Variety (Oct 1938)

Wednesday, October 26, 1938 FILM REVIEWS VARIETY 15 GUILTY TRAILS (Continued from page 13) boy, shows up to be a girl, so Baker goes to work for her in an effort to straighten the tangle. Baker, with Hal Taliaferro, against Rockwell and Carleton Young, pro- vide the show with most of its runr ning time, all other performances, even the femme portion (Marjorie Reynolds and Georgia O'Dell), being mostly incidental. Plenty of clips of hard riding, probably too much in the early part of the film. . Joseph West's screenplay is oke, likewise-George Waggner's direction. Other departments of technical na- ture, up t<J normal. Cinch for the average Bob Saker biz. Born. PRISON TRAIN Hollywood, Oct. 25. Sault/ release of Malcolm-Browne pro* duotlon. Directed by Gordon Wiles. Screen- play by Spencer Towne from storx by 3lhlathew Borden; camera. Marcel Le Plc- ard. Reviewed In Projection Room, Oct. 17, 'SB. Running time. 60 mlns. Frankle Tdrrls Fred Keating: XjOuIbb Terrla .Linda Winters George Clarence Muse ^aipIne Faith Bacon Manny Robblns Alexander Leftwlch Joe Robblns James Blakely Steward ; Sam Bernard Red John Pearson Sullen ..Nestor Palva Morose Val Stanton Bill Adams Peter Potter Guard Kit Guard District Attorney ranklyn Fornum Bull Geor(;e Lloyd Hardfaco Harry Anderson Drama of minor caliber that will find its level in lower brackets of duals where audiences are not too particular. Obviously turned out for short budget, picture shows much corner-cutting to save coin. After establishing competing mobs in numbers' racket, gangster Fred Keating starts across country in a prison train for stretch in Alcatraz. Revenge of opposition mobster re- BuUs in intrigue to hold up the train through Kansas to knock oft Keat- ing. It gets involved and ponderous, ■with numerous intercuts of speeding train, grinding engine wheels, and swaying cab inserted to detract from what little interest there is. J-AW OF THE TEXAN Columbia release of Monroe ShafC pro- duction. Stars, Buck Jones; features Doro- thy Fay, Kenneth Harlan. Directed by Elmer Clifton. Original story and screen- play, Monroe Shall and Arthur Hoerl; camera, Eddie Linden; editor, Charles Hunt. At Central, N, T.. Oct. 24, '38, dual. Running time, 64 mlns. iBuck Buck Jones Helen ; Dorothy Fay Bpencer Kennethr Harlan Hackett Don Douglas Bryant Matty Kemp iE'laherty Joe Whitehead Capt. oorfe Forrest Taylor Sanchez Jose Tortosa Bosa Melissa Sierra Juan , Tommy Mack Quinn Bob Kortman waterfront setting coupled with Ori- ental intrigue. Latry (Buster) Crabbe is the breathless escaper^ the versatile dick who turns the police department up- side down with his ideas, but is suc- cessful in solving the crimes. He works in league with Frances Robin- son, spbbie on a newspaper with a yen for him which leads, her to be his press agent, much to the disgust of his chief. Wade Boteler. Hinge in the story is about $2,000,- 000 in bonds, sent to a U. S. Oriental importer" to buy munitions, which gets sidetracked on the way. Mixup is between the Orientals and a Rus- sian group, for whom Edna Sedg- wick, a dancer, is the principal worker. Frank Lackteen, one of the villains of the piece, is taking a role very, similar to ones he has had -in the umpteen serials he has played so far. Weekend trade, in houses asking for kid traffic, will be helped by the 'Barry' serial. The Ford Beebe-Alan James directorial combo savvies the juve want, and delivers in usual style. Norman Hall-Ray Trampe screenplay moves fast. Bam. ROSE OF TRALEE (IRISH-MADE) (WITH SONGS) Dublin Films release of Butcher Hope Bell production. Stars. BInkle Stuart, Fred Conyngham and Kathleen O'Regan. Direct- ed by Oswald Mitchell, Story, Kathleen Tyrone; music, W. Debroy Somers. At Irish theatre (Miami), N. T., Oct. 21. '38. Run- ning time, 71 mlns. Rose BInkle Stuart Mary Kathleen O'Regan Paddy O'Malley Fred Conyngham