Variety (Sep 1938)

14 VARIETY FILM REVIEWS Wednesday, September 28, 1938 HOLD THAT CO-ED (WITH SONGS) 20th-Fox release of David Hempstead production. Features John Barrymore, Ceorge Murphy, Marjorle Weaver. Joan t)aviB, Jack Haley and Georgo Uaibler. Di- rected by George Marshall, Story, Karl Tunberg and Don Ettllnger: adaptation, Tunberg, EtHlnger and .Tuck Yellen; songs, Mack Gordon, Harry Revel. Lew Pollack, Lew Drown, Sidney Clnre. Jule Styne ami Nick Castle; dances. Nick Castle: editor. Louis Loeffler; photography, Itobf rt Planck. At Roxy, N. Y.. week Sept. 23, '38. Run- ning time, «0 mins. Governor John Bnrrymore Busty Geoi-fte Murphy Marjorle Marjorle Weaver Lizzie Olsen Joan Davis Wilbur J aolt Haley Breckenrldge George Darbler Bdle Kuth ret ™ Dean Fletcher Donald Meok Dink Johnny Downs Slapsy Fnu' Hur!lt Mike. : Gulnn Williams The Twins , Brewster Twins Sylvester Bill Benedict Steve •. Frank Sully Coach Burl: ..Charles Wilson Spencer Gloitn Morris Miss Weatherby Dora Clement President Russell Hicks There Goes My Heart Hollywood, Sept. 27. United Artists release of Hal Roach pro- duction. Stars Fredrlo March and Vir- ginia Bruce. Directed by Norman Z. Mc- Leod. Screenplay by Eddie Mo ran and Jack Jevne fromrorlglnal Idea by Ed Sulli- van Camera, Norbert Urodlne; editor, William Terhune: eltects, Roy Seawrlght; music, Marvin Hutley. Previewed at Grau- man's Chinese. Hollywood, Sept. 23, '38. Running time, 81 mlns. Bill Spencer Fredrlc March Joan Butterfleld... Virginia Uruce Peggy O'Brien Patsy Kelly Pennypepper Alan Mowbray Dorothy Moore Nancy Carroll Mr. Stevens Eugene Pallette Cyrus Butterfleld laude Gllllngwater Flash Fisher Arthur Lake Hinckley Etlenne Glrnrdot Detective O'Brien Robert Armstrong Mr.-Dobbs Irving Bacon Mr. Gorman Irving Plchel Robinson Slfl Saylor Officer J. Farrell MacDonald On the wacky side and fairly amusing, but not quite making the big league, 'Hold That Co-Ed' is a football comedy that has the benefit of good performances by John Bar- rymore and Joan Davis, a story that veers a little off the beaten path, some listenable-music and a dance creation known as 'Limpy Dimp' that assays high in novelty value. Pic- ture is a little longer- than it might have been and in spots the story lets down appreciably'. Looking wilder than he's ever looked and hamming Vp his, per- formance a lot, Barrymore plays a screwy governor of an unnamed state (naturally) who wins a sena- torial election by winning a football lame. Taking his budget for a merry ride, Barrymore plays patron saint to a worn-down college and by unique means, as well as such acci- dents as Joan Davis, builds it up to bigtime status. A couple man-moun- tain wrestlers help do the trick, but the night before the game that is to decide whether Barrymore or a rival (George Barbier) withdraws from the bitter senatorial race, the grunters are revealed as profes- sionals. Plot is said to have some foun- dation in the saga of Huey Long, the Louisiana politico. Barbier, Barry- more's political rival, has decided to build up a team of his own, and it all looks in his favor after the gov's eleven has lost its wrestlers. However, Miss Davis, a tomboy character who revels in dropkicks, goes in at the last minute to win. She actually had made a dropkick earlier in the action, but for the big blowoff she is carrying the ball against a stiff wind. This scene is very funny, as the wind's strength not only holds her back (she tries to. fall across the line several times), but the play- ers that are trying to teach her as well. Miss Davis is a near panic all the way, either on or off the football field and her presence, plus that of Barrymore, saves the picture. One of the funnier sequences deals with a wrestling match in which the brothers, later recruited for foot ball, are mawling each other but, between .grunlj, talking the deal over with Miss Davis, seated at ring- side. The romantic flavor is agreeable, though notj