Showmen's Trade Review (Oct-Dec 1946)

SHOWMEN'S TRADE REVIEW, October 19, 1946 39 BOX-OFFICE SLANTS attempts to go away. She offers Cummings money to get her to Havana and they conspire to leave together. They get to Havana where Michele is murdered and Cummings arrested. He escapes and is shot down. He awakes in his room in Miami, learns he has been dreaming about the escape, and calls the Naval Hospital. He vaguely remembers Miss Morgan. When his memory returns, he goes back to the house and takes Michele with him to Havana. Cochrane and Lorre are killed by a train as they race to intercept the couple. Comment: There is a strong undercurrent of expectant excitement prevailing throug'hout this picture almost from the time the first scene appears on the screen, and which builds throughout the action until the closing scenes. The director has handled his cast with such skill, the actors play their difficult parts with such artistry and the screenplay has been so well done as to make the picture intensely interesting. Production values are excellent and opulent throughout. One thing that stands out in this stand-out film is the fact that director Arthur Ripley has not had to resort to trick camera angles and low key lighting to achieve the constant feeling of fearsome suspense that prevails throughout the picture. Instead, he has depended upon the skill of his cast and the convincing, logical story so excellently put into screenplay form by Philip Yordan to keep audiences on the edges of their respective seats. There are little directorial tricks, to be sure, but never are they permitted to intrude in the smooth development of the essential story. The death of the picture's two villains is a little pat but this is a minor criticism that probably will not be held as such by movie audiences. "The Chase" might well do top business if energetically exploited. It certainly should do strong, average business everywhere, building as word of its entertainment value spreads. Margie 20th Century-Fox Comedy-Drama 93 mins. AUDIENCE SLANT: (Family) A completely captivating film, rich with nostalgia, charm and romance. Its authentic period settings and styles, its fine performances, skilled direction and well-rounded production values make it an offering that should have universal appeal. A picture any exhibitor should be proud to show to his patrons. BOX-OFFICE SLANT: While there are few big box-office names in its cast, with the possible exception of Jeanne Crain whose popularity is rapidly ascending, there are so many other fine qualities that word-of-mouth praise will quickly boost it to top box-office stature. Cast: Jeanne Crain, Glenn Langan, Lynn Bari, Alan Young, Barbara Lawrence, Conrad Janis, Esther Dale, Hobart Cavanaugh, Ann Todd, Hattie McDaniel, Don Hayden, Hazel Dawn, Vanessa Brown, Diana Herbert, Milton Parsons, Margaret Wells, Warren Mills, Richard Kelton, Tom Stevenson, Cecil Weston. Credits: Produced by Walter Morosco. Directed by Henry King. Screenplay by F. Hugh Herbert. Based on stories by Ruth McKenney and Richard Bransten. Photography, Charles Clarke. Special photographic effects, Fred Sersen. Technicolor director, Natalie Kalmus. Associate, Leonard Doss. Art direction, James Basevi and J. Russell Spencer. Musical direction, Alfred Newman. Musical number, Margie, written by Benny Davis, J. Russell Robinson and Con Conrad. Plot: Told in retrospect by a mother to her 14-year-old daughter, this story goes back to 1928, the days of flagpole-sitters, goldfish-swallowers and rolled stockings. It tells of a high school romance and the excitement caused by a new French teacher. There's the "glamor girl'' of that era and the shy, reserved girl who surprisingly wins and marries the handsome teacher. Comment: There may be other pictures that will win high artistic awards when the balloting for this year's product is completed, but few will be invested v/ith more genuine, down-to-earth, audience-appealing entertainment than "Margie." It is a completely captivating film, rich with nostalgia, charm and romance; and its authentic period settings and styles, its fine performances, skilled direction and well-rounded production values make it an offering that should have universal appeal. But in addition to a feast for the eye, there is also a sentimental and nostalgic sound track for the ear as hit tunes of the late '20s become a logical part of the proceedings. Some of them: Margie, Avalon, My Time Is Your Time, Button Up Your Overcoat, I'll See You in My Dreams, Three O'clock in the Morning, April Showers, The Charleston, Diane and Ain't She Sweet. In the title role Jeanne Crain projects a generous measure of v/armth and understanding as the shy, reserved girl v/ho longs for what appears to be a well-nigh impossible romance and surprisingly gets it. Others members of the cast portray their types with