Showmen's Trade Review (Oct-Dec 1939)

November 11, 1939 SHOWMEN'S TRADE REVIEW Page 11 "Topper" oi¥ers in this, its first one under direct MGM auspices, a comedy which quickly slips off into farce of the "Topper" type. However, it lacks the brilliance of the Thorne Smith dialog, Gary Grant's assured comedy style and the trick photography. Hence it will need definite help on whatever bill it is played, since the three top names exceed the story value very definitely. Of them. Lew Ayres easily takes the picture's honors, with Greer Garson hardly sophisticated enough for her role — a sort of Peter Pan plajnng French farce. Robert Taylor wears thirteen suits, looks well throughout and never catches the required farce swing. Better reports are possible for the supporting players, especially the now typed grouchjr father-rattle-brained mother parents plaj^ed by Billie Burke and Reginald Owen, and Henry Travers, the justice who objects to marrying the same couple twice. The lines flare up to intermittent roars of laughter, and have a tag-line which at least makes the last moment of the film its best. The staging and Greer Garson's costumes are excellent. The title itself offers the most efifective exploitation possibilities, other than featuring the stellar trio. Lots of coop ads can be arranged. (ADULT) Catchline: "Three free souls fall in love too often." AUDIENCE SLANT: AYERS' WHIMSICAL TREATMENT OF THE LOST LOVER ROLE KEEPS SYMPATHY THROUGHOUT, WITH OLD-BUTALWAYS-COOD SCENES GETTING LAUGHS. BOX OFFICE SLANT: THE THREE STARS CAN BRING THEM IN, BUT THE SECOND PICTURE WILL HAVE TO BE UNUSUALLY ENTERTAINING. The Llano Kid (Hollywood Preview) Para WESTERN 70 mins. (Nat'l Release, Dec. 8) Credits: Tito Guizar, Gale Sondergaard, Alan Mowbray, Jane Clayton, Emma Dunn, . Minor Watson, Chris Martin and others. Based on the story, "Double-Dyed Deceiver" by O'Henry. Screenplay by Wanda ' Tuchock. Directed by E. D. Venturini. i Produced by Harry Sherman. Plot: Tito Guizar, notorious outlaw known as the "Llano Kid," is recognized by Gale Sondergaard as the bandit who robbed the stagecoach, but she refuses to turn him over to Sheriff Minor Watson. She and her husband, Alan Mowbray, induce him to accompany them back to a rich Mexican ranch and formulate a scheme whereby Guizar is to pose as the long lost son of Emma Dunn, and between them, rob her. Guizar backs down when he discovers he is the murderer of the real heir to the ranch. Enraged, Mowbray decides to carry out the . plot alone, but Guizar turns outlaw and : protects the ranch and the old woman's ; money. * Comment: With Tito Guizar in his first '; English-speaking role, a smart story and nice production and direction, this picture should please on any dual bill. Guizar, a natural for the feminine trade, is given very little chance to display his vocal talents, but shows enough acting ability to warrant future vehicles. The screenplay, although slow in spots, is enacted in an able manner by the entire cast, and in addition to Guizar, Gale Sondergaard, Alan Mowbray and Jane Clayton give excellent support. The usual competent values seen in a Harry Sherman production and the splendid photography have much to do with the entertainmerit value of the film. All in all, it's a nice addition to the action spot on any program. Local radio station might feature a program of Tito Guizar songs, dedicated to the picture. Dress house staff and lobby in Spanish style, with "barker" out front strumming a guitar. Window tie-ups should be arranged with music stores and any shop handling Spanish or Mexican merchandise. (FAMILY) Catchline: "A romantic outlaw with a ready kiss on his lips." AUDIENCE SLANT: ACTION FOR THE YOUNGSTERS AND A NATURAL PERSONALITY FOR THE FEMININE TRADE. BOX OFFICE SLANT: A NICE ADDITION TO THE ACTION SPOT ON ANY PROGRAM. Pride of t-he Blue Grass (Plollywood Preview) WB DRAMA 67 mins. (Prod. No. 418— Nat'l Release, Oct. 7) Credits: Edith Fellows, James McCallion, Granville Bates, Aldrich Bowker, Arthur Loft, DeWolf Hopper, Sam McDaniels, Gantry, the Blind Horse and others. Original screenplay by Vincent Sherman. Directed by William ?