Motion Picture Reviews (1942)

MOTION PICTURE REVIEWS Five KATHLEEN O O Shirley Temple, Herbert Marshall, Laraine Day, Gail Patrick, Felix Bressart, Nella Walker, Lloyd Corrigan, Guy Beilis, Wade Boteler. Screen play by Mary C. McCall Jr., based on story by Kay Van Riper. Direction by Harold S. Bucquet. Produced by George Haight. M.G.M. Two competent women writers were wisely given the assignment of a screen play for Shirley Temple. The result is a sound interpretation of adolescent life. An unhappy, lonely, motherless girl whose father is too busy to see what is going on, is left in charge of an unsympathetic, unloving governess. In her unhappiness she creates a dream world as a means of escape, and these dream episodes are cleverly and amusingly woven into actuality. The adolescent psychology and behavior are true to fact. Shirley Temple has lost her self-conscious mannerisms and is natural and unassuming. The action does not require much dramatic ability but several scenes draw tears because they are not overdrawn and Shirley makes them very real. It is a nice little story of a child whose need of an understanding father comes true, and to this is added a mother whom she can love. Felix Bressart does a beautiful piece of acting as the second-hand dealer who is Kathleen’s confidante and guide. There is not sufficient love making to offend adolescents, and the pranks which are normal reactions to adult injustice will delight young people. Adolescents, 12 to 16 Children, 8 to 12 Excellent Yes HELLZAPOPPIN' O O Ole Johnson, Chic Johnson, Martha Raye, Hugh Herbert, Jane Frazee, Robert Page, Mischa Auer, Richard Lane, Lewis Howard, Clarence Kolb, Nella Walker, Shemp Howard, Elisa Cook Jr., The Congeroo Dancers, Olive Hatch water Ballet, The Six Hits, Slim and Slam. Screen play by Nat Perrin and Warren Wilson, based on stage play by Olsen and Johnson's Hellzapoppin'. Musical director, Charles Pervin. Musical numbers staged by Nick Castle and Edward Prinz. Photography by Woody Bredell with special effects by John Fulton. Direction by H. C. Potter. Universal Pictures. “Hellzapoppin’ ” is completely mad, zany nonsense. Its long stage run should prove that it has the elements of popular ribtickling comedy, and the screen version is successful in preserving the original fabric. The opening title, “Any similarity between ‘Hellzapoppin’ ’ and a motion picture is purely coincidental,’’ prepares us for the fact that it follows no known formula, and its noisy, spectacular and hilarious progress is like nothing ever seen on the screen before. A slight plot successfully ties the ab surdities together. A girl and a boy are in love, but the boy will not admit his feelings because he is poor and he knows that his wealthy friend loves her also. The boy is staging a show on the girl’s estate and, since its success might change his attitude about proposing, Olsen and Johnson, who have reason to believe that the girl is having an affair with a Russian Prince, decide to wreck the show, and thus their friend’s chances with the girl. Their frantic efforts only make the performance hilariously funny and, of course, a hit bound for Broadway. A large cast wanders on and off the sets, many with no apparent reason for being there, but they all enter into the madness with complete abandon and add to the illogical mirth. Photography makes many scenes funnier than was possible on the stage; music is loud but good of its type; Negro jitterbugs, Conga dancers, and a water ballet are spectacular; lavish sets and costumes add beauty. Audience participation is invited in many scenes, which makes the production more intimate than one could imagine. However, park all your prejudices at home and you will get many a deep and satisfying laugh from absolute tomfoolery. Adolescents, 12 to 16 Children, 8 to 12 Matter of taste Perhaps, confusing but funny LADY FOR A NIGHT O O Joan Blondell, John Wayne, Philip Merivale, Blanche Yurka, Ray Middleton, Edith Barrett, Leonid Kinskey, Hattie Noel, Montagu Love, Carmel Myers, Dorothy Burgess, Hall Johnson Choir. Story by Garrett Fort. Screen play by Isabel Dawn and Boyce De Gaw. Direction by Leigh Jason. Republic Pictures. While some might consider this picture plausible, many who have a more realistic sense of social values, will rate it as pure clap-trap. The queen of a gambling house buys herself a husband and a fine old Southern estate, both in need of rehabilitation; then her ex-partner, who wields a political blacksnake and holds the gambling I.O.U.’s of all the best people, forces the elite to attend a gala ball at her mansion. In a day when makers of films hesitate to disparage any particular race or class, it is surprising to find the old families of the South, of Memphis in particular, placed several degrees lower than characters of the underworld. In behalf of the film it must be said that many of the settings are beautiful and the cast is good. John Wayne is natural and has a good deal of charm. Joan Blondell is attractive, especially in the scenes when she is trying to be “a lady,” and all the members of the Alderson family (Ray