Showmen's Trade Review (Jul-Sep 1942)

18 S H O W AI E X ' S TRADE R E \' I E W August 8, 1942 Somewhere I'll Find You MGM Comedy-Drama 105 mins. AUDIENCE SLANT: (Adult) Your patrons will enjoy Gable and Turner in this smart, sophisticated drama which possesses every element of entertainment. BOX-OFFICE SLANT: With its marquee strength, it's a natural for any house, vs^ill probably fare best in the first-run houses. Cast: Clark Gable, Laiia Turner. Robert Sterling, Patricia Dane. Reginald Owen, Lee Patrick, Charles Dingle, others. Credits: Produced by Pandro S. Berman. Directed by Wesley Ruggles. Screenplay by Marguerite Roberts. Adaptation by Walter Reisch. Based upon a Cosmopolitan Magazine story by Charles Hoffman. Director of photography, Harold Rosson. Plot: Two brothers, both ace war correspondents, discover they are in love with Lana Turner. Loving the older, Clark Gable, but unable to convince him, she leaves on an assignment to cover the war in Indo-China. It is there that the men find her, after she is reported missing. When the younger brother is killed, the others send in the story of his magnificent sacrifice, to the newspaper they all represented. Comment: Any picture with such marquee names as Clark Gable and Lana Turner is a natural for any house, and this one is no exception. However, being a smart, sophisticated drama, it will probably enjoy its best and most substantial business in the first-run houses. Despite its long running time, and the fact that it gets off to a slow start because of some torrid love scenes between the two principals, there is plenty of action and suspense when the story takes them to the War front. It rates high in story construction, acting, direction and production, and is complete in every element of entertainment. In addition to Gable and Miss Turner, who turn in excellent performances, moviegoers will take particular note of the splendid work done by Robert Sterling. Director Wesley Ruggles contributes another outstanding film to his past accomplishments. The production job by Pandro S. Herman is flawless. This picture has been pre-sold to many readers, for it is based upon a Cosmopolitan magazine story. Title is a natural for a series of teaser ads. Advertise the return of Gable and Turner, those two torrid lovers. Check pressbook for tieups. Catchline: Those two torrid lovers . . . Gable and Turner . . . are back again. The Big Street RKO Radio Comedy-Drama 88 mins. AUDIENCE SLANT: (Family) Heartwarming, down-to-earth entertainment that should win wide public acclaim. BOX-OFFICE SLANT: Should draw well if backed by real showmanship. Word-ofmouth comment will help it build patronage. Cast: Henry Fonda, Lucille Ball, Barton MacLane, Eugene Pallette, Agnes Moorehead, Sam Levene, Ray Collins, Marion Martin, William Orr, George Cleveland, Vera Gordon, Louise Beavers, Millard Mitchell, Juan Varro, Hans Conried, Harry Shannon, William Halligan, John Miljan, Don Barclay, Julius Tannen, Ozzie Nelson and Orchestra. Credits: Produced by Damon Runyon. Directed by Irving Reis. Screenplay by Leonard Spigelgass. From the Collier's magazine story, "Little Pinks," by Damon Runyon. Director of photography, Russell Metty. Special effects, Vernon L. Walker. Art direction, Albert S. D'Agostino and Al Herman. Dance direction, Chester Hale. Musical direction, Constantin BakaleinikofT. Song, Who Knows?, by Mort Greene and Harry Revel. Musical score, Roy Webb. Plot: Lucille Ball, one of Broadway's most beautiful girls and one of its most selfish, is knocked down a flight of steps by her furious Legion of Decency Ratings (For Week Ending August 8) SUITABLE FOR GENERAL PATRONAGE Loves of Edgar Allan Poe Hillbilly Blitzkrieg SUITABLE FOR ADULTS ONLY Invisible Agent Tales of Manhattan OBJECTIONABLE IN PART Somevi/here I'll Find You ly jealous employer, Barton MacLane, fracturmg her spme and causing a heart mjury. She is paralyzed. Because MacLane coldly disclaims all responsibility and there were no witnesses, i^ucille has no redress. Bus boy Henry i^'onaa, who idolizes her, assumes the responsibility of her care. Still selhsh and arrogant, she insists that Fonda take her to Florida. I'here she renews an acquaintance with wealthy playboy William Orr, but he drops her when he discovers she's crippled. MacLane, now running a nignt club in Miami as a front for a jewel-insurance racket, steals an evening gown Lucille had dreamed of owning. Fonda threatens to expose him unless he stages a party for Lucille, inviting all Miami society. At the party, Fonda, still determined to cure the girl lie loves of her selfishness, dons a tuxeao, asks her to dance. In his new garb, she sees him through new eyes. She takes a few steps, falls limp in his arms. Although he had to lose it, the bus boy did tmd love. Comment: No super-epic this, but what a heart-warming, down-to-earth entertainment! High-brows, iow-brows — all types of moviegoers, for tnat