Motion Picture Herald (Nov-Dec 1944)

SHt)W MEN'S REVIEWS ADVANCE SYNOPSES SHORT SUBJECTS THE RELEASE CHART This department deals with new product from the point of view of the exhibitor who is to purvey it to his own public. Meet Me in St. Louis tfGi^f—Period Play Plus Songs All that Technicolor and minute attention to the '■Tappings of authenticity can do in behalf of a pe' iod play are done superbly for this otherwise plain -Old unpretentious tale about a family that lived in i?t. Louis before and during that city's World's ^air in 1904. As a thing of beauty for the eye. 'jid as a thing of lively interest for the ear when 'jihe currently popular "Trolley Song" is being »erformed in sparkling fashion, the film compares nore than favorably with the best in its category. "3n such counts as story, of which it has lie merest trace, and exploitability, which boils '.own to the marquee magnetism of Judy Garland, r.Iargaret O'Brien and a nostalgic title, the prop •rty does not fulfill the promise of its seven-digit •udget. • Producer Arthur Freed predicated his picture ^'n the nostalgic appeal of some sketches written I^y Sally Benson and converted to script form by , ; rving Brecher and Fred F. Finkelhofte. They i oncern a family of seven — grandfather, father, nother, son and four daughters — whose calm and ineventful life in St. Louis is momentarily disurbed when the father announces his intention to . .ake them all to New York to live. This threat^ :ns to disrupt the romantic and social plans of ijk)me of the members of the household, but the ' 'tireat is abated when, on Christmas Eve, the fath. .r decides not to make the move after all. From his slender thread is appended a large number •f small incidents interesting in themselves, in the ■ vay that the background ingredients of a Hardy S i^amily picture are interesting, but only two or • hree of them late in the picture exert any influ. .;nce on the emotions that motivate customers to he circulation of rave reports to their friends !tnd neighbors, 'h "The Trolley Song" is the best of four num^ 'lers by Hugh Martin and Ralph Blane sung by j ]A\ss Garland in better than her usual style. The S iitle song, sv- in part or whole by everybody in he cast, has both nostalgic and thematic value. The most effective use of music, however, is an 'ther oldie, "You and I," performed in the pic. ure's best dramatic moment by Leon Ames and ; vlary Aster. By and large, the use of music is not ? m a scale to warrant exploitation of the dttrac_ ion as a musical although it is a considerable addij lion to the entertainment. J ' The Misses Garland and O'Brien make the most t»f their opportunities, and there are individual " licting achievements of importance by Ames and 3 (Fom Drake. Harry Davenport and Marjorie Aain deliver their always dependable perform , i'nces in character roles. Direction by Vincente Minnelli is smooth hroughout and especially effective in his treat => nent of detail. Previewed at the Village theatre, Westwood, ■' vhere it was received very zvell. Reviewer's ^ lating: Good. — William R. Weaver. ^ Release date, not set. Running time. 113 tnin. PCA To. 10O5O. General audience classification. ^ Esther Smith Judy Garland it ottie Smith ..Margaret O'Brien i ,Iary Astor, Lucille Bremer, I>eon Ames, Tom Drake, ■ .larjorie Main, Harry Davenport, June Ixickhart, Henry ' I. Daniels, Jr., Joan Carroll, Hugh Marlowe, Robert mlly. Chill Wills. MOTION PICTURE HERALD, NOVEMBER 4, 1944 Something for the Boys 20th Century-Fox — Fun, Music, Technicolor For comedy and music, dancing, singing and Technicolor, "'Something for the Boys" is right up with the best screen treatments of musical hits from Broadway. The production is attractive, with ensemble numbers especially well staged by Nick Castle, and the cast includes such able comedians as Carmen Miranda, Michael O'Shea and Phil Silvers. If it falls down a bit in the drama department, where the book by Herb and Dorothy Fields gets involved, this is too common a fault to receive more than passing notice from an audience already well entertained. The original score by Cole Porter has been augmented by some new songs by Jimmy McHugti and Harold Adamson. Twentieth Century-Fox's "Cherry Blonde," Vivian Blaine, shares the vocal spotlight with Perry Come. The story opens with the discovery by three oddly assorted cousins — a sidewalk salesman, a carborundum polisher from Brazil and a night club singer from Brooklyn — that they are heirs to an old southern mansion. The estate is insolvent and uninhabitable until the Army moves in looking for quarters for their wives. A quick transformation makes it suitable for some elaborate canteen entertainment, and a slight misunderstanding puts it "off limits." But the