pungent. George Murphy and Marjorie Weaver, former as the football coach, latter the governor's secretary, are on that major assign- ment. One of the numbers, 'Here Am I Doing It,' becomes a double for a love scene between* Murphy and Miss Weaver, topped by an effective dance by Murphy. Other numbers are used more as background, in eluding 'Hold That Co-Ed,* while "Limpy Dimp' is a special creation that brings out a novelty dance. It is done in the manner of people limping and employed in the pic- ture for chorus purposes, a group of students both singing and dancing It Number has an enticing sound to il; musically, and was specially written by Sidney Clare, Jule Styne and Nick Castle. 'Heads High' is by Lew Pollack and Lew Brown, while the other three numbers are from the Sens of Mack [Gordon and Harry ;evel. Backgrounds provided are suitable In every respect and the sequences in which football play figures are well handled. A good deal of extra talent was required, representing student groups, game spectators, etc. The casting of minor supporting Elayers is satisfactory, Donald Meek eing a good dean and Barbier an effective Republican senatorial as pirant, but Jack Haley isn't the best choice, as. a stooge for Barrymore. His opportunities in that part are not great either. Char. Hal Roach makes his bow as a. producer for United Artists with 'There Goes My Heart.' It's a flying start for the man who first launched Harold Lloyd in 'Lonesome Luke' one-reelers for Pathe back around 1915. Picture is top-notch comedy drama with plenty of zip and zing, and geared to garner important coin up and down the line, and generate holdover business in numerous spots. Picture contains many elements necessary to provide enjoyable en- tertainment. Script, with its com- edy passages, is brilliantly magnified in transference to the screen, through capable and inspired direction by Norman Z. McLeod. There's a closely-knit story which is generally- lacking in a picture containing as many wholesome aughs and comedy sequences as this one. Getting under way at the start, yarn moves with increasing pace, with no letdowns, and McLeod has skillfully guided it through dramatic episodes with a lightness and deft- ness that retains the sparkle and charm necessary in a comedy-drama —but too seldom secured. Fredric March handles role of a reporter, very similar to his por- trayal in 'Nothing Sacred,' with all the capabilities he displayed in the Selznick picture of a year ago. Vir- ginia Bruce is sweet and sincere, turning in a sterling performance that will further her standing. Story of the millionaire heiress who runs away from her drab exist- ence to become a salesgirl in her own store, finally winding up in love with the newspaper reporter as- signed to uncover her in the big city, has been nicely plotted. Of moje importance, however,, is the abundance of fresh and breezy dia- log 'throughout, combined with nu- merous comedy sequences that will be long remembered. And those comedy spots are really something. The writers and McLeod dug up some fresh laugh sequences' to dis- pute contentions of gag writers that every good gag has been used. Of particular freshness is Patsy Kelly in the cafeteria routine; her demonstration of a vibrator machine; and the ice-skating sequence with March and Miss Bruce, ably assisted by an uncredited acrobatic skater doing a tipsy drunk. Latter routine is a standout, and is due for repeat- ing with variations as soon as Hol- lywood writers get a peek at the picture. It's too good for them to overlook. Pats.y Kelly, slimmer by 40 pounds, is outstanding as a tough-and-ready salesgirl, providing many of the laughs on her own. Supporting cast is particularly effective. Nancy Car roll and Harry Langdon get new starts in minor roles; former off the screen about three years, and Lang don out of features double that time. Adventures of Barbara Hutton probably inspired original story idea, but aside from the department store heroine, yarn goes far afield of any similarly to the heiress' escapades. Picture is given every advantage of smart and substantial production, and rates A calibre throughout. Miniature Reviews STORY BUYS .., Hollywood, Sept. 27. Sol Lesser purchased 'Wings of Tomorrpw,' original by W. Anthony Rowland. Leslie Bain sold 'She Wanted Danger' to Columbia. Metro bought 'The Love Machine,' by Nard Jones. Edward Finney acquired 'Little Miss Fix-It' by Betty Laidlaw and Robert Lively. Straight, Place and Show (WITH SONGS) Hollywood, Sept. 27. 