\IcGann. Associate Producer, Bryan Foy. Plot: James McCallion is the son of a disgraced ex-jockey who slips Gantry, the blind horse, out of the way of his dad's creditors, and gives it to Edith Fellows. When trainers are unable to handle the animal, McCallion trains him secretly and then Edith convinces her father that he should give McCallion the job. After a few victories, Granville Bates, Edith's father, enters Gantry in the Derby, but because of a beating he'd received at the hands of Bates' discharged manager, the horse is unable to finish. The horse is quietly shipped to England, entered in a race there, and with McCallion as his eyes, wins. Comment: A stirring tale of a boy's love for a horse, and good entertainment for all audiences, is this better than average program feature. Well-written, acted and directed, it is one of the best race track pictures to reach the screen in many a day and will please in any spot. Lack of marquee names is the only thing that will keep it from the top billing on a program, but it is sure to benefit by word-of-mouth advertising. The entire cast, headed by Edith Fellows and James McCallion, and a natural, lovable performance by Gantry, widely-publicized blind horse, are top-notch in every respect. The direction of William McGann is painstaking and a big asset to the entertainment value of the film. A horse led around town by a lad in a jockey outfit should make good street ballyhoo. Newspaper clippings of "Gantry" could be blown up for your lobby decorations together with actual photos of other famous race horses and jockey equipment. Throwaways, printed like race track tickets, could be distributed at all sporting events prior to opening. (FAMILY) Catchline: "Gantry, the horse with the human brain." AUDIENCE SLANT: GOOD ENTERTAINMENT FOR ANY TYPE OF AUDIENCE IN ANY SPOT. BOX OFFICE SLANT: ONE OF THE BEST RACE TRACK STORIES TO REACH THE SCREEN IN A LONG TIME; LACK OF NAMES RESTRICTS IT TO DUAL BILLS. Blondie Brings Up Baby (Hollywood Preview) Col. COMEDY 68 mins. (Nat'l Release, Nov. 2) Credits: Penny Singleton, Arthur Lake, Larry Simms, Jonathan Hale, Robert Middlemass, Roy Gordon and others. Screenplay b}' Gladys Lehman and Richard Flour noy from a story by Robert Chapin, Karen De Wolf and Flournoy based upon Chic Young's comic strip. Directed by Frank R. Strayer. Produced by Robert Sparks. Plot: Lake, during the absence of his boss, Hale, completely changed the plans of an apartment building they are erecting for Middlemass, without anything stronger than the customer's verbal assent. When he turns it all down. Hale fires Lake. Penny Singleton has started Baby Dumpling (Simms) in school because a book agent assured her he had an L Q. of 164. Daisy follows the boy to school, and is caught by the pound wagon, from where she is redeemed as a playmate for Gordon's invalid daughter. Larry Simms plays hookey to hunt Daisy and his parents think him kidnapped. He finds Daisy and takes the little girl home with him, so her father starts a search for her. Finding her, he likes the building, buys it and Lake gets his job back Comment: Geared to the general tempo of the Blondie series, this one will take its place among the top two made so far; and to such fans it needs only a notice of its play dates. For others, it can be a satisfactory second half of the bill feature to be coupled with any heavy dramatic feature. The fact that it covers starting the youngster in school suggests a letter contest to be planted with your newspaper for stories by parents of the most amusing or thrilling incident of their youngsters' kindergarten days. Off-drama-page small ads in sheets carrying the Chic Young strip are also a natural. They can be used to tie in with any child-welfare group's work, stressing the straight dramatic scene in which the little girl learns to walk. (FAMILY) Catchline: "School days for Baby Dumpling, and 24-hour daze for Blondie and Dagwood." AUDIENCE SLANT: FAST ENOUGH MOVING TO KEEP ANY GENERAL AUDIENCE INTERESTED. BOX OFFICE SLANT: STRONG ENOUGH TO BE A GOOD SECOND FEATURE FOR ANY HEAVY DRAMATIC OFFERING. Main Street Lawyer Republic DRAMA 72 mins. (Prod. No. 905— Nat'l Release, Nov. 10) Credits: Edward Ellis, Anita Louise, Margaret Hamilton, Harold Huber, Clem Bevans, Henry Kolker, Robert Baldwin, Beverly Roberts, Willard Robertson, Richard Lane, Ferris Taylor, Wallis Clark. Screenplay by Joseph Krumgold. Based on an original story by Harry Hamilton. Directed by Dudley Murphy. Associate Producer, Robert North. Plot: Ellis, small town prosecuting attorney, deliberately loses the state's case against Huber, a racketeer, after Huber has threatened to reveal the true identity of Ellis' adopted daughter, Anita Louise, who was born in prison. He is recalled from office, but Anita, unaware of the real reason for Ellis' actions at the trial, threatens Robertson, virtual owner of the town. When she finds him murdered, circumstantial evidence points to her guilt. But Ellis risks his life to prove that Huber, with whom Robertson had had shady dealings, is the real murderer. Comment: Although no "Man To Remember" by any means, "Main Street Lawyer" is nevertheless satisfactory entertainment of the homespun variety that will find its best reception in the small towns. Edward Ellis, although in another profession, has a role which closely parallels that of the kindly doctor in the earlier film, and for that reason comparisons are apt to be made. (Continued on page 21) For Additional Exploitation Ideas on These Pictures Consult the Encyclopedia of Exploitation