Showmen's Trade Review (Oct-Dec 1948)

SHOWMEN'S TRADE REVIEW, October 30, 1948 others, but realizes his parents cannot afford the university. Trouncer remains antagonistic and wants the school's war memorial to be a hall and not bursaries for underprivileged boys. He meets Attenborough's father and learns of the good he has done the boy. His views on the scheme change and he supports the scholarship plan. Attenborough goes to Cambridge. Comment: Here a social problem is skilfully tackled with conviction and understanding, yet never for a moment do the producers forget that the cinema's function is to entertain and not to preach. The question of working class boys going to exclusive public schools is presented as a success story and makes for a magnificent film, sensitively directed and finely acted. Gripping, utterly sincere and decidedly provocative, it will hold all members of the audience with its comedy, romance and acute observation of human nature. It will also have them gulping at its many emotional passages. Much of its success is due to the characterization. Everybody is entirely credible and, despite their individual shortcomings, likable. Outstanding is Richard Attenborough as the boy who has to age from fourteen to eighteen and after a bad start settles down to benefit from the experiment. No less successful is the work of Cecil Trouncer as the master who is convinced that no good can come of it. This is a remarkable portrait, for while he is a bigoted, narrow-minded individual, audiences will appreciate his sincerity and applaud his reformation. A charming romance is introduced between Robert Flemying and Sheila Sim as the house master's daughter. The only criticism is that the producers thought fit to introduce to the screen's already large vocabulary a word not used in polite society. While it is understood "The Guinea Pig" is to be given special exploitation in the U. S., it would still be an advantage for an introductory title explaining the British School system and the Fleming Report. You Gotta Stay Happy Univ.-Int'l Romantic Comedy 100 mins. AUDIENCE SLANT: (Family) All types of audiences, young and old, will find plenty to entertain them in this breezy, laugh-laden romantic comedy. Joan Fontaine and James Stewart are ideal in the leading roles. BOX-OFFICE SLANT: This is strong on names, and smart showmen can do plenty with that title when it comes to exploitation. Looks like big business everywhere. Cast: Joan Fontaine, James Stewart, Eddie Albert, Roland Young, Willard Parker, Percy Kilbride, Porter Hall, Marcy McGuire, Arthur Walsh, William Bakewell, Pau Cavanagh, Halliwell Hobbes, Stanley Prager, Mary Forbes, Edith Evanson, Peter Roman, Housely Stevenson, Emory Parnell, Don Kohler, Bert Conway, Hal K. Dawson, Vera Marshe, Jimmie Dodd, Robert Rockwell and Joe, the chimpanzee. Credits: A Rampart Production presented by William Dozier. Produced and written for the screen by Karl Tunberg. From the Saturday Evening Post serial by Robert Carson. Directed by H. C. Potter. Photography, Russell Metty. Special photography, David S. Horsley. Production designed by Alexander Golitzen. Music, Daniele Amfitheatrof. Plot: Rich heiress Joan Fontaine, finding it impossible to stay with the man she has just married, escapes from their apartment and seeks sanctuary in another apartment occupied by James Stewart, head of a small airlines outfit. Stewart, thinking she is in real danger, protects her, but when the next day comes, Joan insists on accompanying him and his business associate, Eddie Albert, on their return trip to California. There are complications during the trip that nearly spoil everything, for by this time Stewart and Joan have fallen in love, but matters are solved in California, and Joan helps Stewart revive his failing airline system. Comment: Moviegoers who remember "It Happened One Night" may be reminded of that 1934 romantic comedy when they see this 1948 romantic comedy. The stories, be it understood, are not the same; but there is the same refreshing spontaneity in this new offering that made "It Happened One Night" so popular. iB'ut whether one has seen the previous film or not makes little difference, for all types of audiences, young and old, will find plenty to entertain them in "You Gotta Stay Happy." It is a delightful combination of comedy and romance, with lovely Joan Fontaine and the always likable James Stewart involved in an affair that takes them across country in a cargo plane. For all its 100 minutes, there's nary a lull in ProducerWriter Karl Tunberg's breezy, laugh-laden adaptation of Robert Carson's Saturday Evening Post serial, thanks to H. C. Potter's smart direction. Both Miss Fontaine and Stewart are ideal in the leading roles, and they have excellent support from Eddie Albert, Roland Young, Percy Kilbride, Willard Parker and others. "You Gotta Stay Happy" is one of those pictures that make exhibitors glad to stand at theatre exits and watch happy, satisfied patrons emerge therefrom. From a box-office standpoint, it is strong on names, and smart showmen can do plenty