Variety (Aug 1938)

18 VARIETY FILM REVIEWS Wednesday, August 31, 1938 CAREFREE (WITH SONGS) : RKO-Rnillo r«lc(iHe of Pnhilro S. n^rman pit>Uuctfon. Siars Fred'Aatnire An^l Ginger RoKCrs: teaturea - Ralph Uellnmy,' Luells Gear. Jack Carson, Clarence' Kolb. Frankr lln runKborn. UlrecteO by Mark SnnJrIch. 3onf[a by IrvlnB Derlln. Screenplay, BrneM Painnn and Allan Scott: atnry and atlapia> tton, Du.lley .SIchola «n,| Hasnr Wll<le: orl^tlnal, Marian Alnnlco ami iSuy Bndore; camera. R. (le Ornase: flpcclal efTocta, ;Ver- non Walker; eilltor, William HowH'nn: danceji, Ucrmoa Tarr: asst. ilireclor. Aixylc Nelfloh. I'revlcweJ' In Projection. Room, AUK -II, MS. RunnInK time. S3 mins. Tony FInKK. AmanO.i Oo<iper.-. Stenlion Artlen... Aunt Cora Connors Judfto Travera... Roland Hunter.-. Dr. Powers Mlsa AdamH ...... Fred '.Xslalre ..,.'. .Glnfter Ilofters . .,..Ral|>h Ilellamy Luella Oear ...lack Cataon CIni-cnco Kolb .'Franklin. r.ancbora .. .Walter KInKSford .....J.'.Kay Sutton Robert 11. Mllcheir and tils St. DoyB - Drendan'8 Fred Astaire and Ginger Rogers, reunited in 'Carefree,' with an Irving Berlin set of four good songs, and under the sartie surefire auupices aS heretofore, delve into psychoanalysis for their screenscript. The result may inspire some to wo=der if the psyching shouldn't have started, in the studio. It's a disappointing story and the stars alone may save it Word-of-mbuth will be poor. Paradoxically, some of the com- ponent highlights are. ultra,. but in toto it doesn't mesh and leaves the auditor bewildered at this neo- Mackscnnett plot, with Astaire hyp- notizing his co-star; Miss Rogers walking to the altar, obsessed with the hypnotic suggestion that Astaire is a cad and Ralph Bellamy ^ nobleman, etc. Still, in the dream sequence, as re-, suit of a sedative administeired by Dr. Astaire, the team does one of its " best double numbers ('Color Blind' is the tune),, wherein a slow-motion camera truly points up the poetry of their! terpsichorean motion. The idea was done once before by the elder Fairbanks in a' dream chase sequence, but the; slow motion,, for terp. effect, has been surprisingly neglected until now. '. It's a socko production nicety. Astaire's very.! first specialty, a goU-ball daiice, give£ it a faist gait, but pretty soon .the story (for which six. plead guilty, no less, on the credits) asserts its handicaps. Astdircfv as part of a flirtation routine, gives out in swingorhighland fling via moiith-organ, thence into a dash, of 52d street hoot-mon, and the topper is that rhythmic routine, driving off a flock of golf balls from the green. Miss Roger,"!, while under hypnotic Influence, reminds of some of the'in- hibitions that Paramount's *I( I Had a Million' so brightly presented. Here she shatters plate-glass win- dows, baits policemen, and even broadcasts that her sponsor (she's a radio songstress) puts out the poor est product. "The Yam" is part of a country club background; The Night, is Filled With: Music' and 'Change Partners* along with 'I Used To Be. Color Blirid' are worked into the plot's progres- sion, more or less plausibly, although the hypnotic premise makes the plot one of those things. 