Variety (Apr 1939)

Wednesday, April S, 1939 FILM REVIEWS VARIETY 15 The Story of Vernon and Irene Castle (MUSICAL) RKO Radio releaM of Georse Halgilit pro- duction (under Pnndro. S Berman mip«i^ vision). BUra Fred Astalre and OInirer Sobers: features Edna May Oliver. Walter BrSnnan. Lew Plolda, Etienne Glra-Iot, Janet Beectacr. Screenplay, Richard Sher- innn- adapUtlon, Oscar Uammerateln and Dorothy lost from stories by Irene Cnstls. Cnmem, Bolwrt de Orasse; special eRects, Vernon Walker. Douglas Travers; music, Viotor Baravelle: dances, Hermes Fan; ■fit director, Arxyls Nelson; technical ad- visor, Irene Castle; editor, William Ham- ilton- one original song. Con Conrad, Her- man Ruby, Bert Kalmar: 40 old pop songs by divers tuncsmltbs. At Radio City Music Hall, N. T.. neak Uaich 29, '39, Running time: 90 MIN8. Vernon Castle Fied Astoire Irene Castle Ginger Rogers Slaggle Sutton Edna Hay Oliver Walter Walter Brehnan iHiw Fields Lew Flel.ls Papa Aubel Etienne Glrardat Mrs. Foote Janet Beecher Emile Aubel RolCe Sedan >rtlat Leonid Klnskey Dr. Foote .Rolwrt Strange fitudent Pilot Douglas Walton Papa Louis Clarence Derwent Cliarlle .<<onny Lament Clslrs Ford Frances Mercer Grand Duke Victor Vsreonl Hotel Manager Donald MacBrlde The story of Vernon and Irene Castle,' to give this RKO feature the full title which Miss Castle insisted upon, is sure-fire boxoSice, Whether or not the Castles mean anything to the younger present-day fans it's top-^ht cinematic entertainment Judged on that standard alone it will more than satisfy. Once in, all must come away with a new appreciation for the full meanini; of the title and what the dancing Castles of 25 years tigo represented, particularly iu re- lation to what is known as modern ballroom dancing. It's one of the best Astaire-Rogers films. Their last for RKO under existing commit- ments, the 'Castles' b.o. will undoubt- edly compel continuance of the team. Basically regarded as film enter- tainment, it's another switch on the backstage story, this time dealing with a much-In-love married pair of ballroomologists whom fate and astute management catapulted from dire straits in Paris Into mternational acclaim and fortune. Film holds a w^th of nostalgic appeal for the show-wise as well as general film audiences. The medley of some 40 yesteryear pops, skill- fully scored and interpolated into the running plot, is the common denom- inator for all types audiences. Those .who knew their yesteryear New York will delight in tlie old-style street-scene atmosphere. The initi- ates, much more limited, of course, will like Edna May Oliver's inter- pretation of Elisabeth Marbury, who was so largely responsible for the Castles' economic welfare—here she's Maggie Sutton, presimiably a switch ' on the Sutton Place sector wherein the late play broker,' agent and man- ageress was such a prominent resi- dent Castle Inn, Castle-by-the-Sea and all the rest of it come imder the show-wise atmospherics. "The Story of Vernon and Irene CasUe' is further unique in that it deals with an autobiographical sub- ject [The Douglas Corrigan film is about the only other instance]. Miss Castle technlcEtlly-advised. Her published memoirs, 'My Husband' and 'My Memories,' are the story background of the film. Her per- sonal life story has been seemingly transmuted into celluloid with con- siderable faithfulness and a mini- mum of bombast or heroics.' She even designed replicas of the cos- tumes she wore for Miss Rogers' use. And yet the sum total makes for •ound, solid screen diversion. Lew Fields, in whose 'Hen Pecks' • Castle was but a minor stooge mem- ber, is present to re-create their slapstick oarbershoD scene, a far cry from the dancing Vernon Castle, un- til Irene Foote, daughter of the staid Dr. Foote of New Rochelle, almost bullies him into abandoning the fright-wig and Pinocchio nose in fa- vor of the art that made them both famous. The rest of their success story dates from the time that the shrewd Maggie Sutton gets them an audition at the Cafe de Paris, where their easy ballroom dancing sets a vogue. Comes the war and Castle enlists In the