Variety (Sep 1938)

12 VARIETY FILM REVIEWS Wednesday September 7, 1938 You Can't Take It With You Columbia release of Frank Capra pro- duction. FcaiurCB Jean Arthur. Moiiel Burryroore, James Stewart,.-Ed ward Arnold, Mlsrha Auer, Ann Miller,-Spring Uyluglon, Samuel S. Inils, Donald iluek and Halll- ■n'dl Hn'obes. Directed by Frank :Ca;>ra. From play of sanie name by Ocnrgo a. Kauimim un I Mum' Hurl; adaptation. Holi- ert Rlskfn; editor,' Gene Havllck; photog- raphy, Joseph Walker. At Radio City Music Hnll, X. V., week Sept. I, 'as. Run- ning time, li" mlns. , Jean Arthur . Lionel Jlarrymore ,.. iJarnea Stewart ...ilidwnrd Arnold Misoha Auer Vnn Miller ..Spring Hylngton . .. amuel rt. Hinds ..... Donald Meek ,11. 11. Warner ,. alllwcll Hobbcs Uuu.Taylor Mary Forbes Lllllun Yarbo KdiUe Anderson . .Clarence 'Wilson ... .Josef Swlekard ..Ann Doran Schmidt" Cnrl "!." , J! " u0 lira. Schmidt •'• -Hodll Rising Hch.lerson ■. .Charles Lane judge Harry Davenport Alice Sycamore. Martin V.inderhof..... Tony Kirby .. • Anthony 1'. Kolckhov. .-. EshIo Cnrmlcha Penny'Sycomoi Paul Sycamore.'. , roppla. •. Ramsey De Pinna.. >.. Ed Carmlclr.icl.......... Mrs. Anthony Kirby.. Rhebn..... .'........" Donald. '• i • John Olnkoly...'. ■'. Professor,. ■ • ■ Mnggle O'Neill.. A strong hit on Broadway, You Can't Take It With You' is also a big hit on film. It is still playing in leait form, the New. York Music Hall engagement of the George S. Kauf- man-Moss Hart comedy being iii ad- vance of national release of the pic- ture, date of which is Sept. 29 but likely to be set farther back, than that Of interest will be study of the effect the picture run has on the play's Broadway business. A long picture (120 mins.) and not lending itself comfortably to double billing or engagements where stage shows are also used because of diffi- culty of turnover, 'You Can't Take It With. You' could have been edited down a bit here and there, though as standing it is never tiresome. The tempo is generally fast, arid there are no sudden spurts or sharp let- downs: None the less, here and there the editor. Gene Havllck, might have eliminated some detail without injury. There might have been some slight improvement through a short- ening of the running time. This is one of the higher-priced pi s to be bought b - pictures in history, Columbia having taken, the rights for $200,000. Production, not calling for anything elaborate but involving' expense in Frank Capra,, producer-director: Robert Riskln, who. adapted, and a large, capable cast of players; brought the negative cost to around a reported $1,200,000. It will get all of. that back and much more, with business for the' theatres also averaging high. In all ways fig- ured, smash, takings are inevitable. For the masses and bound to get a strong play in the provinces as well as large key downtown runs, it is fine audience material and over the heads of no one. The comedy is wholly American, wholesome, home- span, human, appealing, and touch- ing in turn. The wackier comedy side contrasts, with a somewhat serious, philosoph- ical note which may seem a little overstressed on occasion, although on the whole the Kaufman-Hart piece Is not supposed to be entirely reasonable as to cause, effect and re- sult The Vanderhoff family, alone, is a travesty. Tribe is played, ap- pcalingly but screwily, the antics of the polyglot combination of grandpa, daughter, son-in-law, grandchildren and hangers-on, including a meek adding machine operator turned in- ventor, and a ballet teacher, being basically for creation of fun. Capra succeeds in getting much of that from the Vanderhoff bunch, mostly under their humble but partly mad house roof. Oh the other hand and to. another extreme, Capra makes banker Kirby and his establishment a colossus of imagination, with the big financier and his lovesick son doing things that might be a trifle off-keel as to expectation. The romance between James Stewart -and Jean Arthur is the keystone - of the comedy ?