Singer Danny Malone Jean Hale Dorothy Dnre Mrs. Thompson Sydney Falrbrother Tim Kelly r?albot O'Farrell Henry CoUett Denier Warren Another Buck Jones hell-for- leather thriller and a natural for the moppets. Packs an unusual amount of shootin' iron stuff and slugfests. while the general skullduggery at the bottom of it all is deeper and idarker than ever. Once more Buck is the scourge:of sagebrush villainy, this time pre- tending to turn renegade to win the confidence of the silver ore bandits and turn 'em over to the majesty of the law. One of the battle royals in a Mex saloon is a pip, with Buck slugging and kicking it out with a mob of sombrero kids. There's also enough shootin' to puncture every gringo on the border, but only a few hombres get pinked. Anyway, it'll have the urchins tearing out their hair and ripping up the seats. Buck is tbe small boy's idol, as always, not.turning too soft at the sight of a pretty gal and dishing out Sunishment with either fists or gun- re. Dorothy Fay is clear-eyed and good-looking in proper outdoor style. She also rides proficiently and is equal to the dramatic requirements. Kenneth Harlan, in one of the big- gest parts he's had in years, is a suitably slick villain. Joe White- head, Forrest Taylor and Jose Tor- tosa also are plausible. There are the usual quota of script Incongruities and a few directorial fumbles, but the wealth of action covers them sufficiently. 'Te^can' has plenty of stuff for the juve matinee trade and that's the main idea. Ho^ic. VADERTJE LANGBEEN ('Daddy Lone Leffs') (DUTCH-MADE) The Hague, Oct. 15. Fllmex release of Neerlandla-Clnetone production. Stars Lily. Bouwmcester; fea- tures Paul Storm, Emma" Morel, Gusta ChrlspUn-Mulder, Sarah fieyblom, Jan Retel, Constant van Kerpkhovon, Iau Ezerman. Directed by Friedrlch Zelnlk, Screenplay, adaptation of Jean Webster's 'Daddy Long Legs' by Jaap van de Poll' and Cor Hermus; camera, Brian. Langley; editor, Jan Teunlssen. At City theatre, The Hague. Running time, 05 mlns. Judy Aalders...'..'. Lily Bouwmeester Van Woudenb'erg '. Paul Storm Mrs. Van Dedum Efnma Morel Mrs. Llppena Gusta, ClurlspiJn-MuIder Frits Donkers Jnn Retel Doris Helene Plmentel Ina Lies de Wind Johan Lau Ezerman WlJckhoft Constant van Kerckhpven Mrs. Van Woudenberg Sarah Heyblom Nceltje Aaf Bouber If this be Irish it's only because of the music. With an almost all- English cast, American slang and an American actress, Dorothy Dare, it impresses as a cheaply made, poorly acted and badly directed Eire entry. Seems" to be directed at the narrowbacks (Irish-Americans) rather than for Gaelic consumption, since all but one song are ones fa- miliar to U. S., and one is regarded as 'corny,' even by the Irish Irish. Distribs are ballying fact of re- ligious sanction, which will make for plenty of 'cooperation' from Irish press, etc., and that .should help the b.d. Title is, like so many, misleading. Ostensibly an historical or biog- raphical story, it will cause reverse comment. Follows modern pattern of kid bringing parents together again after providence and the At- lantic had separated them when hubby bade Erin farewell to gain fame and fortune with his tenor pipes. There's some little entertain- ment In the singers, Malone and Conyngham, and in Talbot O'Farrell, as a kindly London restauratein-. Whole thing is laid in London where wife loses track of hubby. She's evicted, later taken in, her baby gets a theatrical break, daddy comes home, etc. Little of it is interest- ing, much of it dull, but novelty may mean something. While child actress is a pretty tot arid cute, she hardly touches the Shir- ley Temple ballyhoo. Too much to starch and camera-watching in her delivery. Injection of American slang into kid's lines gets a few laughs. As stiff as she is, she's no less impressive than grown-ups who surround her in this comedy-drama. Stress laid on kid