uncanny ability of the Brazilian cousin to receive radio signals through her teeth saves the day. There is the usual variation on the boy meets girl thejue, as well, with Miss Blaine and O'Shea handling the romantic assignments pleasantly. Comedy by Phil Silvers, who changes his liquid stocking spiel for a Southern accent when he hits Georgia, highlights the film and reaches its climax in the "Southland" routine, which keeps the Red .Army at bay while the Blues plan an attack. The production, supervised by Irving Starr, is somewhat uneven, but rarely routine. Irving Starr's direction is notable in the comedy scenes. The screenplay was adapted by Robert Ellis, Helen Logan and Frank Gabrielson. Seen in the home office projection room. Reviewer's Rating : Good. — E. A. Cunningham. Release date. November, 1944. Running time, 87 niin. PCA No. 10159. General audience classification. Chiquita Hart Carmen Miranda Rocky Fulton Michael O'Shea Blossom Hart Vivian Blaine Harry Hart Phil Silvers Perry Como, Sheila Ryan, Glenn Langan, Roger Clark, Cara Williams, Thurston Hall, Clarence Kolb, Paul Hurst, Andrew Tombes. Dark Waters U A-Bogeaus — Murder on the Bayou Psychological melodrama is no novelty this season, but Benedict Bogeaus has set his film of fear and murder in a new and eminently suitable locale. The bayou country of Louisiana forms a background of lush vegetation and treacherous swamps, emphasizing the terror of the story and yet offering some small relief in the customs of the people who live on its waters. A strong cast, headed by Merle Oberon, Franchot Tone and Thomas Mitchell, should insure audience attention although the generally somber tone of the drama may restrict its appeal. The story by Frank and Marian Cockrell ran originally as a serial in The Saturday Evening Post, and the adaptation by Mrs. Cockrell and Joan Harrison was built for excitement. Through the eyes of a girl who is slowly regaining health and emotional balance after a harrowing experience on a life raft, the audience sees the strange, isolated household of her only surviving relatives. Her aunt and uncle are obviously dominated by a mysterious guest and unable to cope with their overseer. The plantation is large, dark and dangerous, and frightening sounds break the silence of night. The only contact with normalcy and the outside world is the young doctor who drives the girl to the door and promises to return, regularly. It is soon clear that the plan is to frighten the girl into insanity or suicide, but the question of whose plan and why maintains suspense. The girl's suspicions finally force the plotters to action and attempted murder. Quicksand and the cool thinking of the doctor save the girl. Andre De Toth's direction is deliberate and effective, maintaining a single point of view to allow the greatest audience participation in_ the terror of the story. The production is at times self-consciously artistic in photography and musical background, and the plot is rather loosely motivated. But fine performances, particularly by Merle Oberon as the girl, Fay Bainter as the aunt and Elisha Cook, Jr., as the overseer, keep an illusion of reality and conviction. Seen in the home office projection room. Re-I'iewer's Rating : Good. — E. A. C. Release date, not set. Running time, 90 niin. PCA No. 10326. General audience classification. Leslie Calvin Merle Oberon Dr. George Grover Franchot Tone Mr Sydney Thomas Mitchell Fay Bainter, John Qualen, Elisha Cook, Jr., Rex Ingram, Odette Myrtil, Eugene Borden, Eileen Coghlan, Nma May McKinney, Alan Napier, Rita Beery. Vigilantes of Dodge City Republic — Western Wild Bill Elliott is becoming increasingly popular with the Western fans. So is the "Red Ryder" series, in which he is starred. The latest of the series is proof that such popularity is deserved, for it's a fast-moving drama, full of action and suspense. Norman S. Hall and Anthony Goldeway wrote the screenplay, from an original story by Hall. It's about the trials and tribulations undergone by Alice Fleming, as "The Duchess," in her attempt to run a freight line. The villain of the piece, portrayed by LeRoy Mason, tries to frighten her into selling the freight line cheaply. He stages a a number of holdups and arranges to have her insurance cancelled. When she remains obdurate, he frames Red Ryder for cattle rustling and then the sparks begin to fly. The cowboy, assisted by Bobby Blake as "Little Beaver" and Tom London as "Denver," outwits Mason after a series of harrowing experiences, climaxed by a wild ride on a flaming freight wafon filled with high explosives. William J. O'SuUivan was the executive producer, and Stephen Auer associate producer. Wallace Grissell directed. Seen at Hollywood's Hitching Post theatre. 2165