Showmen's Trade Review (Jul-Sep 1942)

July 11, 1942 SHOWMEN'S A D E REVIEW Footllght Serenade 20th Century-Fox Musical Comedy 79 mins. (Block No. 1— Nat'l Release, Aug. 1) AUDIENCE SLANT: (Family) A tuneful, fast-moving musical perfectly balanced entertainment for all theatregoers. BOX-OFFICE SLANT: Just the thing for these hectic times. Cast; John Payne, Betty Grabic, Victor Mature, Jane Wyman. James Gleason, Phil Silvers, Cobina Wright. .Ir., June Lane, Frank Orth, Mantan Moreland, Irving Bacon, Charles Tannen, George Dobbs. Credits: Directed by Gregory RatofF. Screenplay by Robert Ellis, Helen Logan and Lynn Starling. Based on a story hy Fidel LaBarba and Kenneth Earl. Director of photography, Lee Garmes. t^yrics and music by Leo Robin and Ralph Rainger. Dances staged by Hermes Pan. Musical direction by Charles Henderson. Produced by William LeBaron. Plot: The world's boxing champ is signed as leading" man in a Broadway show. He forces the producer to let him hire all the girls. Trouble starts when one of the girls in whom he has become interested turns out to be the secret wife of his sparring partner. Comment: A tuneful, fast-moving musical comedy that will be enjoyed by all theatregoers seeking light entertainment fare. It's perfectly balanced entertainment for these hectic days for it contains plenty of comedy, lovely gals, tuneful music and a dramatic story, plus some terrific fight scenes for the action fans. All-in-all it's swell diversion that boasts of such star names as John Payne, Betty Grable and Victor Mature. They are all perfect for their parts, especially Betty Grable who gets a chance to present quite a few new numbers and displays, for her admirers, those lovely legs. Others in the cast worthy of mention are James Gleason, as the neurotic musical-producer, Phil Silvers, as his fast-talking press agent, Jane Wyman as Miss Grable's roommate and Cobina \\'right, Jr., as Mature's ex-gal friend. The screenplay is well written and direction by Gregory Ratoff is excellent. William Le Baron's production values include splendid photography, beautiful settings, costumes, fine musical score and recording. See that sheet music from this picture is passed out to all your local bands, radio stations, night clubs, etc. Use an auto float to play the song hits and garnish the float with girls in bathing suits, colored blow-ups and cut-outs. Plant stills from the picture, in sporting goods store windows, with tieup cards. Catchline: When two guys go all out for a gorgeous gal . . . that spells trouble. The Loves of Edgar Allan Poe 20th-Fox Biographical 67 mins. (Block No. 1— Nat'l Release, August 29) ANDIENCE SLANT: (Family) Contains very little of the accepted elements of entertainment. May go well with the highbrows. BOX-OFFICE SLANT: Will require a lot of work to bring anything like satisfactory returns. Cast: Linda Darnell, John Shepperd, Virginia Gilmore. Jane Darwell, Mary Howard. Frank Conroy, Henry Morgan, Walter Kingsford, Morris Ankrum, Skippy Wanders. Freddie Mercer. Peggy Mclntvre, William Bakewell, Jr.. and others. Credits: Produced by Bryan Foy. Directed by Harry Lachman. Screenplay by Samuel HofFenstein and Tom Reed. Photography by Lucien Aiidriot. Plot: As a baby, Poe is taken into the home of his dead mother's wealthy lady friend where his presence is resented by the lady's husband. As he proceeds through life Legion of Decency Ratings (For Week Ending June 11) SUITABLE FOR GENERAL PATRONAGE Men of Texas Priorities on Parade Overland to Deadwood United We Stand SUITABLE FOR ADULTS ONLY Escape From Crime Madam Spy Flight Lieutenant Magnificent Ambersons Footlight Serenade Pardon My Sarong he is constantly confronted with lack of understanding for his flare of genius by all except the lovely stepmother and a couple of other women — one of whom he marries. His writings bring little revenue and his refusal to observe life's mundane demands keeps him constantly in debt and seeking escape from his worries in drink. At the death of his wife he sinks lower than ever and death finally closes a career that only finds recognition with the passage of time. Comment: This is rather desultory film fare that seems to lose interest in the necessary episodic continuity required to cover the entire life span of the principal character. Tlie subject is entirely lacking in the kind of atmosphere, action, portrayals and other interest building elements that are generally accepted as essential to good audience reception. The title is somewhat misleading as the romantic portion of the story seldom reaches dimensions that are in any way outstanding. The players, while acceptable in their allotted places, contribute no efi^ort that lifts the picture. Better stick to the idea of capitalizing on Poe's literary work to exploit this. Library fans and literary clubs are your best prospects. Catchline: The author of "The Raven" battles for recognition. 