Motion Picture Herald (May-Jun 1948)

SHOWMEN'S REVIEWS 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. Coroner Creek Columbia — Super Western Occasionally there comes to the screen of all Westerns but has the advantage of a than average cast, and a rapid-fire pace in audiences perched anxiously on the edges Creek." Photographed in much improved Cinecolor, there is the name of Randolph Scott to decorate the marquee. Herein, Scott portrays the drifting cowboy relentlessly seeking the murderer of his fiancee. Months later he finds it is George Macready, a shrewd, suave, unscrupulous rancher who has murdered and robbed to build his western empire. With the aid of Wallace Ford, a bewhiskered cowhand, Scott seeks revenge first by slowly destroying Macready's empire and then the man. In telling the story, producer Harry Joe Brown and director Ray Enright have utilized every trick of Western film production, and, in addition, have added further realism to a story of that period by incorporating scenes of viciousness and brutality seldom associated with Westerns. In one scene the bloodied, unconscious body of Scott is dragged to a log and his trigger finger stomped to a fleshy pulp. In another, Scott uses an outlaw as a human shield in a gunfight while the man pleads for his life. Lending capable support are such players as Marguerite Chapman, as the hotel keeper attempting to dissuade Scott from his mission of hate; Sally Eilers, a pretty ranch owner fighting the outlaws, and Edgar Buchanan, the sherifif who changes his way of life and is murdered. _ The screenplay, by Kenneth Gamet, has kept intact^ the excitement and thrills of Luke Short's Saturday Evening Post story, while the photography of the rugged Arizona countryside by Fred H. Jackman, Jr., is of the best. _ Reviewed in the Columbia projection room m Neiv York. Reviewer's Rating : Excellent.— George H. Spires. AT ^^I'ooo^n Running time, 90 min. PCA Wo. IZHSO. General audience classification. Chris Danning Randolph Scott Kate Hard.son Marguerite Chapman Younger Miles George Macready Uella Harms Sally Eilers Edgar Buchanan, Barbara Reed, Wal'lace Ford Forrest lucker, William Bishop, Joe Sawyer, Russell Simpson, Douglas Fowley, Lee Bennett, Forrest Taylor, Phil bchumaker, Warren Jackson 16 Fathoms Deep Monogram— Marine Melodrama In addition to the exploitable names— Lon Chaney, Arthur Lake, John Qualen— this first ieature-length production in Ansco Color offers PRODUCT DIGEST SECTION. JUNE 12, 1948 a picture which incorporates the basic plot high budget, excellent production, a better dialogue and action which will keep the of their seats. Such a picture is "Coroner an advertising-minded showman a good deal to talk about. It is a story of the sponge-fishing trade, centering in Tarpon Springs, Fla., the scene of the filming, which is interesting enough in itself and more so as background for a melodramatic story which takes its time about getting to a climax but clicks solidly when it gets there. It is a thing of beauty, shot exclusively out of doors, with magnificent under-sea and surface sequences on the Gulf of Mexico, and it is distinctly a change of diet for melodrama fans. The script by Max Trell, from a story by Eustace L. Adams, establishes the sponge-fishing industry as background for a plot in which Chaney, as a hard dealer in sponges and not above financing a murder for profit, seeks to deprive an honest fishing boat captain, Eric Feldary, of his boat and his girl at the same time. The murder is accomplished, but when It is found out about, the fishermen close in on Chaney and, in a terrific fight, he meets his end. It's an Arthur Lake production, with Lake supplying the comedy relief, and was produced by James S. Burkett and Irving Allen and directed by the latter. Previewed at the Academy Award Theatre, Hollywood, where it was pleasantly received Reviewer's Rating: Good. — William R Weaver. PrV Nn' I'^.^Q^V ^ 25 1948. Running time. 83 min. i-CA Wo. 12957. General audience classification g™'*" Lon Chaney h-ete . Arthur Lake John Qualen, Lloyd Bridges, Eric Feldary, Tanis Chandler, Ian MacDonald, Dickie Moore Romance on the High Seas Warners — Good Fun, in Color The versatile director, Michael Curtiz, tries a musical this time and delivers a resoundingly commercial show in "Romance on the High Seas."_ That's conclusion No. 1. Doris Day, song-bird, who once gave out with Les Browii and his orchestra, makes her debut and establishes herself as a potential personality of stature. That's conclusion No. 2. The story is somewhat on the silly side, but proves staunch enough to provide backgrounds and situations justifying the tuneful and tinkling array of numbers from the competent workshop of Jules Styne and Sammy Cahn. This is how it goes : From her wedding day onward, Janis Paige is jealous of her husband, Don De Fore, who returns the compliment. When he is compelled to cancel the South American cruise signalizing their third wedding anniversary. Miss Paige hires Miss Day to take her name and her cruise while she checks up on De Fore in New York. Simultaneously, De Fore employs private investigator Jack Carson to check on his cruising wife, or so he believes. With this central situation and its opportunity for mistaken identities and misunderstood motives, the film gets under way. Carson falls for Miss Day, and she for him. Oscar Levant already has fallen. Miss Paige, De Fore and the others finally come together in Rio, where the business is straightened out with love triumphant. Since Cuba, Trinidad and Brazil are ports of call, the chance for Technicolor to blaze forth is apparent. So, too, the opportunity for rhumba, calypso and romantic numbers. The net result is a top-grade musical with preponderant performance honors going to the pert and blonde Miss Day. Other principals are compelled to lag. Specialty numbers keyed to the terrain are provided by Avon Long, Sir Lancelot, the Page Cavanaugh Trio and the Samba Kings. Individual high spot of the entire show, however, goes to Johnny Berkes, a drunk who depends on situation and pantomime solely to put across a very clever and uproarious routine at the expense of Carson and Levant. Eric Blore, as the ship's doctor, is effective, and S. Z. Sakall is S. Z. Sakall, whkh is all that is required. Julius J. and Philip G. Epstein wrote the script from a story by S. Pondal Rios and Carlos A. Olivari, while I. A. L. Diamond provided additional dialogue. Production values are aces and most attractive all the distance. Alex Gottlieb produced and herewith is entitled to bows. Reviewed at hom£ office projection room in Nezta York. Reviezver's Rating : Very Good.— Red Kann. Release date, July 3, 1948. Running time, 99 min. PCA No. 12521. General audience classification. Peter Virgil jack Carson E'.v>''a ,I^^nt Janis Paige Michael Kent Don De Fore Georgia Garrett Doris Day Oscar Levant, S. Z. Sakall, Fortunio Bonanova, Eric Blore, Franklm Pangborn, Leslie Brooks, William Bakewell, Johnny Berkes, Kenneth Britton Avon Long Sir Lancelot, The Samba Kings, Page Cavanaugh Trio Mine Own Executioner Korda 20th Century Fox Psychological Thriller _ That there are in a psychiatrist's daily routine the makings of interesting screen drama is proved in "Mine Own Executioner," a wellturned story sent us by Alexander Korda. What sets this one apart is its freedom from the artificial plot premises that deprive most psychological thrillers of their reality. _ The narrative proceeds leisurely and believably, at times taking tumultuous turns, but not excessively so. Burgess Meredith is the (Continued on page 4199) 4197