relationship to the murderess. Because the outcome of the story turns on this indicated judicial decision that imminence of seduction is extenuation of murder, and because of incidents and dialogue pertaining to infidelity and betrayal, the picture can hardly be said to constitute suitable entertainment for the very young. Basil Rathbone plays the betrayer and wouldbe seducer. Ian Hunter portrays the husband and Jane Bryan the daughter. Donald Crisp is the understanding judge. Telescoping of the time element is accomplished in an effective way and there are incidental musical numbers of better than average quality. Reviewed at studio preview, Warners' Hollywood theatre, July 15th. The audience, composed in about equal measure of professionals and payees, indicated by auditorium deportment a deep interest in the picture and by foyer comment the opinion that it marks a step forward and upward for the star. — W. R. W. Produced and distributed by Warner Brothers. Executive producer, Hal Wallis. Associate producer, Henry Blanke. Directed by Joe May. Original screenplay by Hans Rameau. Adaptation by Julius J. Epstein and Margaret LeVino. Assistant director. Sherry Shourds. Film editor, James Gibbon. Art director, Anton Grot. Musical director, Leo F. Forbstein. P. C. A. Certificate No. 3148. Release date, August 28. Running time, when seen in Hollywood, 85 minutes. Adult audience classification. CAST Vera Kay Francis Leonide Kirov Ian Hunter Michael Michailow Basil Rathbone Lisa Jane Bryan Presiding Judge Donald Crisp Hildegard Mary Maguire Mrs. Koslov Dorothy Peterson Stella Laura Hope Crews Prosecuting Attorney Robert Barrat Defense Attorney Ben Welden Xenia Veda Ann Borg Wanda Helen Valkis Reporter Anderson Lawlor London by Night (MGM) Melodrama All the exploitation patterns followed' in promotion of previous pictures in the shudder technique are at showmen's disposal in connection with this production. It has three murders, none of them too gory, two seeming abductions, an extortion, a brilliant reporter, an industrious Scotland Yard operative, all sorts of susceptible characters and, beneath it all, an entirely credible explanation which isn't revealed too soon. There are also romantic and comedy elements for those who insist upon them in even this type of entertainment. Most of the goings on take place as the title suggests, in London and at night. Fog is heavy over the area where a shopkeeper is abducted and a policeman slain by a mysterious figure who hides behind an umbrella and so is known as the umbrella man. A reporter and a Scotland Yard inspector go to work on the case. Another abduction and murder take place. Then the wealthy father of the girl with whom the reporter has fallen in love receives telephoned instructions to transmit money to the umbrella man on penalty of his daughter's life. When the reporter's dog provides a clue to the guilty party it develops that the extortion victim's secretary has been impersonating the supposedly abducted citizens in order to terrorize his intended victim. Cornered, the criminal attempts to use the girl as a shield in making his escape but the reporter kills him and, presumably, marries the girl. The picture is well produced and a large if not especially notable cast enacts it in a smoothly effective manner. The identity of the criminal is well guarded until the final sequence and the explanation provided is logical. Reviewed at studio prcvieiv, Uptown theatre, Los Angeles, July 16th. The audience appeared to become thoroughly engrossed in the mystery, winced and exclaimed in the indicated places, and left the theatre evidently well satisfied. — W. R. W. Produced and distributed by Metro-Goldwyn-Mayer. Produced by Sam Zirr.balist. Directed by William Thiele. Assistant director, Mervin Stuart. Film editor, George Boemler. Photographed by Leonard M. Smith. P. C. A. Certificate No. 3551. Release date, July 30. Running time when seen in Hollywood, 68 minutes. General audience classification. CAST Michael Denis George Murphy Patricia Herrick Rita Johnson Bessie Virginia Field Correy Leo G. Carroll Inspector Jefferson George Zucco Sir Arthur Herrick Montagu Love Bill Eddie Quillan Squires Leonard Mudie Tims J M. Kerrigan Inspector Sleet Neil Fitzgerald Postman Harry Stubbs Burroughs Ivan Simpson Jones Corky One Mile from Heaven (20th Century Fox) Drama Exhibitors who attempt to arouse popular interest in this picture will find themselves facing quite a task. Departing radically from the customary production formula in that it entirely ignores love interest, it caused the preview audience to laugh in several places where the objective sought was presumably to stir the more sentimental emotions. Additionally, the rather delicate nature of the theme is not apt to be received with any great enthusiasm in certain sections of the country. With Bill Robinson's dancing, however, the picture includes one desirable amusement element, even though in some instances patrons may think there is too much of it. In gist the story has newspaper woman, "Tex Warren," succeeding in proving that negress "Flora Jackson" is not the mother of white child "Sunny." There's sympathy for Fredi Washington, who assumes the character of "Flora," in her devotion to the child. But Rob(Continitcd on page 50)