Canadian Royal Flying Corps, weathers actual service, but meets untimely death as a flying in- structor in "Texas. Film ends on a sad note. Castle has arranged with a private orches- tra to reprise his and Irene's favor- ite medley of tunes. He summons her from Hollywobd where she was making 'Patrla'—shots of silent film production are included—but the ro- mantically set marital reunion is in- terrupted by a call for additional air maneuvers for benefit of a visiting brigadier-general. It is during this aerial circus that Castle met a brave death rather than collide with an- other student flyer. In between, the montage effectively Impresses the glory that was the Castles—when she set a' vogue with the Castle bob, when Castle cisars. beauty creams, bonbons, hats, shoes made their impress on a nation; when the Castle 'Walk, Castle Polka. Castle Inn, their start of the foxtrot their Too Much Mustard' two-step, their Introduction of the maxixe. Texas Tommy, the 'Rose Room' tani?o and other innovations were familiar the world over. Miss Rogers and Astalre are excel- lent as the Castles. The illusion Is always there; their deportment Is more Vernon and Irene Castle than Astalre and Rogers. Their dance se- quences are less spectacular but more consistent with the normal plot progression. The solo snatches are lust that such as Astaire's opening routine on the New Rochelle rail- road platform, interrupting a Sunday outing of the Brooklyn Batchelors; or Miss Rogers' audition takeoff on Bes- sie McCoy in "Yama-Yama Man.' Their Tres Moutarde' two-step In the Cafe de Paris sequence is prob- ably case-history, and the electric reunion of the oair while he's on furlough to Paris, during the war days, IS another highlight as they reprise a routine that first made 'em click in the fashionable dinery. Although technically on the back- stage principle, the romance is the dominant factor, and this wholesome attachment between the famed, mar- ried stage partners should Interpret itself handsomely with the family trade. The support and production is all super stuff. Miss Oliver's brittle manageress and 'Walter Brennan as the faithful retainer are highlights. Lew Fields is himself, although that brunet 'Westmore thatch doesn t quite carry off the illusion. Etienne Gir- adot is paired with Rolfe Sedan as Papa and Son managers (French), but it's a negligible contribution, the editing being a close Job right do-wn the line, keepinr; the footage com- pactly within 90 minutes. Janet Beecher, thus, while also featured, isn't too conspicuous as Irene's mother. The technic is topnotch, most notably, of course, the scoring by (the late) Victor Baravalle, who smartly condensed a musical mon- tage of 40 pops. This sounds almo^ like an impossible task, but therein also the photographic montage by Douglas Travers, assisting lensers Robert de Grasse and Vernon 'Walker, figured importantly and welL There Is but one original tune, 'Only 'When You're in My Arms,' by (the late) Con Conrad, Herman Ruby and Bert Kalmar. On the camera, generally, it's a dandy job, save for one se- quence that doesn't flatter Astalre. He looks too noticeably gaunt and drawn in that take. H. C. Potter and George Haieht's direction-production, under Pan Ber- man's general supervision, is high calibre, as is the compact Richard Sherman screenplay from the Oscar Hammerstein-Dorothy* Yost adapta- tion. Abel. Miniatnre Reviews Alexander Graham Bell 20±^-Fox release of Kenneth MacGowan Production. Directed by Irving Cummlngs. 