'The. Yam' as a dance creation is just another terp number and won't happen. Hermes Pan's dance staging is chiefljr Astaire and Rogers; there are no big dance numbers. Astaire's own subconscious mind, speaking to hirn—via a mirror se- quence—and much, to do about psychoses and inhibitions creates a doubt if they'll savvy it in the sticks. Luella Gear's intended dry comedy relief never comes off. Jack Carson impresses only oh his rangey per sonality which, with better script for- tiflcation, may carry him along. Clarence Kolb almost does a svelte trish Justice as the judge and the rest ire bits. No comedy to speak oft, Franklin Pangborn's usual nance is Iragged in by the S.chiaparelli and Robert B. Mitchell and his St. Brendan's Boys (a Coast choir, which ^ has done film and radio chores of ^ late) must be on. the cutting room ■ floor. Presumably intended for the W . altar sequen(^es, and only heard in f background, scoring. Astaire looks good and deports himself UD to standard, as does Miss Rogers. Her frontal effect, however, Is .handicapped by some unkind camera angles.. Or itmay have been that the tiredness she evidences in some sequences couldn't be camou flaged. Running time of. 83 minutes makes this their shortest film,- and yet it's thin despite the curtailed footage. Abel, I AM THE LA>y Columbia rcleanc of Gvere'.t RlHkIn pro, duction. Slur.4. Kdwnrd G: UdlilnRon; fca- turen nnrltura O'.N'cU. Wcnd'y Itnrrle. John Ben I, Otto Kruv'cr. Olrei-tcd i,y 'Alexander Hall Story. Frc,l AIHiorT; wci-cpn piny. J. Swer'InK: cnmcrn. Henry Freiillfhi i'dltor Viola, Lowi-c'nce. At C'aiiltol. .\\ Y;. week Auk '2\ '.I.**.' nunitlDi; llm,^. mlns. John Mnd>-ay. Jerry F.imlHiiy.... Paul Fcrifunon.... Frankle nnllnu... Buiicne FertruHon. Tom .Rn-'iH.' ....... Kddle Glr.-ird Berry Mnaa Kitclii-ll..... Insi^otor nieuMo . r^ander J. W. nudcr Mrs. Duder ...... . Bdwar'l G. Ilolilnnoi ...llilrb.-ir.n, cV.Vell . Jiihil IVu ...... Won ly ri:ii rl . ,■ (Ht'i KrltKci- Arthur I.<iri Marc Lawrence Dnuf^lon . W,wmI. ... no!>ert Mldilleinrtwi Ivan Miller .......Charles llnltnn ....Ixiulfl Jean Heydl :. Fny Helm It's a slam-bang, rip-roaring meller that has all the elements of previous pictures inspired by District Attor- ney Thomas E. Dewey's career, plus a whole library of violence and hbke of its own. As a story, it's complete- ly iinplausible and frequently, ab-. surd, but- as fllm entertainment it has explosive action, searing . pace,, excitement and comedy. Although it would make Dewey hold his head, it will probably cause most spec- tators to cling to their seats. Apparently the title, 'I Am the Law, has: nothing to do with the liottirious statement attributed to Mayor Frank; Hague of Jersey City. Looks like the rtudio has siniply takeii a juicy phrase and pasted it on . a rock-'em-ahd-sock-'em thriller with more eye.to the b.o. than logic. Anyway, it makes a pungent title and should exert its share of draw. From the look of things, Fred- AUhoflf's original story must have been ,3 typically lurid pulp mag yarn. It's-still lurid enough, but seems to have been cbmpressed.and Riven force by Jo Swerling's twp- flsted adaptation. Alexander Hall's direction also lends drive and po- tency to. the yarn, both in pace and in the broad performances of the leading players. 1 Am the Law' is anything but subtle; it leaves noth- ing to. the imagination and it'll make intellectuals groan, but it's the kind of combustible hoke Hollywood does best.: . . ,. ,' . Story deals with a dynamic little law professor who is drafted as spe^ cial prosecutor to smash rackets. Although he is threatened, evaded, betrayed and thwarted on every hand, he succeeds in rounding up the mobsters and getting the goods oh them. Like the other current film treatments of the Dewey theme, it's simply the bid crime picture over again, this time with the prose- cutor angle instead of the 'public enemy' or G-men theme. Probably no picture out of Holly- wood in recent memory, has con- tained so many frankly impossible situations and plot twists. In that way 'I: Am the Ljiw' is something like 'Seven Keys to Baldpate' was to thrillers of its type^the, subject stretched to the. absolute liihit—that is, to absurdity: Certainly 'I. Am the Law' goes far beyond belief. And