Showmen's Trade Review (Jul-Sep 1942)

36 SHOWMEN'S TRADE REVIEW August 8, 1942 Journey into Fear {Continued from Page 23) constant threat to his existence. After evading one of their master traps he seeks out his wife only to find that the Nazis have already contemplated the move and are awaiting his arrival. A particular thrilling experience brings about the death of his tormentors and the Turkish officer maneuvering his escape, leaving him free to continue with his wife to America. Comment: This is downright serious screen fare with its every scene and sequence marked indelibly in the impressive Orson Welles manner. Suspense is the keynote, and from opening flicker to and including the flashing of the ending frame there is no letdown. One bizarre character after another is introduced in such profusion as to keep the spectator constantly guessing as to how each will figure in the final denouement. Some get lost in the shuffle and others, after a brief stay in the spotlight, are relegated to atmospheric importance. Mr. Welles' principal menace is presented in situations and atmosphere that borders on the gruesome and stalks threateningly from scene to scene making his ominous presence felt at all times. There is a smattering of novelty in the opening reels, but even these are presented in such manner as to of¥er no respite from the intrigue and suspense that will keep the patrons biting their nails and gripping the seats. Dolores Del Rio and Ruth Warrick are asked for little, thus their contributions are minor. Orson Welles makes his appearance in only two scenes, but these are telling. Joseph Gotten, as the hero, and Jack Moss, as the gross, loathsome and always disturbing menace, are the motivating force of the film. To this writer it seemed that the ending was somewhat abrupt, but in view of the turgid tempos of the entire picture, perhaps that's as it should be. You can promise them excitement plus, and be certain they will get it. Catchline: An American matches wits and grips with the paid killers of the Third Reich. Highways By Night RKO Radio 63 mins. Gangster AUDIENCE SLANT: (Family) Thrills, romance and action in volume sufficient to more than satisfy the average audience. BOX-OFFICE SLANT: Selling effort will be required, but the picture should reach levels of better grade racket films. Cast: Richard Carlson, Jane Randolph, Jane Darwell, Barton MacLane, Ray Collins, Gordon Jones. Renee Haal, George Cleveland, Marten Lamont. Jack LaRue, John Maguire, James Seay, Cliff Clark, Paul Fix. Credits: Directed by Peter Godfrey. Screenplay by Lynn Root and Frank Fenton from Clarence Budington Kelland's story. ".Silver Spoon." Photography by Robert de Grasse. Plot: A dreamer in mechanical theory, born in luxury's lap and endowed with a bulgingbank account, is taunted by his worldly-wise uncle into sampling the pleasures of the less fortunate for the purpose of getting the socalled "common touch." Imbibing a few "zombies" at a society party, he starts out on the path of adventure and finds himself awakening in a country pasture, divested of his money and clothed in the garments of a murdered convict. To make good his boast that he is competent to get along on his own, he gets a job helping a truck owner whose business is threatened with extinction by gangsters. Falling in love with the trucker's sister, he proceeds to use the credentials of the dead convict to get in with the gang who eventually discover his purpose and made things so hot for him he is forced to call on his uncle for assistance to extricate him from criminal charges and to square things with the girl. Comment: This is one of those all too rare instances where the producers have managed to get just the proper portions of romance, intrigue, thrills, action, novelty and spectacle together and present them in the right backgrounds and the correct circumstances to make thoroughly enjoyable entertainment. Action and thrills fairly tumble over each other, and the backgrounds in which they are enacted sweep in kaleidoscopic manner from the mansions of the wealthy tlirough upper and lower class night clubs, on to the trucks that ply the highways at night, and to Cupid's favorite hunting ground — the vine-covered back porch of a middle class residence. Mr. Kelland wrote a swell story and the picture-makers have converted it into screenfare that moves smoothly, comprehensively and entertainingly to the place where it measures well up towards the top of the amusement gauge. At times Richard Carlson seems a trifle too naive as a trucker, but he makes up for this lapse in other ways. Miss Randolph, in the heroine's part, does a nice job and is quite