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

"The MOVIES • • • • 1939" Bing Crosby feature, East Side of Heaven. Its story is a composite of familiar situations which can easily be called in advance and it lacks polish in script, direction and editing. But it meets its purpose nicely, is what exhibitors definitely and audiences probably want to see: a quick follow-up providing a series of episodes of Baby Sandy gurgling, grinning, indulging in her own cute antics. This little girl, who is once again introduced as a little boy, is one of the year's most refreshing innovations and not even the irrepressible Mischa Auer is able to steal her scenes. When usher Jimmy Hanley learns tha. his former dancing partner has died leaving little Sandy an orphan, he takes the baby ''boy' to live with him and his barker roommate, Boris Bebenko. Sm.e they are unable to leave Sandy aione, they take "him ' with them to the thea.re and their consequent inattention to their work almost costs them their jobs. Jimmy's sweetheart, Diana, helps smooth things out and joins in the care of the baoy. But one night little Sandy accidentally appears in a scene and wows the audience. Immediately uncle and aunt Jones scent cash possibilities and try to get hold of the baby. The result is that Sandy is placed in an orphanage and Diana, to be able to give the baby a home, agrees to marry the theatre manager. Jimmy wins custody of Sandy — who has been on a broken-hearted hunger strike — and arrives in time to marry Diana himself. Little Sandy, of course, is featured thruout and full advantage is taken of every gurgle and facial expression. Dennis O'Keefe is an adequate Jimmy and Shirley Ross an attractive Diana, while Mischa Auer offers occasional hilarious moments and makes the most of his rather routine comedy lines. Director Charles Lamont, who handled Shirley Temple in her Baby Burlesque days, has achieved individually effective scenes, but the pace and continuity are jumpy. It’s simply and deliberately Sandy Lee’s show. WYOMING OUTLAW: Produced by William Berke for Republic Director: George Sherman Screenplay: Betty Burbridge, Jack Natteford Photography: Reggie Lanning Music Score: William Lava Editor: Tony Martinelli Stony Brooke John Wayne Tucson Smith Ray Corrigan Rusty Joslin Raymond Hatton Will Parker Donald Barry Irene Parker Adele Pearce Balsinger LeRoy Mason Luke Parker Charles Middleton Mrs. Parker Katherine Kenworthy U. S. Marshal Elmo Lincoln Sheriff Jack Ingram Newt David Sharpe Amos Jack Kenney Ed Sims Yakima Canutt Good western thriller in which the Three Mesquiteers help break a political relief racket while a young outlaw provides considerable excitement. (Adults SC Young People) (Running time, 57 minutes) While this is one of the regular Three Mesquiteers series, the popular trio of Stony, Tucson and Rusty do not mon* opolize the action, instead share import' ance and excitement honors with a young Sandy Lee ‘ UNEXPECTED FATHER” outlaw named Will Parker. Corrupt politicians headed by villain Balsinger, are in control of the town and are selling road jobs to the impoverished ranchers. Luke Parker is fired as road foreman when he refuses to pay tribute and his son Will, embittered that his family should be starving in the midst of plenty, becomes an outlaw. The Three Mesquiteers get on his trail when he slaughters one of their cattle, learn the truth about the situation in town and tangle with Balsinger and his men. Will tries to steal cattle from government land, is discovered and flees into the hills with the sheriff and a posse after him. Doubling back into town, he captures Balsinger and, using him as a shield, battles the aroused citizenry until both he and Balsinger are shot down. John Wayne leads the Three Mesquiteers in vigorous style, assisted again by Ray Corrigan and by veteran Raymond Hatton in the role formerly played by Max Terhune. Donald Barry steps up to western prominence with a forthright, impressive portrayal of the young outlaw. The pace is snappy, the outdoor photography exceptionally effective and the entire production crisp and compact. ANDY HARY GETS SPRING FEVER: Produced and distributed by MGM Director: W. S. Van Dyke II Screenplay: Kay Van Riper (Based on characters created by Aurania Rouverol) Music Score: Edward Ward, David Snell Photography: Lester White Art Director: Cedric Gibbons Editor: Ben Lewis Judge Hary Lewis Stone Andy Hardy Mickey Rooney Marian Hardy Cecilia Parker Mrs. Hardy Fay Holden Polly Benedict Ann Rutherford Aunt Milly Sara Haden Rose Meredith Helen Gilbert “Stickin’ Plaster” Terry Kilburn Don Davis John T. Murray ”Beezy” George Breakston Tommy Charles Peck Sidney Sidney Miller Mr. Benedict Addison Richards Mr. Higginbotham Olaf Hytten Bailiff Eiville Alderson Ensign Copley Robert Kent Enjoyable family comedy, human and humorous, in which Andy falls in love with his high school dramatic teacher while his father almost becomes the victim of a pair of real estate swindlers. (Adults 8C Young People) (Running time, 85 minutes) This, the seventh in the Hardy family series, maintains admirably the entertainment standard of the previous six and follows their usual formula: young Andy is involved in a personal crisis against the background of a dramatic episode for the family as a whole. Spring fever is a natural explanation for Andy’s crisis, his adolescent adoration of the school dramatics teacher. And spring fever is the charitable explanation for the family’s dramatic episode — Judge Hardy, who just one picture ago was cheerfully turning down a $2,000,000 fortune for ethical reasons, is this time easily drawn into a fake real estate deal which ought to fool no one but the simplest sucker. Andy’s romantic trouble starts when girlfriend Polly introduces a young ensign as a house-guest and lets him monopolise her time. On the rebound Andy falls hard for the good-looking dramatics teacher, who not only offers him sympathetic attention but chooses his play for production and gives him the lead role. He travels the usual trail of puppy love to a proposal of marriage and suffers the usual adolescent anguish when he learns that his lady love is engaged to another. But the wise young teacher, with the assistance of the Judge, handles the situation with finesse and understanding and Andy returns once again to his Polly. Meanwhile the Judge has been able to pull out of the real estate swindle, in which he and his friends have been caught, with both honor and cash intact. As long since accepted in the series, the picture belongs almost entirely to Mickey Rooney, while the others create a sincere and realistic family background. Young Mr. Rooney, always a shrewd showman, is steadily developing and is now playing with less fancy mugging and more straight skill. Lewis Stone, of course, is Judge Hardy with unwavering excellence. Cecelia Parker as sister Marian has her first fling at being a secretary and Fay Holden and Sara Haden appear briefly in the familiar roles of Mrs. Hardy and Aunt Milly. Ann Rutherford is again an attractive and refreshingly young Polly. Helen Gilbert, making her first screen appearance (she is a ’cellist in the studio orchestra and was “discovered” via the screen test), adds fresh appeal with a charming and poised and most promising performance as the dramatics teacher. Rehearsal and final staging of Andy’s play — he is a real admiral and Polly is a Tahitian native maid and the dialogue talks of “star-crossed lovers” — provide hilarious comedy. And the physical production has the full benefit of the MGM polish. 178