it's so hbkey that the opening night (25:) aiidience kt the Capitol, N. Y., actually applauded the hero and hissedN'the villain during the early seauences. But before long the spectators became infused with excitement and: in the latter se- quences there was the sort of re- action heard at Saturday matinees iri the nabe houses when the cowboy hero smacks down the cattle rustlers. As the small but tough prosecutor Edward. G. Robinson, hites off great chunks of scenery, rants,' snorts and muggs Iik« a tentshow barnstormer. When he dances the big apple with the gang moll irt a night club or out- slugs the hoodlums, not even a kin- dergardner would believe it. But it's also: a rousing shb\v. ■ The other performances are shrewdly" gauged foi: dramatic- con- trast, if, not for imgicar characteriza- tion. Barbara O'Neil is the quietly and dutifully helpful wife.. John Beal's generally capable perform ance is marred by hysteria in his emotional scenes. Wendy Barrie olays the pane gal with agreeable coolness; Otto Kruger's effective un- derolaying makes the part 6f the behind-the-scenes racket chief stand out, and Marc Lawrence contributes his familiar tight-lipped killer. Others are. standard. Hpbe, Miniature Reviews •Carefree* (RKO). Astalre- Rogers reunited. Perhaps their poorest musical.' '. •I An Um Law* (Gbl): Meller about a crusading special prose- ' tutor, saturated, with hoke. but vigorous Robinsbn starrer. 'Boy .Meets Girl- (WB) Gag- ney-b'Brien starreu in a fUn- fest. from the Hollywood satlrl- . cal play of the same name'. •Bloek-Head*' (MrG). Short- winded cornedy, the last for Ldurel and Hardy as a team. •Barefoot Boy' (Mono). Pleas- . ing minor saga of iliyehile ad- . venture andi heart-t h r b b s; strong dualter. ■ 'The Gladiator' (Col). Amon^ best Joe E. Brown comedies, •Meet the Girls' (20th). Light- weight comedy fbr the duals. 'Bulldog Drummond in Af- rica' (Par), Heather Angel and John .Howard in pretty good sequel to Drummond series. 'Bollln' Plains' (ON). Feeble oats opera with Tex Hitter siiig-. ing again as cbwboy hero; thin even,on dualers. BOY MEETS GIRL (WITH SONG) Warner RroF. prottuctlon' and release, .Star» Ji>mc.<f (*ai;ney and.Pat O'Brien; fe.i liirea Marie Wllahn. Ralph Bellnrhy. Frank McHuRh, pick Foran. Directed by Lloyd Racon. Screenplay- by Delia a;id Samuel .^iiewack from i>lnv by name: camera. Sol Poliln; eiUiiir. William . Kolmcs; .sonfrfl. M K. .Icronu' iind ..l:ick Scholl. At Strand ^^. v.. week Aug. 28. "38. Running time Sli minx. Robert l.n\v JnmeR Cocney J. G. Itcnsoir: ........Pat 0*nrlcn Susie Marie Wilson C. Clllult Friday ...Itnlph nollnmy Roancttl Irflrry Toms lto<lney Revan..,, .\nnouncer Hnp|)y. I'CKKy .Miss Crews..: Soil); Writer .<iontr Writer. Major Thomptum.. .Frank McHuRh Dick Foran Bruce Lester Ronald Rea.(;nn ...; Paul "Clnrk . i.. ^I'OTiny ' Slncleton ►..ilennio Moore Harry Seymour Itei-t' llnnlon ....James Stephenson With Cagney-O'Brien for the mar- ouce, and the ballyhoo attendant to Warners' new Marie Wilson, in the dumbdora role of the mother of 'Happy,' the fllmization of 'Boy Meets Girl* will meet b.o. success It does not aobrbximate the ripsnort ina click, of the play original by the Spewacks. who ioebreened their own screen sorecd. Whether the fault lies in some of the denaturing, or the idea of 11 film pokini' fun at the picture bii'!ine.';!>. .doesn't quite cprhe out. but the (act remains that the picture version of this comedy (^las.<;ic is a little more than adequate. Its box-offire will be satisfactory, but pot socko. . ■ T-'oUvwo'd -ibbiri'; it.'tclf. .>n ccUu loid. sf>i'"'^s like a darihs thing and. tb" ^V^"■^o^^ have -done it. it is. Director Lloyd Pacbn. in fact has iut-Soew!"i''ed the dramatists in 'imnln" Iho mn.