■ and Jplayed legit-in most-respects, albeit t forms the basis-for much of the laughs drawn. Other comedy .ele ments are registered at the expense of Edward Arnold, the stuff-shirt banker, and his wife, played excel lently by Mary Forbes. The link that is formed between.the modest, homey Vanderhoff coterie'and the ; very rich Kirbysy created principally- through, the romance of the Arthur-SteWart pair, is a. bit unbelievable but for the purposes of entertainment has li- cense. Stoutest comedy scenes revolve around the action in the Vanderhoff home as everyone proceeds with what they want to do. Lionel Barry- more plays the harmonica, his mar ried, middle-aged.daughter is typing plays that'll never sell, witha kitten cutely used as a paperweight; one of her daughters Is practicing danc- ing: her husband is at the xylophone, and others are testing firecrackers or doing something else. Capra moves these scenes into swine beau- tifully under, smart timing. The se- quence with the income tax man is a honey.: Another is the sequence in which the visiting Kirbys ^re taken for a slapstick ride amir'st what seims a nuthouse gang. Still an- other which approaches a hbwl is the night court session. A night club stretch is also rather funny. A< park bench serves as the setting for a brief but very natural and well performed love sequence, topped by a Big Apple bit with'some urchins which gets by because it has a pur- pose' in connection with the nitery laughs following. Miss Arthur, the very appealing quality of her .speaking voice carry- ing her far on the screen and again here, acquits herself creditably. Stewart is not a strong romantic lead opposite her but does satisfac- torily in the love scenes. Others are tops from Lionel Barrymore down. Barrymore Is on crutches, indulging his hobbies and his homey philos- ophies. Those in his three-ring cir- cus home include Miss Arthur, Spring Byington, Ann Miller, Sam- uel S. Hinds, Donald Meek, Halli- well Hobbes, Dub Taylor and the visiting Mischa Auer, plus the col- lored help, Lillian Yarbo and Eddie Anderson. Arnold is a dandy banker type, a fine selection for the part, while lessers are H. B. Warner.and the judge of the night court, Harry Davenport. Latter's brief footage adds to swell results. The panic in the courtroom is all pointed for laughs except for the break between Stewart and Miss Arthur under rather fiery, denunciatory circum- stances when Miss Arthur hands it pepperily to the Kirbys. Riskin's adaptation, retaining as much of the origin?! Kaufman-Hart dialog as possible, adding for. other parts, represents a capable' job. It was a one-man assignment of impor- tant proportions. Settings are not elaborate but good, and the photography of Joseph Walker and crew all that might be desired. Char. BOYS TOWN Metro releases of Jctin W. Consldlne, Jr.. production. Stars Spencer Traoy and Mickey Rooney; features Henry Hull, lies- lie Fenton, Gene Reynolds and .Bobs. Wat- son. ■ Directed by Norman Taurog. Screen- play by John Meehan and' Dors Senary from original story by. Senary and Eleanors Grlffln, musical score by Edward Ward; arrangements, Leo. Arnaud; editor,. Elmo Vcmn; montage,' Slavo Vorkapl.ch; camera, Sidney 'Wagner. Reviewed In Projection Room, N. V., Sept. L '38. Running time, DO mlns.. Father Flanagan Spencer Tracy Whltey Marsh: Mickey. Rooney Dave Morris......... .Henry Hull Daii Fairow....... .Leslie Fenton Tony Ponessa .'...' Gene Reynolds Joe Marsh. .Kdwanl Norrls The Judge .. Addison Richards The Bishop Minor Watson John'. Hurgravos. Jonathan Hale Pee Wee ..Bobs Watson Skinny Martin Spellman Tommy Anderson Mickey -Rentschler Freddie Fuller '.... .Frankle Thomas Paul Ferguson .'.'......Jimmy Butler. Mo Knrin Sidney Miller nutran...; rt Emmctt Keane Ttie Sherl .....Victor Kllllan Miniature Reviews •Ton Can't Take It 1th You* (Col.). From legit success, still on Broadway. Big grosses looked for. •Boys Town' (M-G). Spencer ■Tracy and Mickey Rooney to new heights in tear-jerker. •Three Loves Has Nancy' (M-G). Janet Gaynor, Robert Montgomery and Franchot Tone in a dizzy comedy. •Safety in Numbers' (20th). Actionful new entry in Jones Family group, geared for laughs. •Breaking the Ice' (RKO). Bobby Breen in a combination folk drama and musical; pass- able dualler. ' Time Oat for Murder' (20th). Harum-scarum meller launching Whalen-Chandler in new rov- ing reporter series. O.K. dualer. •The Hlgglns Family' (Rep). First in typical American fam- ily series shows fine promise, with Gleasons topping cast. 