an eyeful of loveliness. Jane Darwell, Barton MacLane, and others in the cast give fine interpretations in parts that fit to the proverbial "T." Make the most of Clarence Budington Kelland's name and the fact that the story was a Satevepost serial to get the lovers of adventure in — the picture will measure fully to all expectations. Catchline: Some glimpses of hell on the highwav but a heaven of love at the end. The Cyclone Kid Western 55 mins. Republic AUDIENCE SLANT: (Family) Good thriller of the range war days. Will satisfy. BOX-OFFICE SLANT: Will go well in houses where Westerns are popular. Cast: Don "'Red" Barry, John James, Lynn Merrick, Alex Callam, Joel Friedkin, Lloyd "Slim" Andrews, Rex Lease, Joe McGuinn, Monte Montague, Frank La Rue,. Credits: Associate producer and director, George Sherman. Original screenplay by Richard Murphy. Photography by Bud Thackery. Plot: A young doctor happens to open his first office in a town where his older brother, who paid for his education, is employed as killer and bodyguard to a cattle baron intent on driving settlers from their claims and using underhanded methods to accomplish his purpose. When things come to the point where the gun-toting killer must choose between his brother and his job, he throws in with the brother and helps organize the settlers to defeat the outlaws in the emplov of his erstwhile boss. Much hard riding, straight shooting and rough and tumble fighting takes place before the desired end is attained and the former killer selected as sheriff of a now peaceful community. Comment: A very good Western drama with action maintained at a rapid pace throughout. There are sufficient interludes of the budding-romance-and-pioneer-hardship order to emphasize the abundance of fist brawls and gun fights. The plot is well joined together and builds through a wealth of exciting action to a climax where fire, gun fighting and a threatened lynching are tied to a "Garrison finish" rescue. "Red'' Barry is his usual capable self as the gunman and John James does a swell job as the doctor. Lynn Merrick and others are well cast. Catchline: Ride with the Cyclone Kid as he tracks down a band of ruthless killers. Lobby Glamorized by Leg-Painting Booth What is reported as being the world's first "service station" for paint job hosiery substitutes and for "re-paint repairs" was set up recei.tly in the lobby of the Capitol Theatre in New York. The gam glamour booth was the brainchild of Ben Serkowich, whose flair for the unusual and uncanny sense of what it takes to get news breaks gives the Capitol more than its share of printers ink in the most competitive newspaper situation in the country. The stunt in no way tied up to the showing of "Crossroads" at the theatre, but was timely in that it coupled well with the exploiting of liquid stockings by many merchants and the mooted question of silk and rayon substitutes to cover milady's curvaceous pedal extremities. It was given further news value in the donation of all receipts to the U.S.O. and that all work was performed by girl members of high school groups intent on doing their bit for the war fund. Through the resourcefulness of the well trained press representative, the theatre's attraction came in for mention on the premise that the house "generously gave a portion of the lobby devoted to advertising 'Crossroads' for use by the leg painters." This stunt can be duplicated in many situations. Merchants marketing the new liquid will willingly donate materials, provide the operators, if necessary, and buy newspaper advertising to call attention to the activity. In New York more than 20 radio programs made mention of the stunt and all daily newspapers carried the storv, some with art. Bucket of Buttons Sidewalk Gag Used by Freise to Sell 'Rio Rita' A sidewalk display that drew attention to the showing of "Rio Rita" was used by Manager William Freise of the Rivoli Theatre, La Crosse, Wis. A sign behind a bucket of buttons featured this copy : "Warning I We will not be responsible for any buttons. Sew them on tight so they can stand hundreds of hearty laughs for 'Rio Rita.' It's ten times funnier than their (Abbott's and Costello's) other pictures, so beware of loose buttons." Luedtke Lends New Twist To Preview-Premiere Stunt A Preview-Premiere that created a terrific hit was staged by Elroy Luedtke of the Braumart Theatre, Iron Mountain, Mich. Luedtke didn't advertise the performance far in advance, but when towsnfolk saw the staff erecting a colorful front on Saturday afternoon announcing the Preview-Premiere for that night, it didn't take long for the good word to get aniuiul. The picture: "The Fleet's In."