'eatures Don Ameche, Loretta Toung, HentT- Fonila. Charles Cobum, Gene Lock- hart, Spring Bylngton. Story, Ray Harris; adaptation, Lamar TrottI; editor. Walter Thompson; photography, Leon Shamroy. At Roxy, N. T., week March 31, '80. Running time: VI MINS, Alexander Graham Bell Don Ameche His. Bell Loretta Toung Thomas Watson Henry Fonda Gardner Hubbard Charles Coburn Thomas Sanders i..Gene Lockhart Mrs. Hubbard Syring Bylngton Gertrude Hubbard Sally Blane Grace Hubbard Polly Ann Toung Berta Hubbard Georglana Toung George Sanders Bobs Watson Barrows Russell Hicks Chauncey Smith Paul Stanton President Western Union... .Jonathan Hale Judge Harry Davenport The drama of the birtn of the tele- phone is a comparatively tame affair with Don Ameche as Alexander Graham Bell, Henry Fonda as his assistant and Loretta Young as the missus. Neither Ameche nor Miss 'Young arouse as much enthusiasm as they normally do and the roitiance which punctuates the story of the spawning of the telephone never seems to take hold with any sense of firmness. The film will do fair busi- ness but the women will not get behind this picture as much as the men, and the latter may have a preconceived conception of Bell that isn't entirely parallel to Ameche's portrayal of the inventor. 'While 'Beir will fare satisfactorily, it does not suggest record-breaking business. The exploitation possibil- ites are strong, however, and the live theatre managers and publicists will find many, promising, avenues leading to an advertising approach. The Ameche-Young-Fonda names are also of value. Kenneth MacGowan's production of the original turned out by Ray Harris, with adaptation by Lamar Trotti, is studied, methodical and de- liberate. Paced evenly but slowly, it is a routine record of Bell's early life, his struggles and final victory over a wire that will transmit sound. The production also makes note of the efforts of Western Union to claim priority rights to the invention of the telephone but carefully white- washes W. U. of any unfair Intent Never getting imder the skin as a lover and a struggling inventor, the dramatic scenes are a little too much for. Ameche also. His outburst in a scene, attendant upon efforts of Western Union to take his telephone away from him, calls for greater dramatic stamina than Ameche pos- sesses. Miss Young is sweet per usual, but not particularly Impres- sive, while Fonda, faithful and tire- less assistant to Bell, is excellent Trotti's scenario opens In New England In 1873 and, among other things, has made room for some ex- ternal stuff such as a bunch of kids, suffering badly from theatricalism, Story of Vernon and Irene CasUe> (BSC). Topflight Astaire- Rogers flimuslcal, headed for above par grosses, 'Alexander Graham Bell' (20th). Production will need teasing to get the women. Ameche-Loretta Young-Fonda top cast 'Broadway Serenade* (M-G). Jeanette MacDonald starred in backstage filmusical, extrava- gantly produced. Fair b.o. 'Winner Take All' (20th). Fair- ly amusing cowboy prizefighter yam. They Made Her a Spy* (RKO). Ordinary action meller for lower drawer dualling. 'Soolety Lawyer* (M-G). Fair- ish murder mystery with sophis- ticated background. For duals. ' 'Bnlldog Dmnunond's Secret Police* (Par). Routine detective thriller. For secondary dating. 'Advenlnres of Jane Arden* (WB). Initial try In newspaper reporter comic strip series is dis- appointing but fair for dualers. 'Kid from Texas' (M-G). Mild actioner of polo cowboy. For the duals and kids. 1 Am Not Afraid' (WB). Re- make of 'Star Witness' dull meller. Filler for the duals. at a window singing songs of a Christmas eve. Other artificialities also figure. The dialog adatitation Is suitable but lacks sock. Backgrounding of the story is sat isfactory and the photography of the crew under Leon Shamroy attests to competence In that direction. Char, Broadway Serenade (MUSICAL) Hollywood, April 1. Metro release ot Robert Z. Leonard pro- duction. Stars Jeanette MacDonald; fea- tures Lew Ayres, Ian Hunter, Erank Mor- gan. Directed by Robert Z. Leonard. Screenplay by Chorles Lederer. from origi- nal by Lew LIpton, .John Talntor Foote and Hana Kraly. Songs, Herbert Stothart, EI- ward Ward. Qua Kahn, Bob Wright, Ctiet Forrest. Walter Donaldson. .Dances, Sey- mour Felix and Busby Berkeley. Musical presentation, Merrill Pye; camera. Oliver T. Marsh; montage, John Hoffman: editor. Harold F. Kress. Previewed at Westwnod Village, March 30, '30. Running time: 111 MINS. Mary Rale Jeanette MacDonald James Geoffrey Seymour Lew Ayres Larry Bryant Ian Hunter Cornelius Collier, Jr Franlc Morgan Joey, the Jinx Wally Vernon Judy Tyrrell Rita Johnson Penrl.. .' Virginia Grsy BUI William Gargan Harriet Ingalls Katherino