Motion Picture Herald (Mar-Apr 1947)

SHOWMEN'S REVIEWS ADVANCE SYNOPSES COMPANY CHART 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. Buck Privates Come Home Universal International — Abbott & Costello For the many Abbott and Costello fans who have followed the escapdes of the two comedians through their weekly radio program and numerous motion pictures, "Buck Privates Come Home" is all they desire in the way of slapstick comedy, rapid-fire gags and all around comedy. For the other theatre-goers who are only slightly acquainted with the comedy pair, this will be a delightful surprise, as it is an above average Abbott-Costello film. Produced by Robert Arthur and directed by Charles T. Barton, the supporting players do much to enliven the comedy sequences. These include Tom Brown as a racing car designer ; Joan Fulton, his fiancee ; Nat Pendleton, a former Army sergeant and a New York policeman, dnd six-year-old Beverly Simmons as "Evey," a French war orphan. As the title indicates, the story is concerned with the two comedians as servicemen on their way home from overseas. Aboard ship inspecting officers find they have smuggled an orphan aboard. As they are discharged from the Army, the orphan escapes from immigration officers and meets her foster uncles. From there their experiences take them into a search for a home ; escaping the wrath of a local policeman who was their sergeant in the Army ; their entry into the automobile racing business, and finally Costello's mad ride in a midget racer. But the plot is secondary. Of first importance is that "Buck Privates Come Home" is a vehicle in which the stars are given free rein in putting over their comedy routines. And, although the routines are familiar, they have been sharpened. Also worthy of mention is the trick photography under the direction of Charles Van Enger, who has captured all the elements of the hair-raising comedy sequences in which Costello takes the midget racer on a wild ride over the country-side and through the city's congested traffic. Previewed at the Universal projection room in New York. Reviewer's Rating : Good. — George H. Spires. Release date, April, 1947. Running time, 77 min. PCA No. 12264. General audience classification. Slicker Smith Bud Abbott Herbie Brown Lou Costello Bill Gregory Tom Brown Sylvia Hunter Joan Fulton Collins Nat Pendleton Yvonne LeBru (Evey) Beverly Simmons Don Beddoe, Don Porter, Donald MacBride, Lane Watson, William Ching, Peter Thompson, George Beban, Jr., Jimmy Dodd, Lennie Bremen, Bob Wilkie High Conquest Monograms-Man Against the Matterhorn Spectacular scenery and spine-chilling suspense are the principal ingredients of a picture which indicates that there is a great deal to be MOTION PICTURE HERALD. MARCH 15, 1947 said for producer-director Irving Allen's technique of combining Hollywood's resources with those of nature herself. The exteriors, photographed in Switzerland by Richard Angst and Tony Braun, are so deftly combined with interiors and closeups filmed at Monogram's Hollywood studio as to lend the whole picture an air of verisimilitude which otherwise might never have been achieved. The breath-taking Alpine scenery, the suspenseful struggle of small figures pitted against the might of the mountain are the picture's greatest asset. It has an outof-the-ordinary freshness which should be reflected in better-than-ordinary grosses. Anna Lee, Gilbert Roland and Warren Douglas are the three components of the eternal triangle depicted in Max Trell's screenplay, based on a book by James Ramsay Ullman. All are experienced mountain-climbers : both of the men are in love with Miss Lee, and an ascent of the Matterhorn provides a testingground for the emotions of all three. Roland, cast as an Alpine guide, sees an opportunity to rid himself of his rival forever, and leaves the unconscious Douglas to get down as best he may. Miss Lee, who by this time has made up her mind which of the men she really loves, persuades the guide to go back up the mountain to rescue his enemy. He dies in the attempt. Lud Gluskin is credited as musical director, and his work contributes notably to the over-all production values of the picture. Seen at the Gordon theatre, Hollywood, where the audience registered audible approval. Reviezver's Rating : Good. — Thalia Bell. Release date, April 19, 1947. Running time, 83 min. PCA No. 11952. General audience classification. Marie Anna Lee Hugo Gilbert Roland Jeffrey Warren Douglas Beulah Bondi, C. Aubrey Smith, John Qualen, Helene Thimig, Alan Napier, Eric Feldary, Micky Kuhn, Louis Mercier, Richard Flato High Barbaree MGM — Drama Based on a novel by Charles Nordhoff and James Norman Hall, who wrote the memorable "Mutiny on the Bounty," produced by Everett Riskin and directed by Jack Conway, "High Barbaree" provides a most effective argument for those who say that variations based on proven and tested story formulas are practically inexhaustible. Once again it's a tale about a boy and girl who grow up together ; who then are separated and don't see one another for years, with the girl holding firm in her love for the boy and the hero re-discovering his childhood sweetheart. There are the usual complications and the customary happy ending. Out of this unpretentious story, Mr. Conway has made a film that will tug at the heartstrings of the adults while at the same time it is sure to be a hit with the younger crowd. Biggest draw in the ambitious cast is undoubtedly Van Johnson, who plays a straight dramatic role in this one. His performance should further endear him to his fans. Ably supporting him are the fresh and charming June Allyson and the always reliable Thomas Mitchell, both of whom have considerable marquee appeal. Also in the competent cast is Claude Jarman, Jr., the scrubbed-face youngster who recently made his screen debut in "The Yearling," and pretty Marilyn Maxwell. Under Mr. Conway's deft direction the story continues to build steadily and at a good pace with no trick missed to make the most of the stars' romantic appeal. The film opens with Johnson, as pilot of a PBY, attacking a Japanese submarine while on patrol in the Pacific. They are shot down and all but he and his co-pilot are killed. From then on the flashback technique is employed as Van tells his friend the story of his life. The early part of the picture shows Van as a youngster of three or four and then as a boy of 14. There are many amusing and touching scenes as the boy, played by Jarman, and his little girl friend go through adventures of a kind that would do justice to any Mark Twain setting. More often than not they are inspired by Mitchell, who plays Van's seafaring uncle. Years later, when Van and June meet again, now grown up, he has forgotten about his early ambitions to become a doctor and has, instead, become an aviation executive. Also, he is engaged to marry the boss's daughter. June, however, has become a Navy nurse as she had always planned. On seeing one another again they fall in love. The girl wants him to go back to medical school, but he refuses. A tornado teaches him that he would be of more value as a doctor, but June, disillusioned, has already left. He catches up with her in time. In the end Johnston has a feverish dream in which he visits "High Barbaree," a mystic island in the Pacific, often described to him by his uncle His co-pilot dies of thirst, but he is saved by a hospital ship commanded by Mitchell and carrying among the nurses — June Allyson. Previewed at Loew's Mayfair theatre, New York, to an appreciative aiidience. Reviezver's Rating: Good. — Fred Hift. Release date, not set. Running time, 91 min. PCA No. 11801. General audience classification. Alec Brooke Van Johnson Nancy Fraser June Allyson Capt. Thad Vail Thomas Mitchell Diana Case Marilyn Maxwell Claude Jarman, Jr., Henry Hullk Geraldine Wall, Barbara Brown, Paul Harvey, Charles Evans The Years Between U I -Prestige — Dra ma Although it is decidedly a good picture, "The Years Between" hardly seems to have been made with the American market in view. Consequently, it may present something of a problem ^ in selling for the average house. The film's theme has strong appeal, but all of its background, dialogue and point of view are typically _ British. The picture was produced by Sydney Box and directed by Compton Bennett. It is capably acted, with a restraint that will be welcomed 3525