-icap scenarists, as nnnpov .rpH O'Brien nerson?te them. That the vi«:iial hokum is broad- such ns that bi^arrp den of rrea- ♦i«'e sfrivd'^'i'?. 'vith thoRp oiitland-. •sh n-'<'"" Yir. putor^i.TticlIv retiord- or another, ranging frorh Breen to Bacon—^with the Warners and the Spewacks somewhere in between—, the pulling of some of the punches has'made for a rather perky evolu- tion* .: But there's enough dandy fun to satisfy, and sonie of its quite deadly. So much so that'the picture biz in- sider must look mentally askance at- the spectacle of a Hollywood prod-, uct'sb raucously and ribaldly ribbing itself—particularly in these parloiis- b.o. times when.'mahy argue, Hollyr wood should be wooing public favor rather than add fuel by scorning It- self. However, It's really not quite as serious as all that. It's , a sidelight on a madcap creative business, per- haps as true; in some other indus- tries. Cagney eclipses the somewhat more practical O'Brien in the buf- foonery, but thstt's a script handicap since the latter is be-plotted by the spectre of a spendthrift wife, and a practical yen- to keep earning those 1,500 tears a week, whereas Cagney is devil-may-care; and scriptually quite eager to xetire to his Vermont hideaway, live on $12 a; week, and write -that great .book he has in his system. Marie Wilson, newcbmer, rates the mbst attention, trade and public, in her assignment as Susie, who has been given ben'eflt of clergy (biga- mously, but b. of c„ nonetheless, unr der Haysian mandate) in her role as the manrimy of Happy. The latter is the wonder-child who resurrects a has-been mustang star into big b.o. again. With fan mags attesting to Happy's winsbmehess and a clbseup of Varibtt— ^front. page, nb less—for authority on the b.o.. receipts in sundry keys, Marie Wilson finally feets her. life-long yen of igolng through high schobl while her off- spring is busy working in the stu- dios, thus insuring her schooling. ; Ralph Bellamy, sub-featured,., is adequately distrait as the studio ex- ecutive whose cross in life is the fact that he's the only film producer with a college degree, hence 'they despise me.' Dick Foran- does an all-right job as the dumb-cluck oats- opry star; Bruce Lester l}espeaks of considerable promise, cast opposite Susie, in a British juvenile role,, and the rest are adequate; but nothing more. Frank McHugh's version of Rossetti, the agent, has been made less despicable than in the olay; and while Hnrry Seymour and Bert Han- Ion, as the songwriters, try to dash off 'symphbnies like Beethoven' in 15 minutes, they'-e 'ost in the shuffle along with Dennie Moore, as the sec, and Ronald Reagan, as the radio announcer, who, however, makes his brief opportunitv register. The baby Happy, is Paul Clark, a winsome in- fant. The song content is negligible merely as plot incidental. Director Bacon's tempo, in toto, Is gooil, althbugh, due to cinematic exigencies, the prominence accorded the boy-girl romance—originally merely a . satirical premise—some- what befuddles the sum total. Thus, scripters Law. and Benson,. as Cag- ne.v-0'Brien do 'em.- must give way arid become somewhat eclipsed'when the celluloid . boy-meets-eirl . saga asserts it.self for obvious reasons. V was-undoubtedly an iinwilling com- prrviinise, but necessary. The Inu.sh: total, of course, offsets any captiousncss. It's a b.o. comedy Abel. Stan Laurel and Oliver Hardy. It is a credit to-none of these three, nor to the Wajgonload of writers who pbt- boiled the gags and story. The script- ers Include Harry Langdon, who is teaming with Hardy following Mat- ter's split with Laurel. The com- bination of Laurel and Hardy has been biillt over the years from