Alexander Herman Al Shenn Mis. Olsen Esther Dale Gene Franklin Pangbom Everett E. Allyn Wnrren Reynolds ..Paul Hurat Mr. Fellowes Frank Orth Mrs. Fellowes Esther Howard 'Squeaker* IiCon Belaaco Kitty, the Maid Kitty McHugh Singer Kenneth Stevens Extravagantly produced, 'Broad- way Serenade' has several sets that are in the super-elaborate class. Mu- sically, It runs through the catalog from swing to grand opera. With all its lavishness. It Impresses only as mild box office material. Way over- length, clipping of 30 minutes would have helped a' lot Production num- bers are, on the whole, overplayed and become tiresome. This is particu- larly true of the 'Madame Butterfly' sequence which slows the picture's momentum complete* . Finale tab- leaux is a clash!' .g musical display. Picture provides Jeanette MacDon- ald with numerous chances to dis- ?ilay wide range of her vocal abili- ies. 'There are snatches of pop tunes, concert and classical nirnibers and the Madame Butterfly aria. Kaleidoscopic montage, utilized too often, covers time laoses with stage numbers, flashing billboards, mar- quee billing, closeups of Miss Mac- Donald singing, and other similar de- vices. When the star is not Inter- rupted in the middle of a song—and thb happens several times—her tunes are montaged in sync with the film, further adding to the confu- sion. Story runs along formula lines for a backstage yarn. Hapi ily married, vaude team of Miss MacDonald and Lew Ayres bacome separated when she goes into a musical revue and is courted by show's wealthy backer. As the girl climbs to success, boy sinks to the depths. Composing music to forget the past he comes up with a hit operetta. Meanwhile, Miss MacDonald has secured a divorce and ready to marry the backer, when love for Ayres promots her to go into his show—and back into his arms. With story substance lacking, and what narrative there i chopped up by numerous production numbers and montage effects, yarn seldom catches attention for any length of time. A few passages between Ayres and Al Shean stand out prom- inently. Frank Morgan provides some breezy comedy, as does William Gargan as the show's press agent Picture is flrst solo starrer for Jeanette MacDonald. It's also Rob- ert Z. Leonard's initial chore as a producer-director for Metro. Plenty of coin went Into th; negative. Sepia toning process which has been used frequently y Metro in th. past on its biggest production also distinguishes 'Broadway Sere- nade.' WINNER TAKE ALL 20th-Fox production and release. Dlrecl<>d by Otto Brower. Features Tony Martin. Gloria Stuart, Henry Armetta. Slim S'um- mervllle, Kane Richmond. Story by Jerry (.'ady; adaptation, Frances Hylnnd, .Mlii-rt Ray; camera, Edward Cronjager. . At Pal- ance. N. T., di'al, week Marc<> 20, 'IIO. Running time: 62 HINB. .Steve Blehop .\.Tony' Martin Julie Harrison Gloria Stuart Papa Oamblnl Henry Armetta Muldoon Slim Summervllle Paulle Mitchell Kane RIchmnnil Tom Walker Robert Allen Mama Gamblnl Ines Palange Tony Gamblnl Johnnie Plrrnne. Jr. Pnntrelll Pedro dcCordoba Maria Gamblnl Betty Green Rosa Oamblnl Eleanor VIrzie SOCIETY LAWYER (WITH SONG) Metro release of John W. Consldlns, Jr., production. Features Walter Pldgeon, Vlr> ginia Bruce. Directed by Edwin U Hnrln. Screen play by Frances Goodrich, Albert llackett, Leon Gor.lon and Hugo 'Butler, based on story by Arthur Somcrs Roche, .long by Sam Coslow. Camera, Georg* Folsey. At Capitol. N. T., week March 30. 1030. Running time: 77 UINB Christopher Durant Walter Pldgeon Put Abbott Virginia Bruc* Tony Gozottl ^eo Carrlllo Jim Crelllman Bduordo Clannelli Phil SIddall Lee Bowman !?ue Iioonard Fiances Mercer Judy Barton ....Ann Morrlsa l.ayton.