'Boys Town' should go to town for the exhibitor alert to its tremendous exploitation potentialities. Looms as healthy: boxofflce. Moreover it is a production that should build good- will for the'whole industry. Though an . intangible' preachment for- the Catholic priest, it has considerable mass appeal and is gripping enter- tainment most of time. The. story of Father Flanagan's struggle to make a successful boy's home- and then an entire commun- ity near Omaha, Neb., is the motivat- ing theme throughout Producers shrewdly have not made it entirely a paean of praise for Boys Town, but rather a realistic portrayal of Father Flanagan's untiring efforts to make something of wayward young- sters who otherwise might wind up in the electric chair. With Spencer Tracy- and Mickey Rooney as the priest and the Incor- rigible lad, in tailor-made roles, 'Boys Town' is a tear-jerker of the first water. Yet it has equal distri- bution of humorous and bitter mo- ments. Film stamps Ickey Rooney as the No. 1 American boy of the screen. He virtually takes"the pro- duction away from the capable and veteran Tracy, though not appearing until feature is half finished. Inspiration for - the -home for -youths of all races and creeds is deftly unfolded-in the initial se- quence as Father Flanagan, consol- ing, a man about to die in the chair, is swayed by the doomed convict's bitterness .toward his own hapless youth. Priest decides to remedy sit- uation. And though blocked on all sides, he pushes his home for boys' movement forward, until he has a complete juvenile community. His theory that there is no such thing as a bad hoy holds good until he agrees, at the earnest beseech- ing of a lifer, to take an imprisoned gangster's kid brother to his town development. This boy, the flip Whltey Marsh, who wanted to be- come a big,shot like his.older broth- er, has wisecracking notions on the Boys Town and nearly blasts the oriest's cause. It takes a defeat in the boxing ring, the ihiury to his diminutive pal. Pee Wee; arid ac- tive contact with his brother's gang- ster pals., to bring him to his normal senses. Defeated in his Crly ennniv- ins to be mavor of Boys Town. Whitey wins, the hidhest honor in the youths' rnmmuritv for H's sturdy loyaltv finally to Father Flangari. Mickey Rooney is the toughie whose repartee is as laughable a<; his cockv walk and nunnersims. Slow curbing of his desires ins he bucks Boys-Town customs and rules is a transition of character that is logic- ally worked out. Rooney supnlies sad and dramatic moments as effec- tually as his reveral uproarious scenesi Trapy ( showing necessary re- straint, makes his portrayal of Flan- agan sincere *nd human. It is not the first time he has played the role of a priest on the screen. Henry Hull, the money-supplying pawnbroker who long is the sustain- ing financial influences that makes possible the actuality of (he boys home, buildr vthls comparatively minor role into an impressive assign- ment Group of youngsters who fig- ure importantly in Boys ToWn epi- sodes are unifo. -\y fine, with Bobs Watson, as Pee Wee, and Gene Rey- nolds, one of the leaders, furnishing outstanding performances.' Other sterling .parts are played by Mickey Rentschler, Jim.ny Butler, Sidney Miller^ Martin Spellman and Leslie Fenton. while support is headed by Edward Norris, Minor Watson. Jona- than Hale and Robert Emmett Keane. John Meehan and Dore Schary have done an expert job in scripting the screen story, best portion being the indelible dialog fitting the varied characters. Norman Taurog. known for his vivid handling of juvenile types, touches a new peak here as he highlights several youngster per- formances from a large cast of youngsters. John W. Considine, Jr., has given the picture fine production. Sidney Wagner's photography Is aces. Boys: Town also - has been freely publicized in newspapers and on the radio. Picture should gain the sup- port of all church r.roups in indi- vidual communities. ' The exhibitor can safely -build his opening On theory that it will hold- up from then on with word-o'-mouth. Wear. Three Loves Has Nancy etro release of Norman Krasna