Motion Picture Herald (Mar-Apr 1947)

SHORT SUBJECTS ADVANCE SYNOPSES SHORT SUBJECTS 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. Stallion Road Warners — Range Romance Somewhere in his novel of the same title, Stephen Longstreet remarks that he doesn't see why everyone doesn't live on the Sierra Madre range and lose money breeding horses. Alex Gottlieb's production, which follows the book with meticulous exactitude, makes the life portrayed so attractive that doubtless many members of the audience will make the same comment. It seems a pity that the picture was not filmed in color. Even in black and white, the feel of the California sunshine, the wide stretches of the rolling meadowlands make themselves felt with gentle, persuasive impact. At the heart of this landscape and this way of life, Ronald Reagan, Alexis Smith and Zachary Scott, who constitute the triangle concerned, perform in masterly fashion. Miss Smith has never before given so warmly human a portrayal : for once she is allowed to be a human being, instead of a beautiful clothes-horse. In the role of a cynical young novelist, Scott is at once the narrator of the story and one of its principal characters. On a visit to the ranch of a college friend — Reagan — he falls in love, despite his better judgment, with Miss Smith, who breeds horses on a neighboring ranch. She, however, is in love with Reagan, who portrays a veterinarian of scientific acumen and great personal integrity. It is that integrity which comes between the lovers, and it is the acumen that saves his life when he falls victim to the dread anthrax which is decimating herds pastured on the range. In the supporting cast, Peggy Knudsen contributes a scintillating bit as a lady of loose morals and bitter tongue, and the two children, Patti Brady and Fernando Alvarado, are appealingly natural. James V. Kern's direction displays a sensitive feeling for mood. Longstreet himself adapted his novel to the screen, which accounts in part for the success of the undertaking. Seen at the studio. Reviewer's Rating : Very good. — Thalia Bell. Release date, April 12. 1947. Running time, 97 min. PCA No. 11669. General audience classification. Larry Ronald Reagan Rory Alexis Smith Stephen Zachary Scott Peggy Knudsen, Patti Brady. Harry Davenprt, Angela Greene, Frank Puglia, Ralph Byrd, Lloyd Corrigan. Fernando Alvarado The Guilty Monogram — Melodrama As his initial production for Monogram release, Jack Wrather chose a Cornell Woolrich story, a sombre tale that stresses the sordid side of murder. Its characters are unprepossessing people — save, perhaps, for Bonita Granvilh. who plays a dual role — and their actions are similarly unadmirable. The very lack of a sympathetic central character creates a realism almost hyp notic in its effect. These people might live anywhere ; the things that happen to them might happen to anyone. The audience, therefore, follows their misadventures with intense interest. Early in Robert Presnell's screenplay one of the twins portrayed by Miss Granville is found murdered under revolting circumstances, and the tale thereafter revolves around the solution of the crime. It might have been committed by the other twin, by a psychoneurotic war veteran with whom both girls were in love, by a boarder in their mother's home — by almost anyone, in fact. The true criminal is exposed in the final sequences in an ingenious and quite plausible manner. Don Castle, as the narrator of the story, is noteworthy among the players. John Reinhardt's direction is of such caliber as to inspire satisfaction that he is back from the wars and working in his proper medium once again. Previewed at the studio. Reviewer's Rating : Good.—T. B. Release date. March 22, 1947. Running time, 71 min. PCA No. 12185. General audience classification. Linda Mitchell } Bonita Granvi]Ie Estelle Mitchell j Mike Carr Don Castle Johnny Dixon Wally Cassell Regis Toomey, John Litel, Thomas Jackson, Netta Packer. Oliver Blake, Caroline Andrews Time Out of Mind Universal — Psychological Drama Robert Siodmak foregoes murder and the psychological for straight drama on this occasion and comes up with a well-acted piece so leisurely in pace and content that it seems longer than its 88 minutes. Perhaps Rachel Field, on whose novel, "Time Out of Mind" is based, did her concentrating more on character development than on story progression. It is the film, not the book, which is up for appraisal here, however, and the analysis is that it takes a good deal of footage before Phyllis Calvert wins Robert Hutton. Hutton plays the son of Leo G. Carroll, Maine shipowner, who decrees the son must follow the father. The conflict between them develops because Ella Raines, his sister, is on his side. So, too, is Miss Calvert, servant in the household and practically member of the family. She conspires to get Hutton and Miss Raines off to Paris to pursue his muse. He returns after three or more years to find his estranged father dead and Miss Calvert still in love. Hutton, meanwhile, has married the wealthy Helena Carter. It is an unsuccessful match, predicated on money. Hutton deliberately throws away a concert arranged for him, takes further to drink, is nursed back by Miss Calvert, recovers his stance as a composer and emerges triumphant at a New York concert. Miss Calvert and her love become triumphant, also. This is all there is to the dramatic action. Performances, on the other hand, are better than the norm. In her first American made film, Miss Calvert is very good. Hutton is far bet ter than this reviewer has ever seen him. The experienced Carroll, always to be relied upon for an intelligent acting job, does not disappoint. Good support comes from Eddie Albert as a minor-scale heavy and from John Abbott, whose characterization of music critic is one of the best things in the film. "Time Out of Mind" is top-grade all the way on the production side. On the entertainment side, it is satisfying at best. Abem Finkel and Arnold Phillips wrote the screenplay. Miklos Rozsa and Mario Castelnuova-Tedesco prepared an effective music score. Seen at the Universal projection room. Reviewer's Rating : Good. Release date, not set. Running time, 88 min. General audience classification. Kate Fernald Phyllis Calvert Christopher Fortune .• Robert Hutton Rissa Fortune Ella Raines Jake Bullard Eddie Albert Captain Fortune Leo G. Carroll Helena Carter. John Abbott, Samuel S. Hinds, Henry Stephenson. King of the Wild Horses Columbia — Horse Story This picture tells a heart-warming story about a boy and a horse, emphasizing the boy's devotion to a horse and his belief that wild horses should be free to roam the plains. Preston Foster and Gail Russell have the adult roles and Bill Sheffield is cast as their nephew. On the day of the boy's arrival at the ranch, the wild horse, King, was seen for the first time in years. The boy's father was the only man who could ride King. Later during a drought the wild horses came down to the ranch in search of water. The mustangs, led by King, were taking all the available water and the cattle were dying of thirst. A happy ending is reached when the drought ends and a colt of King's remains voluntarily on the ranch. The cast is adequate for a film of this type. The outdoor scenes and the shots of the band of wild horses are exceptionally well done. Ted Richmond produced and George Archainbaud directed. Brenda Weisberg based the screenplay on the story by Ted Thomas. Seen at a New York projection room. Reviewer's Rating: Average. — M. R. Y. Release date, March 27, 1947. Running time. 79 min. PCA No. 12113. General audience classification. Dave Taggert Preston Foster Ellen Taggert Gail Patrick Tim Taggert Bill Sheffield Guinn (Big Boy) Williams, Patti Brady, Buzz Henry. Charles Kemper. John Kellogg. Ruth Warren. Louis Faust Tarzan and the Huntress RICO — Outdoor Adventure Tarzan's hunting call is as strong as ever and so should be the appeal of this picture to the animal lovers and the outdoor adventure film addicts. The film offers basically the same MOTION PICTURE HERALD, MARCH 22, 1947 3537