with that title when it comes to exploitation. Looks like big business everywhere. Ruy Bias (French Dialog — English Titles) Discina Int'l Drama 87 mins. AUDIENCE SLANT: (Adult) Very good picture for foreign-language audiences, but the court intrigues provide action that may be too confusing to average American audiences to whom the English titles will not furnish sufficient explanation. BOX-OFFICE SLANT: Best for foreignlanguage or "art" theatres, or where there are French-speaking populations. Cast: Danielle Darrieux, Jean Marais, Marcel Herrand, Gabrielle Dorziat, Alexandre Rignault, Giovanni Grasso, Paul Amiot, lone Salinas, Gilles Queant, Jacques Berlioz, Charles Lemontier, Pierre Magnier, Lurville. Credits: Screen adaptation and production supervision, Jean Cocteau. From Victor Hugo's play. Directed by Pierre Villon. Produced by Andre Paulve and Georges Legrand. Photography, Michel Kelber. Music by Georges Auric. Plot: Disgraced by the Queen of Spain, Don Salluste, royal minister of police, plans revenge. He succeeds in getting Ruy Bias, who resembles his nephew, Don Cesar de Bazan, to assist him in his plot. (Don Salluste has learned, meanwhile, that Ruy Bias secretly loves the Queen.) Ruy Bias becomes the Queen's favorite and sets about to revive disintegrating Spain. Don Salluste returns and tricks the Queen into coming at night to Ruy Bias' private residence. He threatens to create a scandal and reveal to her the true identity of the man she loves. Ruy Bias kills Don Salluste and then, in despair, poisons himself. Comment: Filmed in 1948, this adaptation of Victor Hugo's century-old play should win favorable response from patrons of foreign-language or "art" theatres, or where there are French-speaking populations. However, despite the splendid adaptation by Jean Cocteau, the fact that the English titles are not sufficient to explain the intrigues of the Spanish Court of Charles II, make it unlikely that this picture will have more than a minimum of success as far as average American audiences are concerned. To many patrons, the action will be too confusing. The performances are all excellent, the settings apparently authentic, and there are many superb photographic touches. All of these things add up to very good entertainment for habitues of foreign-language houses, but not for the general run of theatres. There may be some interest in the return of Danielle Darrieux, however, since she was fairly popular in this country before World War II, but that might be dampened by her alleged collaborationist activities during the war, in spite of the fact that she was cleared. The Strange Mrs. Crane Eagle Lion , Drama 59 mins. AUDIENCE SLANT: (Adult) Good program offering, except for the implausible ending. Nicely directed and performed. BOX-OFFICE SLANT: Will be a winner for the lower half of double bills. Short running time should be ideal to balance long feature. Cast: Marjorie Lord, Robert Shayne, Pierre Watkin, James Seay, Ruthe Brady, Claire Whitney, Mary Gordon, Chester Clute, Dorothy Granger. Credits: John Sutherland Production. Producer, John Sutherland. Director, Sherman Scott. Screenplay, AJ Martin. Original story, Frank Burt and Robert Libott. Photography, Jack Greenhalgh. Plot: The young wife of a prominent man running for governor is actually a former crook who worked badger games with a male partner. When she suddenly runs into the ex-partner, he tries to blackmail her and she kills him. Another girl is tried for the murder, however, and is about to be convicted when the real culprit shows up. Comment: This is a good program offering, except for an implausible ending. Just why a smart girl like the murderess in the film would not instantly destroy an incriminating note sent her by a would-be blackmailer, or at least destroy it at some later date, is difficult to understand. The story swims along until that last plot twist when the bailiff reads the note, inadvertently handed him by the murderess. It is a bit too much to ask an audience to take. However, aside from that unfortunate drawback, Sherman Scott's direction is excellent and Marjorie Lord, Bob Shayne and Ruthe Brady turn in satisfactory performances. Film will be a winner for lower half of double bills. Its short running time should be ideal to balance a long feature. Belle Starr's Daughter 20th Century-Fox Western 87 mins. AUDIENCE SLANT: (Family) Betterthan-average Western drama with enough action to please the fans. BOX-OFFICE SLANT: Will be okay for double bills, and might well be the top film in certain situations. Cast: George Montgomery, Rod Cameron, Ruth Roman, Wallace Ford, Charles Kemper, William Phipps, Edith King, Jack Lambert, Fred Libby, Isabel Jewell. Credits: Alson Productions, Inc. Producer, Edward L. Alperson. Director, Lesley Selander. Associate Producer, Jack Jungmeyer, Jr. Original screenplay, W. R. Burnett. Photography, William A. Sickner. Plot: When Belle Starr, outlaw leader, and her right-hand man are killed by one of their own gang, Belle's daughter blames the marshal of an adjoining community. She (Continued on Page 15)