^ Kerbcct Mundlo Lieut. Stevs'hs .Frank M. Thomas Max Edward S. Oropby Air Tom Kennedr ;ir, Leonard Clarence Kolb Henry V. Adams Pierre Wotkia .S-.hmldt : Ian Wolf* Murtock Paul Gullfoyl* City Editor Joseph Ore ban 'Winner Take All' Is one of those romantic comedies that become more ingratiating to the family audience as the plot and the behavior of the characters get sillier. Everything is carried off with an excess of good nature, Including those episodes where the double-cross and the knife in the back serve as the Index to genteel comportment The situ- ations are all easy of anticipation and the combination of humor and action makes the hour pass suffici- ently fast If it's the picture's Intent to kid the prize fighting racket the sheer casting of "rony Martin in the role of a pug rates the producer a bull's- eye. As a leatherpusher Martin is in a class by himself.- Martin and his tiptoeing gait don't ask to be taken seriously and the chances are that nobody wllL He doesn't sing a note in this production, not even for his supper when, as an itinerant from the cow-country, he winds up broke and hungry In a spaghetti joint Operators of this restaurant are Ma and Pa GamblnL and the film spurts into wild and wooly make- believe when the cowboy turned waiter (Martin) is prevailed upon to take part in a benefit prizefight Martin wins by a knockout, joins a stable of professional pugs and Is skyrocketed to -fame with a series of setups. The sudden acclaim and coin goes to his head and after a course ot nightclubs there's a rude awakening, with Martin himself down on the canvas taking the full count 'When he discovers that the shellacking had been engineered by the girl (Gloria Stuart) who, as a sportswriter, had discovered his fis- tic talents^ and who still was deter- mined to get him to the top, Martin repents and In a subsequent en- counter with the same foe scores a knockout in the final minute of the final round. The squated-'jenn scenes stick dose to the establis'hed pattern, particularly in the last bout when Martin, after taking, a severe lacing' throughout rises from the count of nine to slap his ^opponent (Kane Richmond) to sleep. As Papa Gambini the irresponsible Henry Armetta proves okay at flurrying the laugh load in this one. His momenta of chagrin, remorse and jubilance make about the only solid acting signiMsta in the progress of the picture. Inez Palange turns in her usual effective bit as screen wife and comedy foil for Armetta. Slim Summerville also scores nicely in humor as Martin's faithful trainer. Miss Stuart totes the In- genue assignment with determined seriousness from start - to finish, while Richmond plays a Rollo Boy pug who doubles for Cupid, in and out the ring. Odec. They Made Her a Spy RKO release ot Robert SIsk production. Features Sally Ellers, Allan Lane, Fritz Leiber, Frank M. Thomas. Directed by Jack HIvely. Screenplay, Michael Kanin and Joe Pagano, from story by Lionel Houser and George Bricker; musical di- rection, Roy Wel'b; camera, Nicholas Mu- surnra; editor, Harry Marker. At RIalto, N. T.. week March 28, '80, Running time, 29 MINS Irene Baton Sally Ellers Huntly Allan Lane Dr. Knill.....' Fritz Leiber Major Shaw Frank M. Thomai Col: Page ...Theoilore Von Eltz nrnck Addison Rlrhnnls Ben Lany Blake Col. Wilson Pierre Wnlkin Gillian IjOuIs Jean Heydl Lucius Spencer Cherters Ella ...Leona Roberts Conby Alec fnin Beldon Charles Halton Fairish entertainment Ita players are well known if not first magni- tude stars. The story imfolds a gangster melodrama with sophisti- cated trimmings and after min- utes of unspooling has - provided enough complication to hold Interest and create some illusion. Pldgeon is a lawyer who geta a bad man off. The bad man (Carillo) Is thereafter the U. S. Marines to the rescue every time t1 lawyer or his sweetie needs saving. Mobsters liv-' ing in an atmosphere redolent of In- terior decoratmg, and throwing parties that have the swank of a deb's coming out at the Ritz, occa- sionally strain credulity. Picture is not well thought out The gang- ster goes in for a roundabout revenge to kill off a girl who jilted him and make it look like her society boy friend did It Four authors -wrought the story. Performances are of professional weight- Pldgeon and Miss Bruce make a nice central romance. Lee Bowman does some nice trouping as the guy in a jam, Eauardo ClannelU is appropriately disagreeable, but fundamentally not much more than a stick-marked 'villain.' Production is strictly routine on characteriza- tion. Four