produc tlon. Stars Janet .Gaynor, Robert Mont- gomery, Franchot Tone; features" Guy ({lb- bee, Claire Dddd. Reginald Owen. Di- rected by Richard Thorpe. Story. Lee Loeh and Mort Braus: screenplay. Bella and Samuel Spewnck, George Opuenheliner, David Hertz; musical BCore. Dr. William Axt; camera, William Daniels; film edi- tor, Frederick V. Smith. At Cnpltol. N. Y., week Sept. 1, '38. Running, time, 70 mlns. Nancy Brlggs Janet Gaynor Malcolm Nlles Robert Montgomery Robert Hansen Franchot Tone Pa Brlggs.. Guy ICIbboe Vivian Herford Claire Dodd William Reginald Owen Mrs. Herford Cora Wlthorspoon Mrs. Brlggs ...Emma Dunn Grandpa Brlggs Charley Grape'wln Dr. Alonzo z. Stewart Lester Matthews George Grady Sutton wonder what all the uproar's about. . If the script of Three Loves' stretches the limits of nonsense, so does the performance. Where the scenarists have completed the yarn, director Richard Thorpe and the cast play it with broad relish.. They act like a barnstormer's farewell ap- pearance, pouncing on every situa- tion, clutching each bit of business and walloping across all the gags and points. It's enough to make a timid spectator cringe, but it's frequently pretty funny, too. As the naive little menace from the sticks, Janet Gaynor gives an ad-' mirably straight-faced performance, her intense seriousness contrasting sharply with the wild and woolly clowning Of Robert Montgomery and Franchot Tone. Latter two, as the- author and publisher, respectively, pull all the acting stops and; fre- quently make a ludicrous situation even- funnier. Hard to see how per-: formances - could be much broader and still stay in the studio. Some of the takes' they register are so forth- right they can almost be heard. It mleht be a demonstration in thespie hokery—and posslbl / for that reason it seems to fit requirements. The other players are compara- tively unimportant- Guy Kibbee has an almost indistinguishable part. as the girl's father.-' Claire Dodd ap- pears briefly as ah-amorous actress, Reginald Owen is Montgomery's valet, Cora Witherspoon is the' ac- tress' scheming mother, and Charley Grapewin is Miss Gaynor's pugnaci- ous grandfather.. Jlobe. SAFETY IN NUMBERS 20lh.Century-Fox production and release. Features Jed Prouty, Spring Byington, Ken Howell and Russell Gledson. Directed by Malcolm St. Clair. Screenplay- by Joseph Hoffman, Karen de Wolf and Robert Chapln from original story by Dorolhy Manney and-Zena .George;; based 1 on orig- inal characters created by Katharine Knv- anaugh; musical direction, Samuel Knylln: camera, Charles Clarke. At Globe. N. T., dual, week Sept. 5, '38. Running time, 68 mlns. John Jones. Bonnie Thompson.. Mrs.' John. Jones.... Herbert Thompson. Jack Jones......... Roger - Jones. Lucy Jones Granny Jones. ......Jed Prouty .. .Shirley Deane .Spring Byington ..Russell Gleasoh Ken. Howell ...George Emest .. ..June Carlson Florence Roberts This may not be the funniest pic- ture of the season, but it's certainly one of the wackiest It was adapted by Bella-and Sam Spewack, George Oppenheimer and David Hertz from an original by Lee. Loeb and Mort Braus—and apparently it took all six to* cram all the screwballisms- into the script. Anyway, 'Three Loves Has-Nancy' is a completely daffy, reasonably entertaining romp by Janet Gaynor, Robert Montgomery, Franchot Tone and a group of. fa- miliar supporting players. Chiefly on its name, pull it's potent enough for single-billing or a hefty top- decker for the duals. ■ Story is one of the trivialities about a semi-conscious smalltown gal who gets stranded in. New. York and becomes the object of a furious set-to between a flighty author and his hell-raising publisher. On that slender framework have been scrib- bled all the balmy situations, crack- pot gags, and slapstick whimsy that six frenzied scripters could concoct Every dizzy wheeze that ever dec- orated a Mack Sennett two-reeler or was refurbished for the recent ro- mantic comedies has been revived, twisted slightly and Stretched to the ultimate of absurdity. Unleashed in a steadily mounting rush at an unsuspecting- audience, it all results in a fairly rollicking pic- ture, with ' Occasional moments of outright hilarity. Sometimes, though, the. humor