twb- reel to feature box office Jaugh names of fair power, but, 'Block- Heads' is ah awful lietdowri for them. Its audience value is negligible.' . The picture is bne of those shorties the exhibitors have been complain- ing abbut, but although it riins 58 minutes, it's stUI a lot of taffy Stiretched to the breaking point Many two-reelers have been more justified in trying to bluff their way to feature length than this hodge- ■ iodge of old-fashioiied slapstick and ■loke. : , ' ■ Sbmething less than the germ of an idea forms the basis—or the ex- cuse—for the antics through which the Laurel-Hardy team and a vest- Mcket of supporting, players are put 3y. Roach anii the. routine direction of the late John G. Blystone. Even a pouting water hose, turned full force on a paralyzed Hardy, was stirred from peaceful rest bn the mu- seum counters. The shotgun whose flre seems to'knock down fleeing t"r- 'gets through fear xather than ballis- tic effect is also relied upon, prob- ably because the writers in this ct.se couldn't be relied upbn, judging from' what they-.wrbte. However, the Ave scenariositiiths didn't have much tb do in the way of dialog for Laurel and Hardy;: they seldom have much to say oh the screen. Not only lacking briginality as to situation. and gags, the -writers also prove even more' wanting when it comes to the little dialog used. The best laughs revolve arour.d the early war-buddy scenes, the sequence in which Hairdy years later mistakes Laurel for a maimed, one-legged vic- tim of the war. the . demolition of an automobile iind the mystifying way Laurel has his pipesmoke, lights matches, etc. None of this rib-crack- inhowever. ■ Laugh-fishing tactics of both Laii- rel and Hardy remain Ithe same, with the script and direction pointed for dumbness on the part bf Laurel-and much commingled hopelessness and disgust on the part of his partner. Hardy is married this time to-Minna Gombell. a tough, .vvife tb handle. She's not'much here but it may not be her fault same going for the pretty Patricia Ellis, a big gaiiie hunter's wife,,and Billy Gilbert the jealous hubby. James Finlayson has a minor part. Clwir. BAREFOOT BOY Monogram r«leajie of t3. B; Derr pro- duction. Featuron .Taokte Moran. Mnroin^ Mne Jones,. C)alr« \Vlnc1iior. RHlph ' Mor- gan. Directed hy Karl Brown. Smry and acreenplny, Joliti . T. 'Neville; camera, Gilbert Warreriton: editor, Finn IMbHck, Reviewed In Projef.tlon nnnnt. N. T., Aui;. 20. '38. minnlnv time, 0 mina. .. .... ..Tack!« Monln .;. &lur<:iu Map Junes ..-,.. .Clnli e Windsor .Raliih Morgan ...(;hna.' O. Hrown •. >iolen Markellar Br.ndley MetcalC .b'rnnk f'UKlla ..........Mnlty Kain . Mnt-llyn. Kiiowjdcn THE GLADIATOR (WITB SONG) Columbia reltue At DavlJ Lo«w prn- ductlbn. . Stan Joe B. Brown; featurn Man Mountain Denn, June .Tmvlii. Dickie .Muore, I.,ucron .Llttlefleld, Robert Kent. Di- rected by £dwaM S^dRWIck, AHHOclate uro- duoer. Edward Gross. From novel by PnlUn Wy)le; iirreenplay, Charlie Metaon and Ar- thur flheekmnn: aonR, Walter .SnmurlK, Ctinrles . Newman: camera, Qcorge '.Sch|ii>l> clbrmnn. .\t Globe, N. Y,.'dual, week-Au^. 1!7, 'lis. Running time. 70 nilns. , Huito Klpp."....; .Jo«. E.. Drown Man Mnunlnin Dean...Man Moiihialil Denn Trlfl Bennett.. nobby............ PVofeaBOr I>anncr.. Tom .Dixon.'; Mrs. Danner.