is smart. There are no location shots, light- ing is poor and camera work ditto. Songs include 'Believe Me If All Those Endearing,' 'Come Back to Erin' and, of all things, 'Did Your Mother Come from Ireland?' (Amer- ican pop). All of foregoing are Yank conception of Irishness, Kid sings a couple of them very badly. Malone and Conyngham put what- ever they can into their sessions. Hurl. After having been dark nearly two years, the Cinetone studios, Amster- dam, reopened with the Neerlandia production of Jean Webster's 'Daddy Long Legs.'p , 20th Century-Fox has sued Keerlandia for violation of its rights, but premiere of. the picture, nevertheless, took place as sched- uled, without sequestration of the print or box office receipts. This is one of the most successful Dutch-made ' pictures, and should register satisfactorily in Holland. There's a good chance, that the b. o. will be higher than that of 'Pygma- lion,' biggest home-made hit of re- cent years. In every respect 'Daddy Long Legs' is a triumph for Lily Bouw- meester, who's even more convincing than in 'Pygmalion.' Paul Storm, a newcomer to the screen, in the title role, doesn't live up to expectations, but is, however, acceptable. Out- standing in support are Gusta Chris- pijn-l\^ulder' as the orphanage-su- perintendent, Constant van Kerck- hoven, one of the regents, and Lau Ezerman, the solemn butler. ' Direction of Friedrich Zelnik, for- mer German me«»f;er, recently in London, is excellent. Photography by the Englishman, Brian Langley, is good and Jan Teunissen edited Intelligently. For other countries that have seen Mary Pickford and Janet Gaynor in the American ver- sion, the picture has no potentiali- ties at the b. 0. through his idea of a mammoth Ex- hibition, the Crystal Palace. , Against all efforts by the Queen and her consort to avert war, the Crimean imbroglio is forced upon them, with Albert being called a traitor to England. ^ In chronological sequences, Florence Nightingale, Gladstone, Disraeli, etc., are depicted in the events which 'made them im- mortal, leading up to the Diamond Jubilee and the eventual death of Victoria. Jolo. L'EQUIPAGE ('Flight Into Darkness') (PBENCH MADE) Frank Kassler release of Pathe-Natan production. Stars Annabella, Charles Vanel, Jean Murat, Jean-Pierre Aumont. Directed by Anatole LItvak. Adapted from novel by Joseph Kessel; screenstory by Kesset and LItvak; edited and English titles, Herman G, Weinberg; music, Ar- thur Honcgger; camera, Thlrard. At Bel- mont, N. Y., starting Oct.' 15, '38. Run- ning time, 81 mlns. Mme. Maury Annabella Maury Charles Vanel Capltalne Thells , ...Jean Murat Jean Herblllon Jean-Pierre Aumont Mme, Herblllon Suzanne Despres Georges Herblllon Serge Grave 60 GLORIOUS YEARS "(BRITISH-MADE) (Color) London, Oct. 13. RKO release of Herbert Wilcox-Irnpera- tor production. Stars Anna Neagle and Anton Walbrook. Directed by Wilcox. Screen play. Miles Malleson, Charles de Grandcourt; camera, F, A. Young. At Odeon. London. Running time, 02 mlns. Queen Victoria Anna Neagle Prince Albert Anton Walbrook Duke of Wellington C. Aubrey Smith Prince Ernst > Walter Rllla Sir Robert Peel..;, Charles Carson Lord Palmerston.. Felix Aylmer Lord John Russell,. Lewis Casson Princess Royal Pamela Stand Ish Tohn Brown,. Gordon McLeod Joseph Chamberlain Herry Hallall A. J. Balfour." Wyndham Goldle W.° E. Gladstone Malcolm Keen H. H. Asqulth Frederick Leister Benjamin Disraeli Derrick de Marney Florence Nightingale ....Joyce Bland Lord Derby Frank CelUcr Jjord Salisbury Harvey Brnban Prince.of Wales Aubrey Dexter PAPANIN'S DIARY (RUSSIAN-MADE) Amklno release of Soyuzchronlca produe* tlon. Directed by M. Troyanovsky. Cam» era, Xtoyanovsky and Papanln. At C.imeo, N. T., Oct. 14, '88. Running time, M mlns. RED BARRY (SERIAL) Universal release of Barney Sorecky pro> ductlon. Stors Larry (Buster) Crabbe. Directed by Ford Beebe and Alan James. Original screenplay, Norman S. Hall and Ray Trampe; camera, Jerome Ash; editors, Saul Goodklnd, Louis Sackin, Alvln Todd. At Liberty, Lincoln. Running time (per episode), 10-21 mlns. Barry , Larry Crabbe MlsplBSlppl Frances Robinson Natachn Edna Sedgwick Wing Fu Syrll DelovantI ^•60 Frank Lackteen Scott Wade Boteler X?"