20th-Fox release of David ' Hempstead production. Stars Rltz Bros., features Richard Arlen, Ethol Merman, Phyllis Broolcs. Directed by David Butler. Screen play by M. M. Musselmnn and Allen Rlv kin, based on piny by Dnmon Runyon and Irving Caesar; additional dialog by Lew Brown; eongs by Lew Brown and Lew Pollack; special material by Sid Kuller Ray Golden, Jules Styne; camera, Ernest Palmer; editor, Irene Morrn; musical 01 rcctlon, Louis Sliver.' Previewed at Alex ander, Glendale, Sept. 23, '38. Running time,- 00 mlns. Rltz Brothers Themselves Denny Richard Arlen Linda Ethel Merman Barbara Drake Phyllis Brooks Drake George Barbier Braddock Sidney Blackmer Truck Driver Will Stanton f Ivan Lebedeff Russians -{Gregory Gayo I Rafael Storm Slippery Sol Stanley Fields Terrible Turk Tiny Roebuck Promoter Ben Welden Detective Ed Gargan Referee Pat McKee 'Hold That Co-Ed' (20th). Football comedy of moderate entertainment weight. •There Goes My Heart' (UA). Roach's first for UA, with March-Bruce starred, a comedy clicko. ♦Straight, Place and Show' (20th). Rite Bros, laughfest cinch for above-average b.o. 'Personal Secretary' (U). Mild newspaper programmer with limited marquee strength. •Youth Takes * Fling' <U). Pleasing romantic comedy with Andrea Leeds-Joel McCrea top- ping the cast. •Girls' School' (Col). Light, bright comedy which only lack of marquee power relegates to the dualers. 'Fugitives for a Night' (RKO). A lightweight 'B' about a Hollywood stooge. 'In Old Mexico' (Par). A blue chip Hbpalong westerner, to dress up the uppers and lowers.. •Wanted by the Police' (Mono). Hot car racket pic, with Frankie Darro, Evalyn Knapp and Robert Kent. Fair multipler. sonal secretary, and being on inside of developments. Miss Hodges tahgl,es him up plenty, but in so doing falls in love with Gargan. Novel development is disclosure of murderer through pet dog in chat- terer's office, when pup licks stamp and passes out. Through this, Miss Hodges is able to trace the real murderer while Gargan is on a wild goose chase. Production is standard for mod- erate-rated picture. Nothing to rave about in direction line. Photography is ordinary. Youth Takes a Fling Hollywood, Sept. 27. Universal roIeaBe-of Joe Pasternak pro- duction, features Andrea Leeds, Joel Mc- Crea. Directed by Archie Mayo. Screen- play, MyleB Connolly; camera, Rudolph Mate; editor, Philip Cahn; asst. director, Frank Shaw; musical direction, Charles Previn. Previewed at Tantages, Holly- wood, Sept. 21, '38. Running time, 77 mlns. Helen Brown -. ...Andaea Leeds Joe Meadows .Joel McCrea Frank ; Frank Jenks Jean.. Dorothea - Kent Mrs. Merrlvale Isabel Jeans Madge Virginia Grey Mr. Duke .Grant Mitchell Dunham Henry Mollison Tad.; Brandon Tynan Captain Walters,............. Oscar Q' Shea Mr. Judd ...Granville Bates Floorwalker Roger Davis George ....Willie Best houses. For la igh purposes, and as a well-tailored comedy, it will'stand as a solo attraction. Basically burlesque in broad strokes and no pretense at satire, picture is chuckful of nonsense with several crisply-timed laugh se- quences hung on the framework of a slender yarn. But the story really doesn't mean much. When the Ritzes appear, au- diences expects laughs, and this racy comedy should easily fill the bill. Picture is all Ritz Bros, from bar- rier to wire. Richard Arlen, Phyl- lic Brooks and George Barbier are in the cast only to keep progress