-..... Coach Boliblna...; Conch Ktetabn.,.. flpecd Burna Dr. Delta y .June Tmylu Dickie Moor» .Luclen Llttleneid Robert Kent ......Ethel Wales ,..Donald DouKloa .......r,ee Plielim . JEddle K«n« ...Wright Kramer One of the merriest stories which Joe E. Brown has done. Full of ac- tion. It's goofy, but a lot of: fun, and it win help any bill' on which it's inr eluded. There's a comedy wrestling bout between Brown and Man Moun- tain Deah that's rollickingly funny,: and a- football' sequence almost as good. Wherever Brown is esteemed the picture will bowlv them. As a secondary feature it cdn't fail. Picture is a series of gag sittiatlons, but these are so deftly developed that their lineage or the fact that they smack familiar . is quite forgotten. Director EWgar Sedgwick has done a fine job. The ..one song in the pic- ture is of the college time type, sung in ensemble. Brown again is a college aspirant, who is forced out of a children's hos- pital to make room for ^the son of a benefactor. He. accidentally wins a $1,500 cash giveaway at a. picture house, and this enables him to ma- triculate at Webster; Story that fol- lows is a combination of farhiliar fbotb^U comedy plus a dash of Frankenstein;; Brown-becomes the football hero. , June: Travis is the romance interest. Brown employs most of his tricks, including an Impersonation bit,, and Lucien Littlefleld is the hazy prof, a good-combo. . Shan. THE LADY VANISHES (BBrhsH MADE) Lohdori, Aug. 20.. . Metro release of Gaumbnt-llrltlHli liiilnn- borough production. Stars MhrKitret I.<u-fi- woorl, Michael RedRrnve: relllu)'c^• P:iul Iiukas. Dame .May Whltty. DIrecleil hy Alfred Hitchcock. Screenplay. .Sydney Gll- llntt and Prahk. Launer. based., on novel, .'The Wheel Spins.' by Klhel Lln.-> While; camera. Jack Cox. At the Oambrldte, .r»hdon. Running time, IKt hilns. Billy Whlttaker...'. Plge BInlne. Valerie - Hale....... John Hnle , Calvin Whlttaker.. Martha Whlttaker. Kenneth Hale Hank............... Dlake. : Julia Blaine....... . . „ Ben OInlne.'. Henry Roqucmore Pop Roger Ornv Sheriff. ; BKile Hoilsliis Jeff Blaine Johnnie MorrI Iris: Henderson.. . Gilbert... Dr., Harti Miss 'Froy... Mr. Todhunter... •Mrs." Todhunter. Barone.<is..'. Oaldlcott.. Charlern Hotel Manager... ."^Ignor I>oppo SIcnora Doppo.... The Nun Mme. Kummer..; Ttlnnche ,... Julie .MoTKnret f^ockwood .-.Michael ItedKi-iivs .........Paul l,uk>'is .Dame M:iy Whilly ....... ;Cecll I'lirkpp . .. /. .'Lln'lcn. Travt-i-s ' ..... .. ..Miiry flare ... .Niiuiltnn Wayne ..,...UuPll nailfiird ........Emile Iforeo .......Philip I>nv«T X.elma .Van Diss ....Catharine T.acfy- ...Josephine Wllsun Google M'ltheni '..Snlly Slewtirt Columbia's eritry in the current rash of yarns about crusading spe- cial orosscutors, 'I Am the Law' is Ihir cI'-'i'i^v.-v-l.Tck of the Reminelohs, /irttially a film to end all such Alms.'etc. But otherwise, for one: reason BLOCK-HEADS M^'tro-OiiIilyvyn-.Mnyf'r rcloiiso* of H; RiirM-h prtMlui'llon. ■ Slurs Sl;»n Lnin-el ;ind Oliver IhM-illy. nirm-liit by John G. llly- sl'-ine. Story ond i(tl:i|)l;ilInn, fh.'i'rios Uok.- ers. KelLx Adior. J:iincs Parrt)!!. Hurry I,lln^■dllll niid Arni,ld Hclci'nlv edllnf. lUrl Jordon: caiiteni. .-\rt l.lnyd. At Itlnltn. \.. v.. week .\ui;. '38. Itunnrng ilnic, M inlMM'. Stjin l.oui-cl. Oliver llarily ;.. Mra. Gllberl...: Mrs. Miirdy Illlly niihori ;.. .Mrs. Finn . .; . . . . ........Himself HIms.-'ir .. :Pnirl<'la Kills .Minna .Goml>cll .,1-llmaelf l.-inics Flnlny^on 'Block-Heads' is Hal Roach's swan song as ii producer ' for Metro and, in all probability, the last.picture for Monogram has turned out a mod erately engrossing. fllm in this ad- venture juve yarn. It's hardly strong enough fbr single-billing, but is plenty hefty enough for the duals; might even rate upper spot Light on name draw, but cast is ca- pable. Story is in* and out, direction is generally skilled, but we^k in soots. Picture builds to a satisfying climax, but fadeout is overhoked. Inspired by Whittler's poem, 'Bare- foot Boy,' is a minor saga of an' urban ybuh.gster, his suoer-.