®,, Hugh. Huntley Chnrlle Phillip Ahn Mannix William Ruhl Based on the King Features comic strip, 'Red Barry' is a followup on the successful serial ventures con- cocted thus far by Universal using characters popularized with the kids in newspapers. It has full quota of stolen bonds, lurking shadows, trap- doors, flstfights and gunplay, done in PARTIRE ('Departure') (ITALIAN MADE) Rome, Oct. 15, Astra Film production. Stars Maria Denis and Vlttorlo De Sica. Directed by Am leto Palerml. Adapted by Palerml from play by Gherardo Gherardl. Reviewed In Rome. Story is about Paul, a .young man who is convinced, that all will go well for him if he can only leave the place where he lives and go some place far away. He's sure that for- tune will fall in his lap if he can only engineer his departure. As he has no means of going on a trip he only dreams about it, meanwhile showing no ambition about working. When, quite accidentally, he falls into a job, his only idea is to get himself fired, so that nothing will hold him back should his chance to get away come along.. But every thing he does to get himself fired turns out to be for the good of his firm. His last scheme for getting himself bounced is to seduce the daughter of his boss. But then, he and the girl fall in love with each other, and he finally sees the light. Subject is handled lightly and pic has some clever and original pas sages. Heln. Continuing as an ace British pro- ducer, Herbert Wilcox, with his *60 Glorious Years,' has gone a step be- yond his contemporaries. This-one is one of the most artistic and ex- pensive films made in England. It should prove a big draw in its native country and-should also do well in the U. S, It's a .worthy sequel t'o his 'Queen Victoria,' which held the same two leads, and also includes others of the former cast. Where film differs, from 'Victoria' is that the royal romance is' stressed rather than politico- aspects. Film is covered In innumerable episodic scenes visualizing the high spots in the reign of Queen Victoria, covering three score years. There has been no attempt to idealize .Vic- toria (Anna Neagle), but to stress her. desire • for achievement, incul- cated ..and continually fostered by Albert ■ (Anton Walbrook), her con- sort, who's revealed as a man of in- telligence with a strong desire to help the masses and to build Eng- land .to el position of commercial supremacy. But, as it's been re- Iported said, as Albert lay dying 'They never took him to their hearts —and that's what broke his.* The combination of the two is ideal. Film is well-paced, without any extraneous celluloid. Felix Aylmer, Lewis Casson, Henry Hallatt, Wynd ham Goldie, Derrick de Marney, Joyce Bland, Frank Cellier, Aubrey Dexter—generally employed in im- portant leading roles—are here only for brief flashes. Technicolor, large ■cast and costuming, among other items, denote a tremendous expendi ture. Story opens with Victoria announc- ing to Parliament her betrothal to Prince Albert, and the government's none-too-courteous treatment of the Queen's husband-to-be, "Their early married . life is constantly under tension through Albert's ungratifted desire to take part in affairs of State. She knows the country will resent 'the foreigner's interference.' Eventu ally, Albert secures recognition (In French; with English Titles) This same story was made in Hollywood and released in the spring of 1937 by RKO under the title of 'The Woman I Love,' with Paul Muni and Miriam Hopkins starred and the same Anatole Litvak directing. Litvak