The Movies ... and the People Who Make Them (1939)

"The MOVIES • • • • 1939" The screenplay was apparently designed to give Sigrid Gurie a chance for an emotional and dramatic display. Anne Kennedy is her first role in modern dress and she offers an effective and occasionally moving performance. Her support is consistently adequate in standard style, led by Donald Briggs as an earnest Burke and Eve Arden as her wise-cracking friend for minor comedy relief. The general tone is sombre and serious and the treatment is honest and sympathetic, giving new interest to the familiar theme of a persecuted but nobly sacrificing woman. THEY ALL COME OUT: Produced by Jack Chertock for MGM Director: Jacques Tourneur Screenplay: John C. Higgins Photography: Clyde De Vinna, Paul C. Vogel Art Director: Elmer Sheeley Editor: Ralph E. Goldstein Kitty Rita Johnson Joe Z. Cameron Tom Neal Clyde Madigan, "Reno”.. ..Bernard Nedell George Jacklin, "Bugs”. ...Edward Gargan Albert Crane, "Groper”. ...John Gallaudet Warden — Atlanta Addison Richards Supt's — Chillicothe .. Frank M. Thomas "Sloppy Joe" George Tobias Dr. Ellen Hollis Ann Shoemaker Psychiatrist Charles Lane Interesting, informative, carefully and honestly made documentary film which depicts the methods of various Federal penal institutions by tracing the prison careers of five members of a bank-robbing gang. (Adults & Young People) (Running time, 70 minutes) This was originally a special four-reel addition to the Crime Does Not Pay series, produced with the cooperation of the Federal Department of Justice. Then MGM executives gave producer Jack Ghertok, head of the short subject division, permission to expand it to feature length. The result is an illuminating study of the Federal penal system, given continuity by a slight but sufficient story and adapted to the usual movie formula only by the addition of a minor and plausibly inserted romance. It is probably the only prison film of feature length ever produced which makes no grab after thrills by riots, breaks and disciplinary brutality and instead builds up interest by honest, factual presentation of real prison work. It is also the first film to present actual inside scenes of the Federal penitentiaries at Atlanta and Alcatraz. The picture opens with brief talks by former Attorney General Homer Cummings and Director James V. Bennett of the Federal Bureau of Prisons. Then it drives ahead into the case histories of five people. Clyde Madigan is the leader of the gang. With him are George Jacklin, Albert Crane and a girl called Kitty. She sponsors young Joe Cameron, who has been riding the rods, and he is slipped in as diiver of the getaway car. They raid a bank and escape. But FBI agents trail them and soon all five receive prison sentences. The four men are taken to Atlanta, where, after thorough examination, they are assigned to various institutions. Young Joe goes to the Reformatory at Chillicothe, Ohio, and is effectually regenerated into a skilled mechanic. Crane, a psychopathic gunman, is sent to the Springfield, Missouri, Hospital for Defective Delinquents and finally cured of his mental illness. Jacklin, good-hearted but dimwitted, serves his time at Atlanta and returns to his wife and child. Leader Madigan, hardened and incorrigible, is transferred to Alcatraz. And Kitty, after a term at the Alderton, West Virginia, Woman’s Reformatory and training as a beautician, is released on parole to wind up the story by marrying Joe and helping him prove his honest intentions by preventing a safe robbery. Most of the players have had long experience in program melodramas and under expert guidance contribute restrained, realistic performances. Tom Neal in particular makes the most of this first chance at a main role and is a vigorous, convincing Joe Cameron. Bernard Nedell, here a strongly etched and effective gang leader Madigan, is comparatively unknown in the United States, but has long played on both stage and screen in England. The methods of the various institutions are presented in detail, showing the intelligent and individualized treatment now accorded Federal prisoners. The entire picture has an objective, straightforward manner which creates a refreshing impression of sincerity and factual realism. COWBOY QUARTERBACK: Produced by First National, distributed by Warner Brothers Director: Noel Smith Screenplay: Fred Niblo, Jr. Play: Ring Lardner, George M. Cohan Photography: Ted McCord Art Director: Charles Novi Music: Howard Jackson Editor: Doug Gould Harry Lynn Bert Wheeler Maizie Williams Marie Wilson Evelyn Corey Gloria Dickson Handsome Sam DeWolf Hopper Rusty Walker William Demarest Steve Adams Eddie Foy, Jr Col. Moffett William Gould Hap Farrell Charles Wilson Mr. Slater Fredric Tozere Mr. Gray John Harron Mr. Walters John Ridgcly Pilot Eddie Acuff Wild football farce in which a Montana cowboy signs as a pro player on condition his girl go along, and runs into romance and gamblers. (Adults 8d Young People) (Running time, 56 minutes) This is a familiar tale, usually told in baseball terms, but dressed up this time in football regalia and played as an outright burlesque, not on college sports heroics, but on the professional game in which exploits are performed on an open cash basis. Rusty Walker, scout for the Chicago Packers pro team, tries to sign the Montana open-field marvel, cowboy Harry Lynn, and finds he can get Harry only if girlfriend Maizie also goes to Chicago. This Maizie is a female Svengali who mistress-minds her Harry’s actions and makes herself a nuisance to the team. Rusty tries various strategems to get rid of her — and when he succeeds, discovers that Harry has lost his zip and zeal. The problem is now to keep Harry happy and Rusty gets his own girlfriend to attempt the job. Then Harry becomes involved with gamblers who want him to throw the championship game — and Maizie is needed to wangle the right finish. Bert Wheeler returns to the screen as quarterback Harry and tries hard for laughs in a role scarcely cut to his dimensions. Marie Wilson takes over the film and any acting honors as dizzy blonde Bernard Nedell Rita Johnson "THEY ALL COME OUT” i ( ( 170