Motion Picture Herald (Jul-Aug 1943)

MOTION PICTURE HERALD August 28, 1943 keep the sympathy of the audience and provoke a good-natured amusement which should bring the rest of the family to the theatre the second day. This is in no small measure due to Mr. Johnson's clever script and John Stahl's sensitive direction. The story is a sophisticated one for so homely an appeal. A great artist, arriving in London after 25 years of shunning his public, takes the name of his valet who has died of pneumonia and allows the gentleman's gentleman to be buried with pomp in Westminster Abbey — not, however, without some misgivings. He meets and marries the lady with whom the valet had corresponded via a matrimonial agency, settling down to a humble but happy life in Putney. Some financial difficulties cause him to reveal his identity to his unbelieving wife who urges him to stop worrying so much and secretly sells his masterpieces for 15 pounds apiece. A London dealer recognizes their worth but must produce the artist to satisfy a customer's suit. The artistwho, in true Woolley style, would prefer to see both sides lose, refuses to admit anything, until his new happiness is threatened. There are many opportunities for the majestic contempt that is Mr. Woolley's trademark and many more for his genuine dramatic ability. Miss Fields' subdued humor is a welcome surprise and one that promises a screen career on this side of the Atlantic for Britain's Gracie. Laird Cregar as the art dealer _ and Una O'Connor as the valet's wife, contribute two excellent characterizations pacing a very satisfactory supporting cast. Seen in the home office projection room. Reviewer's Rating: Good. — E. A. Cunningham. Release date, August 27, 1943. Running time, 87 min. PCA No. 9319. General audience classification. Priam Farll Monty Woolley Alice Challice Gracie Fields Clive Oxford Laird Cregar Mrs. Leek Una O'Connor Alan Mowbray, Melville Cooper. Franklin Pangborn, Ethel Griffies, Eric Blore, Montagu Love, Richard Fraser. Hoosier Holiday (Republic, 1943-44) Indtena Frolics To the inherent, pervading warmth and humanity of this comedy have been added exploitable personalities, favorites of millions who listen to radio. There are the Hoosier Hot Shots, with their weird musical instruments and highly complicated arrangements ; George D. Hay, of barn dance programs ; Lillian Randolph, Negro comedienne, of the "Great Gildersleeve" programs ; "The Music Maids," of the Bing Crosby program, and others. All fit into their roles naturally, so that this is not a series of obvious skits. The Hot Shots and George Byron are the "five Baker Boys," singing, strumming, tooting farmers who are plugging the "land army" by radio and rallies. But they want to join the Air Corps. Thurston Hall, draft board chairman, declares that as farmers they're more essential. They plot to disgust him so he'll draft them. Their ground is more certain because Hall dislikes their mother, Emma Dunn, who rejected his proposals long ago. They pursue Hall's five daughters, the Music Maids and Dale Evans. The net result is not to alienate Hall ; it is to reconcile Hall and their mother, and make Hall test their sincerity by an attempt to force them to propose to the girls. But that is not what they wanted ; and they stand up the girls. The girls prepare to leave for New York, heartbroken. The boys have a change of heart. The closing scene shows all the principals on the farm, enjoying the life, and part of the "land army." There is comedy, fast and plenty, all through, provided by the boys, by Byron, who is an attractive leading man ; by Miss Evans, who is charming and has several song numbers ; by Mr. Hay, as the local radio station owner and master of ceremonies ; by Hall, pompous and puffing as usual ; and bv Isabel Randolph. Reviews received too late for this Section are printed in the regular news pages of the Herald and are reprinted the following week in Product Digest for their reference value. the woolly witted "Mrs. Uppington" of the Fibber McGee and Molly Radio program. Frank McDonald directed this, under associate producer Armand Schaefer, from an original screenplay by Dorrell and Stuart McGowan. Johnny Marvin and Charles Henderson wrote the original songs, and Josephine Earl staged the dances. Seen in a New York projection room. Reviewer's Rating : Good.