directed and helped adapt Joseph Kessel's novel, 'L'Equipage,' originally as a French version, and this is it. Both Litvak and Annabella, femme star of this picture, went fvom this production to Hollywood, as a director-producer and the French beaut on the 20th- Fox lot. It is not hard to understand why Litvak's ability was spotted in this feature because the story construc- tion, peculiar twists and original di- rectional touches are much in evi- dence. Same is true of Annabella because even American audiences, not understanding French, need only a'few tips from English titling to grasp the terrific love conflict she de- velops. She makes the rather im- plausible romance, as viewed by the American audience, into soinething that dominates a grim war yarn. 'Flight Into Darkness' contains most of the elements for satisfactory biz in arty theatres in this country. It suffers certain technical lapses such as photography and dovetailing of sequences, plus that unsatisfactory ending (for U, S. fans). Picture shows rivals in love discovering his machine-gunner has been killed in airplane dog flght, one tearing up the photograph of the girl both love. In the American version, the girl is pic tured nursing the sole survivor of the airplane battle back to health after her real sweetheart has been killed. Annabella is the Mme. Maury, wife of the older aviator pilot, who falls in love with his younger pal ^n the same plane crew. Charles Vanel makes an impressive Maury, the be- whiskered jinx pilot. Jean Murat gives a sympathetic portrayal of the young lieutenant who is torn be tween loyalty to his fighting pal and love for his buddy's young wife. He's superb as the courageous Capt, Thelis, leader of the fighting air squadron. English titling makes possible the intelligent following of more in- volved talky scenes. Battle and front line scenes have been staged with realism and much elaboration for a foreign production. Better photographed scenes by Thirard are remarkably strong, but he stumbles on others. Wear. (In Russian; with English Titles) The diary of one of the Soviet's four Polar flyers, who last year wer« adrift on an ic^ floe and subse* quently rescued, has been made into an inconsequential film dealing with the experiences of the aviators in the Arctic. This is just another means of the Soviet, to exploit its heroes. yTheir research into the Polar regjion is ahcifent' histbry by now and' )ust a sequel to a former Soviet film depicting the experiences of the group at the top of the world. There is some • chance for excel- lent photography but no advantage ia taken of it Direction, too, is poor. In toto, it's just' another dull film that even few adherents of the Soviet and its principles would en- joy; CZIFRA N YOMORUSAG ('Gay Misery') (HUNGARIAN-niADE) Budapest, Oct. 12. Budapest Films production and release. Directed by Victor Gertler. Screenplay, Laszlo Bogdan and Zoltan Klllan: adapted from Adorjan Bonyl's' novel; music, Joseph Paksy; camera, Istvan Elben. Felix Fellczy Sandor Goth Airs. Fellczy argit Ladomerazky Lily , >..,,,,,,,, .Kll^nUeth Slmor Zoltan Tlbor Puskaa Istvan Nagy Lajos Vertea Count Dery ,Tlvndar Uray Butler v..Gero Maly Stark melodrama at< least 50 years behind the times is this story of a ■ proud, wealthy, snobbish family, which won't, let daughter marry a poor, but lyDnest, tutor. Tutor de- parts to sieek'fortune bverseas, snobs go bankrupt, daughter sacrifices her virtue to wealthy aristocrat, son gets wind of it land shoots him. Tutor, having made good, returns in nick of time to save girl from disgrace and boy, from jail, and wealthy, aristocratic seducer is 'resurrected from, the . dead, • sli^t wound only having knocked him senseless, so that murder scare is wiped out and all is set for happy , ending. Nob nearly good enough, and cast pretty .dtill, too. Such first-rate character bbtors ^is Sandor