20th-Fox The Pied Piper Drama 86 mins. (Block No. 1— Nat'l Release, Aug. 21) AUDIENCE SLANT: (Family) Made to order for the family trade. Sufficiently removed from run-of-the-mine film fare to amuse and delight everybody. BOX-OFFICE SLANT: Sell Monty Woolley to get an opening and word-ofmouth will keep it going. It's good! Cast: Monty Woolley. Roddy McDowall, Anne Baxter. Otto Preminger, J. Carroll Naish, Lester Matthews. Jill Esmond, Ferike IBoros, Peggy Ann Garner, Merrill Rodin, Maurice Tauzin, Fluerette Zama, William F;dmunds. Marcel Dalio, Edward Ashley, Morton Lowrv. Marcelle Corday, Odette Myrtil, Jean Del Val, Robert O. Davis, Henry Rowland, Helmut Dantine, George Davis, Credits: Produced and written for the screen by Nunnally Johnson. Directed hy Irving Pichel. Based on the novel by Nevil Shute. Photography l)y Edward Cronjager. Allen McNeil, film editor. Plot: With the news of Dunkerque the extended invasion of France becomes apparent to an aging English gentleman, vacationing at the foot of the French Alps, and he determines to return to London, He is persuaded l)y friends to undertake the safe transport of two small children to Britain, Not likingthe youngsters he reluctantly agrees and as the German advance puts obstacles in the way of his reaching the Channel Coast he finds his brood growing through the addition of other unfortunate youngsters who are victims of war's ho-.-rors, l'LventuaIl_\' lie expfricnccs a change of heart and becomes tntally immersed in seeing that all of the unfortunate kiddies reach safety. As he is about to arrange for secret transportation he and his brood are captured by the Germans, whose leader, after making many attempts to prove the old man a spy, makes a deal whereby safe passage is arranged in return for the old gentleman's guarantee that he will attend to the sending of the German officer's niece to relatives in the United States. Comment: Relating a series of singularly simple occurrences, of the kind that make for dramatic portrayal, against a background of war incidents "The Pied Piper" plays a touching sentimental lullaby on the heart strings with just enough thumps on the funny bone and elemental emotional interpolations to make it thoroughly enjoyable, Nunnally Johnson's screen treatment and production coupled with the understanding direction of Pichel transform Shute's rather episodic story into a smooth-running picture chronicle, replete witli touching portrayals, clever situations of suspense an drib-tickling humor. The background of war, so prevalent in most pictures at this time, is always evident but thoroughly subordinated to an engrossingly simple story. The picture brings the spectator face to face with an entirely new angle of what the war is doing to humanity and establishes a different type of hero to compete for public homage. Woolley is, if possible, better than he was in "The Man Who Came To Dinner." All of the child roles are impeccably handled with the work of Roddy McDowall outstanding. Anne Baxter, as the heroine. Otto Preminger, as the Nazi Gestapo Chief and Marcel Dalio, as the French boatman, deliver remarkable delineations while the balance of the big cast perform in almost flawless accompaniment. Sell the novel — it was a recent Collier Weekly serial — and Monty Woolley in your regular ads but don't forget to go after the homebodies and the high-brows as well. This is one that was made for l^oth masses and classes. Catchline: If you are looking for a brand new movie adventure — one for your memory album — just follow "The Pied Piper." A-Haunting We Will Go 20th Century-Fox Comedy 65 mins. (Block No. 1— Nat'l Release, Aug. 8) AUDIENCE SLANT: (Family) One of the best of the Laurel & Hardy films with much more than these stars' usual appeal for the adult trade. BOX-OFFICE SLANT: Should top their other pictures as a box-office attraction. Cast: Stan Laurel. Oliver Hardy. Dante the Magician. Sheila Ryan. John Shelton. Don Costello, Elisha Cook, Jr.. Edward Gargan, Addison Richards. George Lynn, James Bush. Lou Lubin, Robert Emmett Keane, Richard Lane, Willie Best, Credits: Directed by Alfred Werker. Screenplay by Lou Breslow. Original story by Lou Breslow and Stanley Rauh. Director of photography. Glen MacWilliams. Executive producer. Sol M. ^^'urtzel. Plot: The boys get involved with gangsters when they try to find a way to get away from the police. They are paid to see that a coffin is delivered to another town. In this coffin is a fugitive criminal who is trying to get a legacy belonging to another man. The coffin gets mixed up, on the train, with one belonging to Dante, the magician. This causes plent>(Cniitiiuicd on Page 23)