— Floyd Elbert Stone. Release date, September 13, 1943. Running time, 72 min. PCA No. 9449. General audience classification. Dale Fairchild Dale Evans Jim Baker George Byron Molly Baker Emma Dunn Henry P. Fairchild Thurston Hall "Nicodemus," Ferris Taylor, Georgia Davis, the Hoos ier Hot Shots, the Music Maids, George D. Hay, Isabel Randolph, George "Shug" Fisher, Lillian Randolph. Death Valley Manhunt (Republic, 1943-44) Cactus Horse Opera This newest of the Wild Bill Elliott westerns is cut-to-measure for the star with all kinds of rootin', tootin' and shootin' providing plenty of fast action from the tail end of the credits to the final scene. The story is woven around a U. S. Marshal who retires only to return to service to aid the friend of his late father, who heads a big oil company. He finds that, instead of dealing honestly with the homestead land owners of the Death Valley region, the representative of the company is trying to steal, through legal means, all the oil lands of the ranchers. Elliott cleans up the deal, saves the well of the wildcat driller-ranchers, with just a meager touch of love interest peeping through when the crooked judge's niece shows decided interest in Bill and he seems to return the feeling. Elliott, George "Gabby" Hayes, Weldon Heyburn as the heavy, and Herbert Hayes as the double-dealing judge help to keep the film well up in the ranks of Westerns, while Anne Jefferys provides a pretty heroine with a touch of real western womanhood of the true blue type. Producer Eddy White and Director JackEnglish put the story before the cameras at a fast pace and leave nothing to be desired in the way of production or direction. Photography by Ernie Miller is excellent. Previewed at the Hitchinq Post, Hollywood, where a nearly afternoon audience of boys and girls sprinkled with adults vocally expressed enjoyment. Reviewer's Rating : Excellent.— Jack Cartwright. Release date, September 25, 1943. Running time, 55 min. PCA No. 9466. General audience classification. Marshal Wild Bill Bill Elliott Gabby George Hayes Weldon Heyburn, Anne Jefferys, Herbert Hayes, Davison Clarke. Pierce Lyden, Charles Murray, Jr. Billy the Kid in the Renegade (PRC Pictures) Western This is a Western in keeping with the best Billy the Kid style, packed with action and not a few laughs. It is sure-fire fare for the rabid Western fans, with its conventional plot and characters. Buster Crabbe is able enough in his role of Billy the Kid, and Al St. John as Fuzzy. the protagonist's side-kick, manages to project a number of laughs from the screen and is bound to get the unanimous approval of the youngsters in the audience. Our two heroes have come to the rescue of Dan Martin — who, needless to say, has a very pretty daughter. He has been framed by the mayor and his henchmen, who covet all the area's green pastures. While on his way to the bank with $50,000 to plug a threatened run, the villains hold him up and make away with the sum, and then spread it around town that Banker Martin has falsely reported being robbed to keep the money for himself. Billy suspects the Mayor, and he and Fuzzy and the Sheriff expose the plot to the tune of plenty of action and a generous sprinkling of comedy. The production is slip-shod in spots — in one scene the outlaws draw guns and a man falls dead without the sound of a shot. But they're minor defects and do not interfere seriously with the job at hand; that of getting together a palatable dish for Western fans. Seen at the New York theatre, New York, at an afternoon performance. Audience reaction was mixed. Reviewer' s Rating : Good. — Bert Hicks. Release date, July 1, 1943. Running time, 58 min. PCA No. 9130. General audience classification. Billy the Kid Buster Crabbe Fuzzy Q. Jones Al (Fuzzy) St. John Julie Lois Ranson Karl Hackett, Ray Bennett, Frank Hagney, Jack Rockwell, Tom London, George Chesebro. SHORT SUBJECTS MARDI GRAS (Para.) Musical Parade Paramount's new Musical Parade series of two-reel short subjects in Technicolor makes a promising debut at the New Orleans "Mardi Gras." It has a capsule story of boy meets girl, gay music and lavish backgrounds. Production and direction are of feature calibre. Two young singing stars, Betty Rhodes and Johnnie Johnston, carry the story with refreshing gayety. This should serve as a valuable introduction to audiences for the features Paramount plans for them. Val Setz, juggling clown, Adriana and Charley, the Rogers Dancers and Bert Roach provide some interludes of topflight vaudeville at the Mardi Gras ball. Two original songs, "At the Mardi Gras" by Lester Lee and Jerry Seelen and "All the Way" by Jule Styne and Kim Gammon provide something to whistle. Walter MacEwen produced and Hugh Bennett directed. They offer entertainment all the way. It should prove a bright spot on many programs. — J. S., Jr. Release date, October 1, 1943. 20 minutes ALL SAILS SET (Para.) Sportlight (R2-10) The making of a sailor for the merchant marine at the U. S. Maritime Service schools is shown by Grantland Rice in this Sportlight. Training ashore and at sea are covered at the Sheepshead Bay station, New York and in Florida. There are some spectacular views of the full-rigged school ship, Joseph Conrad. Release date, Sept. 10, 1943 10 minutes POPULAR SCIENCE NO. 6 (Para.) J2-6 The mobile police laboratory of the Illinois State Police is the lead story of this Popular Science short in color. In contrast the reel shows the super-gymnasium and swimming pool of the Beverly Hills, Calif., high school, Rio de Janeiro's famed mosaic sidewalks, and the construction of landing barges and small naval craft at New Orleans. The Wizard of Waukeshaw again performs in his own crackpot way. Release date, August 13, 1943. 10 minutes (Additional short subjects on page 1512) I 506 Product Digest Section