true fidelity, with excellent performances credited to Glenn Langan, Lynn Bari, Alan Young, Barbara Lawrence, Conrad Janis, Esther Dale, Hobart Cavanaugh, Ann Todd and Hattie AIcDaniel. The Technicolor photography is one of the film's principal attributes, and Henry King's direction and Walter Morosco's production values leave nothing to be desired. "Margie" is a picture any exhibitor should be proud to show to his patrons; it is ideal entertainment for the entire family. While there are few big box-office names in its cast, with the possible exception of Jeanne Crain whose popularity is rapidly ascending, there are so many other fine qualities that word-of-mouth praise will quickly boost it to top box-office stature. Child of Divorce RKO Radio Drama 62 mins. AUDIENCE SLANT: (Adult) Sombre throughout, this is somewhat heavy for entertainment in the pure sense of the word. Should get a sympathetic reception from the women, however. BOX-OFFICE SLANT: Suitable for double-bill programs. Plenty of exploitation angles. Cast: Sharyn Moffett, Regis Toomey, Madge Meredith, Walter Reed, Una O'Connor, Doris Merrick, Harry Cheshire, Selmer Jackson, Lillian Randolph, Pat Prest, Gregory Muradian, George McDonald, Patsy Converse, Jo Ann Marlowe. Credits: Directed by Richard O. Fleischer. Based on the play, "Wednesday's Child" by Leopold L. Atlas. Written for the screen and produced by Lillie Hayward. Photography, Jack MacKenzie. Plot: Sharyn MofTett's mother and father, Madge Meredith and Regis Toomey, are granted a divorce after the youngster has been compelled to testify in court. Custody of Sharyn is given to the mother for eight months and to the father for the remainder of the year. Madge remarries and Sharyn is unhappy to see her mother with any other man but her father; she is glad for the time spent with her father. When he remarries, the child becomes ill. At the suggestion of the family physician Sharyn is sent to a boarding school where she finds herself with other children of divorce who cynically but sympathetically tell her that visits from parents will change to letters and presents. Sharyn is convinced that she will just have to wait until she grows up before normal happiness can be hers. Comment: "Child of Divorce" is a frank picturization of the unhappiness in which sensitive children often are thrust when their parents divorce and remarry. That it is well directed and acted is not enough to make the somewhat heavy situations entertaining in the pure sense of the word. The child's unhappiness is the film's motivation, and while most of the ladies in a screening room showed tears from time to time and probably will in every theatre where the picture is shown, most of the men present were apparently unmoved. There are plenty of angles for exploitation, and with the cooperation of Domestic Relations Courts in every locality the picture might do good business. It is suitable, in any case, for double-bill programs. Oeoeption Warner Bros. Drama 112 mins. AUDIENCE SLANT: (Adult) A fine offering for the Bette Davis fans, for she gives a powerful interpretation of a woman in love. It is a real tear-jerker, with plenty of heart-tugging emotion and other elements that will appeal to the women and entertain the men. BOX-OFFICE SLANT: Sell it to the Bette Davis and Claude Rains fans. Wordof-mouth comment among the women should stimulate patronage. Cast: Bette Davis, Paul Henreid, Claude Rains, John Abbott, Benson Fong. Credits: Produced by Henry Blanke. Directed by Irving Rapper. Screenplay by John Collier and Joseph Than. Based on a play by Louis Verneuil. Musical director, Leo F. Forbstein. Photography, Ernest Haller. Plot: Reunited after the war years' separation, a cellist and his sweetheart are married. She neglects to tell him of her former relationship with a great composer because of his violent jealousy, and this neglect piles one lie on top of the other. The composer, in his own peculiar manner, starts a petty persecution of her and her husband. To kep her husband from learning the truth of her relationship with this man and also to give him the opportunity he needs to prove his abilitj% she kills the composer and then confesses all. Comment: This is a fine offering for the Bette Davis fans. To them it will be a corroboration of what a splendid and capable actress their favorite is. For here Miss Davis gives a powerful interpretation of a role that requires deep, heart-tugging emotion to show the soul-stirring effects of a great love, and she rises to the heights with her understanding delineation. "Deception" is a real tear-jerker; one that has more appeal for women than men, although men too will find entertainment in the triangular love affair that motivates the story. It should be classed as "mainly for the Davis fans" because it is Miss Davis, with a trreat deal of (Continued on Page 41)