matter — should find it a picture to warm the cockles of their hearts. Replete with deliciously amusing situations such as only Damon Runyon could conjure, peopled witli tne typical Runyonesque cnaracters, nere is a film every exhibitor should be proud to play. Its conclusion, while tragic, is so poignantly enacted that the spectator, even witn tear-dimmed eyes, will feel a warm glow in his heart and experience a deep feeling of satisfaction in having seen a worthwhile motion picture. One of the busiest stars in Hollywood, Henry Fonda lends remarkable sincerity and depth to the portrayal of Little Pinks, proving once again that he is one of filmdom's most talented performers. Lucille Ball's assignment is probably one of the most difficult she has ever been called upon to essay, and she comes through with flying colors. Excellent supporting characterizations are contributed by Barton MacLane, Eugene Pallette, Agnes Moorehead, Sam Levene, Ray Collins, William Orr, George Cleveland, Vera Gordon and Hans Conried. Through his splendid direction, Irving Reis has caught the delightful Runyon qualities that have endeared the story-teller to millions of people. With wide public acclaim assured, it is up to the exhibitor to exploit the film strongly to insure a big opening. Once that is accomplished, word-of-mouth comment will do the rest. Those showmen fortunate enough to see a screening of the picture will readily find many of its situations adaptable to attentiongetting ballyhoo tricks. Catchline: You'll revel in this deliciously amusing, poignantly human entertainment by your favorite story-teller, Damon Runyon. Pardon My Sarong Universal Comedy 82 mins. (National Release, August 7) AUDIENCE SLANT: (Adult) Slap-happiest of all the Abbott & Costello pictures. BOX-OFFICE SLANT: Will match the gross of their previous offerings. Cast: Bud Abbott, Lou Costello, Virginia Bruce, Robert Paige, Lionel Atwill, Leif Erikson, Nan Wynn, William Demarest, Samuel S. Hinds, Marine McDonald, Elaine Morey, The Four Ink Spots, Tip, Tap & Toe. Credits: Associate Producer, Alex Gottlieb. Directed by Erie C. Kenton. Original screenplay by True Boardman, Nat Perrin and John Grant. Director of photography, Milton Krasner. Dances originated and staged by Katherme Dunham. Plot: As bus drivers, the boys take a crosscountry jaunt, and wind up on the wrong side of the law. They escape on board a yacht in a sailing race and a hurricane blows it of¥ its course, landing it on an unchartered island. They help the natives get out of the spell woven over them by a menacing character, and then sail for home with treasure from the grateful people. Comment: This is unquestionably the slaphappiest of all the Abbott & Costello pictures. It is full of gags, music and laugh-provoking situations that takes the team from one end of the world to the other. Given the type of material they handle so well, it is all fun and a yard wide and will keep general audiences in almost continuous howls of laughter. Added to the enjoyment of Abbott & Costello antics is the singing of that swell negro quartette. The Four Ink Spots; the dancing of Tip, Tap and Toe and the singing of Nan Wynn. Virginia Bruce, Robert Paige and Lionel Atwill lend able support. The direction by Erie C. Kenton is excellent, for it keeps the picture moving at a fast pace, and Alex Gottlieb's production values include good photography, settings, costumes and a story that lends cohesion to the running gags and stunts. That little fellow, Costello, is a funny man and here he is funnier than ever, so use the draw of his name in all your exploitation. With newspaper cooperation, arrange tieups with bus lines, using stills from the picture. South Sea Island atmosphere for lobby and a "fat" man dressed in a sarong with a sign on his back reading "Pardon My Sarong," will attract attention. Catchline: The fun never sags in this barrel of gags. Mexican Spitfire'slElephant Comedy RKO-Radio 64 mins. AUDIENCE SLANT: (Family) Fast, riotous entertainment that will please followers of this series. BOX-OFFICE SLANT: Should equal the business done by its predecessors. Cast: Lupe Velez, Leon Errol, Walter Reed, Elisabeth Risdon, Lydia Bilbrook, Marion Martin, Lyle Talbot, Luis Alberni, George Cleveland, Marten Lamont. Jack Briggs, Arnold Kent, Max Wagner. Credits: Produced by Bert Gilroy. Directed by Leslie Goodwins. Screenplay by Charles E. Roberts. Story by Charles E. Roberts and Leslie Goodwins. Director of photography. Jack MacKenzie. Plot: Lupe Velez undertakes to help Errol, as the English Lord, get away from two gem smugglers who have involved him in the smuggling of a valuable gem hidden in a small Onyx elephant. The usual confusion of identities develops and chaos reigns before the smugglers are caught and turned over to the customs officers. Comment: This newest in the series of Mexican Spitfire comedies builds up the stock {Continued on Page 23)