<;erious romance, flghts and rivalry with a blase newcomer. Jackie Moran is the wholesome, inarticulate lad from the - country. His puppy-pash is Marilyn Knowlden and .the up-and- at-'em tomboy, who finsUy. muscles in on his affections, .is Marcia Mae Jones. Bradley Metcalf 'is the spoiled and hated newcomer, who's ultimately redeemed by the rural atmosphere and young. Moran. Charles D. Brown is the gruff, understanding and kind- ly father of the barefobt boy, while. Helen MacKellar is the fussy, pro- tective mbther. Much bf the story involves the interloping youngstet's oarehts,, Ralph Mbrgan and Clair*! Windsor. He's newly released from pi-ison after serving a term for a bond robber.v, :of whicn he was innocent. She's the cold wife, who doesn't be- lieve iri him. Plot works up to a climax as the youngsters test each others' courage by invading a 'haunted' house, where they stumble on the missing bonds, which would dear the wrongly-im- orisoned .mnn. In a rou2h-atid-tum- ■ble finish the rival kids hold off the culprits until help arrives. Best se- atiences of the picture are those dealing with the kids, their serio- comic scuffles, chasesi scraps and lieart-thorbs. • Youne Moran Is father appealing, while Marcia Mae Jones is standout as hi,<! strong-arm,admirer. Bradlsy Metcalf is suitably brash as the nevii- conier, while Brown .scores a."; (he scenarists's Ideal of a father. Nobe. The recent deal between Metro and Gaumont-British, whereby some of the latter's Gainsborough produc- tions will be released by the former, had an auspicibiis start with 'The Lady Vanishes'.' Due in, no small n^asure to the admirable direction by , Alfred Hitchcock, this iriterha- tional spy story may be good enotigh, with judicial cutting, for American auds. At leist, It's box ofllce for English patrons. An elderly English governess, homeward bound, disappears from a ti-anscbntinental train, and a young girl, who says she had recently re- ceived a blow on the head, is con- fronted, by numerous other passen- gers who say they never saw the governess. This becomes so persist- ent the girl finally thinks she has gone huts. The story is sbmelimes eerie and eventually melodramatic, but it's all so well done as to make for intense interest. It flits from one set of characters'to another arid be- comes slightly difficult to follow, but finally all joins up and becomes the kind of hooey to which the popular picture-going public cottons. This fllm, minus the deft and arli.s- tic -handling of the director, despite its cast and photography, would not .stand up for Grade A candidacy. Margaret Lockwbod is the central femme character; Michael Redgrave,- as .the. lead, is a trifle fob flippant. Nauriton Wayne; Basil Radford. Paul Lukas as a crecjitable villainous doc- tor; Dame May Whitty, as the gov- erness; Catherine Lacey, a villainess disguised as a nun, among the. re- mainder of the large cast, are excel- lent, i/olo. TENTH AVENUE KID Republic Pictures relense of Hmry Gr.y: Prnduellnn. Features Drure C\ibi,t. Uev- erly RolKrls: Directed by' Uoi-riard Vi.r- anus. Screenplay. 'Goi-don kobn; mlKiniil Blory, Kahn. Adele nuftlnmon: i-i "i. Brnest .mhUt; editor. Wllllon) Moremi. Previewed In Projection Room. .N'. '.. Aoi?. "J. 'S.S. Running time, on mlno ■llm 'Silk' Loomis Sui^an Tommy D.lylLn Max.; Turner ,, flohurt -. .. .Coinmls.Hliincr Ho.lknnp...... Wheeler...... Falwr.. Kgnn Jerry Slnmns Wni-ker .H'nii-e <~iil,',t Hevcrly Uohfit.« Tnarnvvylly^'O ... . ..I!en \<V!ilin lloriue .\lao.\liii"'" ..John \Vr:iy . Illy >:ftVt-IIO ,.......(Mairlcs WIN"" Uyron K. Koultt r .......... I'Hill Mivnr .,; Waller SuiHlc linlph noon ....... .Julhm l'elni»./.l i;llly Wajiie: Bruce Cabot emerges from sinif.lei'. roles of his most recent screen piist, ,(Continued on page 40) ■