authors often produce that kind of denatured scripting. The Icte Herbert Mundin plays a valet role for comedy rellet Land, Bulldog DTummond's Secret Police Paramount roleajse ot Edward T. Low* production. Features John Howard, Heather Angel, 'H. B. Warner, Elizabeth Pnttenon, Reginald Denny, B. B. Cllva, Directed by James Hognn. Bnsod on novel, 'Temple Tower,' by H. C. McNeils; adapta- tion, Gamett Weston; editor, Arthur !lchmldti photngmphy, Herritt Oerstad.. At Criterion. N. T.. week March 30, '38. RunnkiB time, M MIN.S. Cnpt. Hugh Drumraond John HowaM Phyllis Clsverlng Heather Angel Colonel NIelson H. B. Warner Aunt Blonche Elizabeth Patterson Algy Longworth Reginald Denny Tenny B, B. Cllv* norjol IslanyanI nllas ] Henry Beaton and \ Leo Catrotl Albert Boulton J Professor Downle Forrester Harvey Class B action meller is stereotype romantic spy stuff. Unpretentious production as to story, names, etc., but holds up well enough for doubl- ing with a strong A picture. Plot is peppered with holes of logic, but the incidents keep moving and there are a couple of passably stirring se- quences. All In all, a 'so-so job. Obvious yarn deals with the pretty girl who joins the U. S. Army in- telligence service to track down the soles who caused her brother's death She poses as a soy, wins the confl- dence of the plotters and brings about their capture. Another par- ticipant turns out to be a reporter, also nut to uncover the culprits. That provides the heart angle—what is supposed to be a surprise twist—and the wh<msy fades. Sally Ellers Is the beauteous sleuth, olaying an Incredible part In straight- nwry fashion. Allan Lane is the Rover Boy reporter, while Fritz Leiber Is the spy chief and Frank M. '''homRs the Intelligence service head. Direction Is run-of-the-mlll. Hobe. Boiler - plate detective fiction, trimmed to 65 minutes, and suitable for secondary booking, but not to be depended upon to carry the burden of average double bills. If playing dates singly, theatre will require considerable to fill out In view of the low running time. Drummond serieii no doubt baa its followers. This one may be consid- ered about on a par with -(Ett rest and while It is produced as -well as directed In a routine manner, there are some exciting momenta to keep the Interest from-straying too far. A budget of modest proportions so doubt figured, with virtually bU of the action taking place' In ana around an old castle. Plot follows the lines of least re« slstance, though managing to de> veloo a fair amount of action, a few thrills and a bit of comedy. The ef- fort to Inject more than the usual number of laughs which pictures of this type strive for has resulted In a lower net than may have been an- ticipated. Reginald Denny and Elizabeth Patterson figure principally in the comedy division but their an« tics and lines are generally insipid. Familiar members of the Drum- mopd casta, including John Howard, Heather Angel and H. B. Warner, disoort themselves satisfactorily without straining, and Forrester Harvey, as a nutfe? professor type. Is excellent Leo Carroll provides I suitable menace and E. E, Ciive Is a good servant character. Char. Adventures of Jane Arden Wnmer Bros, production and release. SL-irs Bosella Towno; features William Gnrgan and James Stephenson. Directed by Terry Morse. Screenplay by Vincent Sherman, Lawrence KImolo and Charles Curran. Based on comic strip or same title created by Monte Barrett and RusseU K. Ross; comedy construction, Lex Neal; 'illtor. Harold McLemnn; dining director, Ted Thomas; camera. L. Wllllnm O'Cnn- nfll. At Strand. Rron'-lvn, <'i'nl. week March 81, 30. Running lime: 81 MI>'8. Jane Arden Rosolla Towno Rl Towers William (largnn Dr. Vanders James fltephrnsnn Marvin Plermont Bennv Rubin -^rcnle Moore.....*. Dennle Moora r,ola Martin .' Peggy .■Shannon Dill Clirton..'. Rdiiar Rdwardi >lliprt Thayer Pli<rre Watkln Martha Blenlon .Marls Wrixon Rcnorter John Rldgelr Thug Joe Devlin Thn{r Riiymond Bnlley Frenchman George Rcnevant Italian Eddie Conrad Just before .the final fadeout of this picture, there is a hint that Jane (Continued on page 10)