of the background story going, and have little opportunity to do much. Ethel Merman, however, does get in two song numbers by Lew Brown and Lew Pollack, 'With You on My Mind' and 'Why Not String Along with Me?' in her usual capable style. Based on a play by Damon Run- yon and Arthur Caesar, picture, after slow get-away, has been geared to fast tempo that rolls along at lightning speed, to finish with a rush when the R ; tz Bros, get aboard horses in the steeplechase and find themselves ahead of their own horse in the race. Reminiscent of 'The Hottentot,' with three riders instead of one, se- quence runs at high pitch for a lengthy stretch, with audience along for a laugh-ride all the way. Although the steeplechase is tops, it is closely followed by burlesque wrestling routine between Harry Ritz and Tiny Roebuck, smartly timed to tumble laughs on top of each other from start to finish. The Ritzes operate a pony-ride, and run across a hot race tip. Trio hop to the track with their bankroll of $15, playing it across the board on their nag. Ticket seller punches wrong .key and gives ticket on out- sider, 'Playboy' that comes through to pay. the boys 300—1. They later are given the nag, which makes for most of the plot sequence. M. ' M. Musselman and Allen Riv- kin are credited with Cracker jack screenplay, with Lew Brown adding some fine dialog. Director David Butler maintains a sharp pace, and got everything possible out of the comedy material. Personal Secretary Hollywood, Sept 27. Universal release of Max H.. Golden pro- duction. Features William Gargan, Joy Hodges, Andy Devlne, Rulh Donnelly. Dl rected by Otis Garrett. Screenplay by Betty Laidlaw, Robert Lively and Charles Grayson; original- by Betty Laidlaw and Lively; camera, Stanley Cortez; editor, Frank Gross; musical direction, Charles Previn. Previewed at Pantages, Holly wood, Sept. 24, '38.' Running time, 62 minutes. Mark Farrell..,.. William Gargan Gale Joy Hodges 'Snoop' Lewis -.«....Andy Devlne 'Grumpy' Ruth Donnelly Alan Lemke f-'nmuel S.- Hinds June Reese Frances Robinson Mrs Fnrrell Florence Roberts Flo Samson Kay LInnker 'Slim' Logan Matty Fain Blackmerc. ..: Selmer Jackson Universal reached into the Gold- wyh bag. of talent to borrow director Archie'Mayo, Joel McCrea and An- drea Leeds for this one. Combining the trio with producer Joe Paster- nak, studio had expectations that picture would turn out as something to shout about. Missing that high goal, it nevertheless is good standard entertainment with many light and diverting passages. Combo of Joel McCrea and An- drea Leeds provides some draw ability, but Frank Jenks and Dorothea Kent walk off . with all comedy honors. .Latter should prove a satisfactory duo in a series of fea- tures being planned" for the pair by U. Picture has been given all-around production of high quality. Main handicap is dragginess of portions of .the script. First two reels are par- ticuarly slow. Direction is well- paced throughout, but Archie Mayo couldn't overcome the basic script shortcomings. McCrea gives an able performance in the lead, with Miss Leeds sincere and appealing. Jenks has an op- portunity to display plenty of his familiar characterization, while his wise and tough gal friend, Dorothea Kent provides swell comedy touches. Joel McCrea, from a Kansas farm, becomes a truck driver for a N. Y. department store in which Miss Leeds is a saleslady. Girl takes a gander and decides he's her man. With the aid of Jenks and Dorothea Kent, attentions of Miss Leeds are forced on the unwilling McCrea, whose continual brushoffs of the girl's romantic overtures are the ful crum of the plot. Very much of a lightweight yarn, but highlighted in spots with some enjoyable passages. Arguments be- tween Frank Jenks and Dorothea Kent, especially routine in' crowded subway train, are. standouts and make up for story lag. Photography by Rudolph' Mate is excellent. PHANTOM GOLD Columbia production' and release. Stars Jack Luden, features Beth Marlon, Charles Whittaker, Hal Taliaferro. Directed by Joseph Levering. Screenplay and original, Nate Gatzert; camera, James S. Brown, Jr.; editor, Dwlght Caldwell; music, Lee Zahler. At Klva, Lincoln, dual. Running time, 64 mlns. Breezy Jack Luden Mary Beth Marlon Buddy Barry Downing Rattler Charles Whittaker Dan Hal Taliaferro Happy Clark Davis Pancakes '.....Jimmy Robinson Pete Jack Ingram Pedro .