Goth, as the girl's father, and Gero Maly, as the butler,-'Who .kfeepS up the family prestige by underhand mohey-mak- ing and ingenious pretense, deserve a better script. Elizabeth Simor, the girl, has-.'style, but is uninteresting. Lukewat-m reception. La Maison du Maltais ('Hous^ of the Maltese') (FRENCH^MADE) ; t'arisi'-Oct. 15. Films Lux release of Gladiator Fllma production, Stars Dallo, Viviane Romance; .features Pierre Renoir, Jany Holt,-Louis Jouvet. Directed by Pierre Chena.I. Adapted from story by .Tean Vlgnaud; dia- log, Simon GantlUon; music, Jacques Ibert; camera, 'Curt Coufant, Bac Pecqueux. At MadelelnB. Clnanja, Paris. Running time, 00 minsi ; Safla .VlvIane Romanes Chervln....... ....Pferre Renoir Rosslgriol Louis Jouvet Matteo... Dallo Greta « ..<,..... Jany Holt Gegrene Almoo Robert... t... Labry Le Mnltals., Martial Rebo Salomon Slnoel Lo Debardeifr. Gaston Modot Geoffroy....' ...Jean Davy Roslan ' Frohel Diana ' ', .Florence Marly Olga GIna Manes L'ARGINE (The Dyke^) (ITALIAN-MADE) Rome, Oct. 15. Scalera Film production. Stars GIno Cervl, Lulsa Ferrlda and Rubl D'AImn. Directed" by Corrado D'Errlco, Screen play, Ettoro M. Margadonna and Glaclnto Sollto, from play by Pino AlessI; camera, Vaclav Vlch. Reviewed in Rome. Central figure of story is Zvani, a sort of village bad boy who likes women and has great success with them. A sophisticated and myste- rious woman from the city is forced to spend the night at the inn run by Zvani's mother because her car has broken down. Zvani is fascinated by the city woman and he also pleases her. But their spending the night to- gether is much more of an event in his life- than in hers. Accordingly., when she leaves again for the city, Zvani goes more or less berserk. Finally he goes to the city, too, gets himself a job as harmonica player in a fashionable restaurant'and fin- ally succeeds in meeting his lady again. But when she disillusions him, he returns to the country and the country girl who has born him a son. Luisa Ferrida is excellent as Sina, the country beauty, which is the sort of crude, ardent part in which she specializes. Rubi D'Alma, as the glamorous stranger shows style and poise. On the whole, though, the picture's city life is. not nearly as well depicted as the rural scenes and characters. Gino Cervi portrays Zvani well. Supporting cast is ex- cellent. Photography good. Heln, Modelled somewhat on the formu- la of, other recent French successes, 'La Maison du Maltais' is from the lower "gide of life in French North Africa, with,a return to Paris, where blackmailers are,given their place with, underworld elements. Finn is somewhat unsavory and would never get by the censors" in America. It's a good slice from this level of life, but just a little too raw as it moves from the ^'pleasure district" of a town ift Tunis to the under- world in. Paris. ~For that reason it would have little chance of passing the Yank censors, despite chances of pleasing American filmgoers. Dalio, .starred for the first time in a French picture, carries off his role effectively enough to share his place with Viviane Romance, who proves again that there's no one in France who can equal her as 'one of the gals.' Both Jean Renoir and Louis Jouvet help make a rather sordid story stand up. First half does a little too well in showing the reidity of the back streets in the native quarter of Sfax, a port town Jh Tunis, where the lonely man can find women and amusement. With-Jany Holt, Vivi- ane Romance is one of the amuse- ment furnishers. Dalio, native son, makes his living - <>lling stories in the market place. Small-time crook and loafer, son of a respectable, fisher- man, he tumbles for Miss Romanc* and marries her. Thereafter, story moves to Paris with Miss Romance leaving her husband for Jean Renoir, respectable anthropologist, t6 assure the future for her unborn child. fiu£ro.