wears thin and once in a while it evaporates completely in the determined effort at horseplay. In former seasons, 'Three Loves' would have been a laugh-sensation, but it is weakened by the interven- ing boobyhatch comedies. All the same, this picture is likely to tickle most audiences and only a few will Bobby Jones, Billy Mohan Tommy McOul Marvin Stephens Tonl Stewart. Ivo Stewart Mrs. Stewart ..Helen Froeman Dr. Lnwrence Edmonds Henry Kolker Mr. Henaley Paul McVey The Jones Family series continues blithely on its way, garnering maxi- mum of laughs with their"'homey carryings-on in this latest effort, in- cidentally a 20th-Fox offering in the quiz, contest Three scribes had a hand in the screen writing, and two are credited with doing the original but in this case the number of writ- ers-appears to have been a handicap. It requires Malcolm St. Clair's best directorial skill consequently to take it over numerous rough or incongru- ous spots." 'Safety in Numbers' will fill the bill with those going for Jones Family films and may even win new friends through the me- dium of swift action and absurd an- tics. Latest episode in lives of the Joneses employs the artifice of a phoney mineral water scheme, with the housewife oh the radio, to gen- erate • audience sympathy and hold attention. Not exactly a" new thought even down to the spotting of the missus on a broadcast. Familiar ring is partially wiped out by the didoes of the different Jones boys and girls though a more sensible climax is sacrific for a typical Hollywood chase. Despite speedy plot development, film is unusual for this group be- cause of the number of trim char- acterizations. Probably something else for which director St Clair should take a bow. Ken Howell, as the oldest son, fits more closely to the character than on oossibly any previous appearance. He is typical college boy amazed that a girl is madly In love with him even to the extent of eloping. Jed Prouty is even a- more likable head of the fam- ily, while Spring Byington, as his wife, receives a full opportunity to make something of her role as the problem-answering mother of the airwaves. - Picture Is Inclined to kid the radio f bit. getting laughs out of a mixup an the engineer's control room and in poking fun at radio program con- tests. In fact whole production de- pends on the youngest daughter's triumph in one of these for plot. Odd part is that the fll itself is in the PiSl"! 6 * industry's guessing-essay $250,000 contest; just a case of hav- ing been produced before the film contest Was decided on. Premise that sponsors of the broadcast, fig- uring in this feature; later are shown to be crooks, may be viewed by radio folks as a too heavy ribbing. Besides Prouty, Miss Byington and Howell, a newcomer, Iva Stewart appears to be the most refreshing addition to the series. She is the at- tractive brunet who nearly elopes with the older boy. Formerly a model, Miss Stewart combines per- sonality with a certain .amount of acting ability. George Ernejst. the second tallest male member of the Jones boys, again clicks with his boyish enthusiasm. Florence Roberts. Shirley Deane and June Carlson, other Joneses, and Henry Kolker also do well Helen Freeman, though BREAKING THE ICE (WITH SONGS, RKO release of Sol Lesser production Stan Bobby Breen; features Chnrlm )iu» gles, Dolores Costello, Robert Burn.t Ditrl othy Peterson, Hilly Gilbert. Irene'iw" Directed by Edward F. Cllne. Origins! story, Fritz Falkensteln and N. Iircwsie- Morse; screenplay^ Mary McCall j.;. Munuel Serf and Bernard Schubert; liiuska! director, Victor Young; musical »u|iprvi I0 r A-be . Meyer; camera, - Jack Mm-Kenile' dances, Dave Gould; editor, Arthur Hil- ton:'songs, Frank Churchill, Victor Youni Paul Webster.. Reviewed In l'rojoi-ilon Room. Ni Y., Sept. 1, '38. Running ilnie. 80 mlns. Tommy Mnrtln.,, , Samuel Terwllllger , Martha Mnrtln,.... William Decker ... Annie Decker,.. Henry Johnson..,.,, Mr. Stnnll Janitor Mrs-. Small ........ Kerne Farmer Smith. Mr. Jones • • Dnbuy Dreen ......Charlie HuKgles Dolores Costello .Robert. Iiorrat Dorothy Peterson ....John King " nilly OIlfcoK ,; Charlie Murray ...Margaret Uninlitoa Jonathon Hale ....;Spencer Charters .Maurice Cass Moderately engrossing little yarn about ..the Mennoni in Pennsyl- vania. It's a combination folk drama and musical, wi five incidental songs and an ice show. Too slim for solo-billing, but totes enough steam for. the duals; Cast is strong on performance, but has only mild name draw. 1 . Major , flaw in 'Breaking the Ice' is structural. It opens and closes as a homely story about the so-called •Pennsylvania Dutch' and the sunny- hearted. little chap who runs away to the city to earn money so his mother can have her own farm. But the lengthy mid-portion located in the metropolis is entirely out of character with the rest of the story. Instead of adding Interest to the main narrative. It jars with' the flavor of the' rest of the .picture, im- pedes the action and serves merely to introduce , a moppet ice skater. The film's plot is rudimentary enough; It simply, tells of the young- ster and his widowed mother who live with her sister and brother-in- law. True to the stern, harrow tenets of the Mennonlte sect, this Pennsyl- vania tobacco farmer is the harsh, domineering head of the household. According to his lights he is right- ous, devout and just, but to a more lenient outsider he appears bigoted, insensitive and cruel. It is.to help his mother escape this withering atmos- phere that the urchin runs away to Philadelphia and gets a job singing at an ice. skating rink. Even when success and money come the kid. cares' little for city, ways or a sing- ing career. He only wants to get away with his mother to the Kansas farm,' but first he has to clear him- self of his uncle's: suspicion that h« stole $20 when he ran away. The dramatic portions at the start and finish of the picture are admir- ably done, catching the quaintnessof the Old World backwater in rural Pennsylvania, It not only mirrors the picturesque countryside, but also brings, out .the restricted outlook and manners of the people: When the scene shifts' to Philadelphia, and its skating, rink show, howev.cr, it .be- comes just another Hollywood pro- grammer—and : not -a very good one at that This is more obvious and regretable in view of the authenti- city of the rest of the picture. As an ice show, it isn't in a class with the elaborate and finely-balanced pro- ductions already seen on the screen. And it-is hardly justified by' the in- troduction of tiny Irene Dare, billed as the world's youngest ice skater, at the age Of five. That such a wee Miss should be able to skate at all is remarkable, but even so she's sim- ply a baby gliding uncertainly across the ice. Considering the inherent weakness of the script, Edward F. Cline has done a good direction job. He has deftly blended the serious and com- edy -moments' of the script, caught the flavor of the surroundings and characters and toned, down the ten- dency of some of his actors to over- play; However, it is unfortunate that the attenuated mid-portion was not cut to a mere montage back- ground effect As the cheery little fellow of the story, Bobby Breen gives one of his best performances to date. The aggressive precociousness that has formerly marred his playing is toned down. He no longer sells' his. songs so outrageously, but sings them sim- ply arid rather appealingly. Hes still just a trifle too bricht and heroic for complete conviction, but at least his playing is sincere and direct , As the genial' but grasping junk- man who befriends the youngster, Charlie Ruggles is confronted with » rather complex part But he clari- fies it commendably and, possibly to the credit of Cline's direction, softens his mannered comedy style. Dolores Costello is oroperly gentle and ap- pealing as the boy's mother. Robert Barrat is suitably overbearing and Unfeeling as the uncle, while Dor- othy Peterson is appropriately color- less as the aunt. The sets vary from genuinely realistic to downright Dhoney. Of the sontts. 'Hapov As a Lark* seems most likelv. while the 'Goodbve. My Dreams. Goofl^vr is a production arrangement of Schu- bert's 'Serenade.' •"P 1,e - only in a minor role, manhandles her character. . Better than average productloivior this series. Charles Clarke's photog- raphy is nothing to shout about ex- cepting in some action shots., wear.