„ Buzz Barton Mag Marin Sals The Ritz Bros, second. starrer for 20th-Fox will definitely promote the. b. o. status of the three funmakers. With less of the Ritz routines and mannerisms as displayed in earlier pictures, and more development of hilarious comedy material and se- quences especially suited to their talents, 'Straight, Place and Show' emerges as a laugh hit that will gar- ner profits in direct proportion to draw ability of the trio in individual A lightweight programmer that will suffice for the nabes and lower brackets of duals. With no names to hang on the marquee, and a mod- erately budgeted production, picture is just what it - was .intended—a pleasing drama with no pretensions of greatness. William Gargan, as a radio-col- umnist chatterer and personal ex- pert on guilt of defendant at a mur- der trial, is a prototype of Winchell. Latter is buffaloed by unknown gal chatterer on opposition sheet, who blows down all his scoops. After being in his hair continually, girl, whose Column takes on prediction as worked out by horoscopes, de- cides to get Gargan's birthdate so she can print his horoscope. This leads to her getting job as his per- The Jack Luden westerns are coming fast on the release charts and 'Phantom Gold' is slightly bet- ter than the previous ones. Trite- ness of western story possibilities is still the curse of the series, but the surefire material of fist fights, gun- play, and the last minute saving of the day has been worked into 'Gold by scriptist Nate Gatzert. From the ruins of a ghost town, a gang of looters prey on the trails, led by Charles Whittaker, who uses Marin Sais as a fence. Pickings none too good, he decides to fake a gold discovery in the old diggings, and then pounce on all the wagons and cars rushing with pick and shovel to the scene. Into this rides Jack Lu- den, in time to find the.murdered parents of Barry Downing, and take the kid along with him. Suspecting Whittaker as a faker, Luden finds that Whittaker is right about the gold, but doesn't know it. Luden files on the old diggings and then has a fight to get it. A trap set for him catches the whole outlaw pack in a murderous blast. Film has quite a bit of snap, only ducking in those places where Luden is called upon to utter sappy dialog Beth Marion's femme lead is pe- rioded in manner of the kerosene footlight era. Tuffy, the dog, out- does all the humans in the cast in intelligence. Average biz in sight for it. Barn. GIRLS' SCHOOL Hollywood, Sept. 27. Columbia release of Sam 'Marx produc* tlon. Features Anne Shirley, Nan Grey, Ralph Bellamy. Directed by John Brahm. Screenp'ay by Tess Sleslnger and RJchard Sherman from original by Teps Sleslnger. Camera, Frana Planer; asst. dlreotor, Art Black; editor, Otto Mayer. Previewed at Pantages, Hollywood, Sept. 20, '38. Run- ning time, 71 minutes. Natalie Freeman Anne Shirley Linda Simpson....v ..Nan Grey Michael Hendragln...., Ralph Bellamy Betty Fleet '. Dorothy Moore Miss Laurel..;, v....Gloria Holden Miss Armstrong .Marjorle Main Gwennle. .Margaret Tulllchet Myra ' Peggy Mora n Edgar .Kenneth Howell Miss Brewster Ceoil Cunningham Mr. Simpson Pierre Wntkln Mrs, Simpson Doris Kenyon A wholesome and entertaining comedy-drama with sub-deb board- ing school setting. However, 'Girls' School' is carrying handicap of an ordinary moniker that gives no ad- vance intimation of the sterling en- tertainment contained in the picture. Featured names of Anne Shirley, Ralph Bellamy and Nan Grey are not any too hot for that marquee, but picture is a substantial pro- grammer that will build on word- of-mouth comment. In key runs, lack of draw elements necessitates strong supporting attraction. Neither title nor cast names indi- cates the surprisingly humanness of the story, smoothness of direction and deft delineations of characters. Add two swell performances by Anne Shirley and Nan Grey, which should greatly enhance their re- spective standings, and top it with fine jobs by. all members of the sup- porting cast It's a bright combina- tion all around to provide a picture of decided capabilities, but there's the question of whether or not it can overcome the handicaps c" poor title and weak.top names to obtain attention it deserves. There's gaiety, lightness, charm and drama in the story of an adoles- cent boarding school sub-deb who plans to elope after the senior prom, with a ' moonstruck youth—and a> great twist for windup- -with sole elopement- being popular teacher and her boy friend, while the kids exclaim for the tag line, 'Who'd elope with her? She's 29 years old.' Etching of the various characters was capably handled by John Brahm in his direction. Latter made two previous pictures for Columbia this year after arriving from Germany. Columbia execs figure he's big-time directing timber, and present job shows such indications. There's warmth and realism in the unfold- ing of a rather simple tale of adoles- cent youngsters.' Sound casting judgment was ex- ercised in lining up the competent group of supporting players. Misses Shirley and Grey click strongly in carrying most of the picture on their youthful shoulders. Dorothy Moore, whose early appearances indicated some fine comedy sequences later, was sidetracked when the tempo stepped into high. Gloria Holden is excellent as the popular teacher who finally eloped, and Cecil Cunning- ham sternly carries off the role of dean. Beery, Jr., Is on briefly near windup in well-performed job as the plumber boy. Ralph Bellamy, split- ting featured billing with Misses Shirley'and Grey, only appears in a few scenes at the finish. Heather Thatcher delivering a lecture to the sub-deb ; on charm is excellent in a comedy dialog se- quence that rUn&~about three min- utes. Refreshirig-also is that there are no pillow fights, or other antics generally injected into boarding school yarns—and not one box of candy w#s passed around among the girls. Fugitives for a Night RKO release of Lou Lusty production. Features Frank Albertson, Eleanor Lynn. Allan Lane, Bradley Page, Adrlanne Amen. Directed by Leslie Goodwins. Story, Rich- ard Wormser; adaptation, Dalton Trumbo: editor, Desmond Marquette; photography, Frank Redman. At Rlalto, N. Y.. week Sept. 20. '38. Running tlma. 03 mlns. Matt Ryan Frank Albertson Ann Wray ...Eleanor Lynn Nelson .....Allan Lane Poole.;..... Bradley Page Eileen Baker Adrlanne Ames Captain .Jonathan Hole Tenwrlght.. Russell Hicks Monks Paul Gullfoyle What starts out to be the epic of a Hoolywood stooge develops into a rather cumbersome, dull murder mystery in Lou Lusty's production of 'Fugitives for a Night.' It's a 'B' of lesser importance, which not only lacks the distinction of being a No. 2 feature for duals that means safe support, but has nothing for box of- fice lure in the way of cast members. The top parts are played in ordi- nary manner by Frank Albertson and Eleanor Lynn, while the others in the cast lend little to the proceedings. Page turns in the best performance as the star for whom Albertson stooges. He also is the surprise mur- derer of the finish. • The story, adapted for the screen by Dalton Trumbo, is slow, hack- neyed and colorless. Plot as well as dialog represents a handicaD for pro- ducer Lusty, director Leslie Good- wins and the entire cast. The escape of the romantic leads from a situa- tion that places them in a dubious light in the face of a night club mur- der and their adventures by car, freight train and foot provide some (Continued on page 21)