Variety (Aug 1939)

Wednesday, Aiignsl 30, 1939 FILM REVIEWS VARIETY 19 SVET PATRl NAM (Continued from page 14) confined to showings in a few arty and'left-wing spots. Drawbacks to ■wider circulation is the absence of professional super-imposed English titles and fact there is only one print supposedly still in'existence. Pictures . deals with reported ac- counts of German penetration into •the industrial life of the Czechs, be- fore the Sudeten seizure. Coming so Ion" after the actual events trans- pired thc'effect is less startling from a news standpoint, but palatable in ils shrewd use of satire and slap- slick. Attempt to treat the serious side of the subject from a farcical stand- ooint- is not 100% successful. Only 'in the portion where the principal comedians, employed by the oppos- ing factions to spread painted propa- ganda, come to grief over a mixup in the signs and are severely beaten for their innocent mistakes, is there a-v ironic tinge to the situation. Drexler, a wax museurn charlatan, conceives the idea of converting his lion-man into a political puppet after his museum is destroyed by an enraged populace. Idea is to pro- vide a dummy leader for the Czechs, ■with secret backing from an outside unnamed country, and lead the ■workers into Fascist ideology. Drex ler plans to seize power in the fac lories by gathering unemployed and discontented workers under the ban- ner of his puppet. When the. lion-mah sees through the scheme and refuses to become, a party to it, Drexler builds up an- other idol and -with his army of gray-hat thugs seizes control of the powerful Noel machine works. 'Vos- kovec and 'Werich, itinerant newspa- per peddlers, get involved in Drex ler's pl9t. . Innocently caught between the op- posing political forces, the two com- edians . stumble .onto a cache of ■weapons and ammunition in the cel- lar of the factory and tip tlie work- ers off to the plot. Cornered there by Drexler's gang, a running fight inside the works ensues with the plant finally exploding when gaso line and munitions are set off. Drexler's mob is finally van- quished, the workers regain control of the plant for its former owner and ttie two comics, supposedly de- stroyed in the blast, emerge from the debris and are ordered to stand at attention while workers pay silent tribute to the two unknown heroes It is in the comic slapstick - se- quences that the production shines. Reminiscent of Charles Chaplin's "Modern Times,' highlights of the picture occur inside the factory ■where ingenious sets and mechani- cal gadgets, such as a giant crane Bcoop, concrete mixer, saw-mill and hydraulic pressure machines, are - —employ ed-to-great-comedy-cffectT Here also later, director and cast outstrip the earlier factor.v scenes with fast and furious comedy silua^ tibns, as the boys pile up one luna tic idea after Uie other. Chase in the ammunition dump is expertly sustained, first one side, then the other getting the advantage. Fine bits of tomfoolery take in a pigeon hunt inside an apartment 'Where the comedians are being held captive and starving; tossing around of a hand-grenade after comics dis- cover what it really is; snipping off ends of gas masks worn by the gang- sters in the poison-gas fumed cellar burlesqued sword duel with long handled paint brushes, and liumer ous other laugh-provoking bits. One gripping dramatic sequence stands out. This is where Drexler and his mob bombard the secret ra dio station of the workers, with sub machine guns in an effort to destroy both the workers and the radio send ing set. Direction, technical production ■work, settings and performance of ■Voskovec and 'Werich—rated the foremost Czech comedians -r- merit high praise generally. Cast is pre- dominately male and only a brief allusion to a possible romance oc- curs in the story. Picture h^d the makings-ot a major cinema achicve- , ment, but iqjes out by diffusion of unity in the principal premise ot the production and heavy dependence on farcical happenings, largely un related to the central theme. Conquests of Peter the Great (RUSSIAN-MADE) Amkliio relcnsc of Lonhlin proilurtIon F«alii)'(ui Niknial SImonov, Nlltotnl <'lior Kaasov, Alia Tnrosova. DIrerlcd liv -VIqJI iiilr Pelrov. Arianted by Alcxel Tnlsioy V. Pelrov. N. Leahchcnko from slory l> Altsxel Tolsloy.: music. V. slidicrbaclipv ramera, V, Tfakovlcv; lilnKllsli IIIIob. JuII.i JjOlBli. Al Oanieo. N. T.. wMk Aug. " SO. Running lime, eS'MINS. IJotor ilie Great.N'IkniBi .=;inionn ^athcrlno I Alia T.-<r.>a< r'"«<;' ^• IKolnl t'hcrha.-.soi- BlenBhIkov Jl. Zliarov oncrcmeUey M. Tarkhnnov *;eaka Ynguzhlnskl... Dolinn-olKkl gtfoalnia I, Zarublii prince Tolsloy V. llar.ll ^ulnossov ; •. cibnliniii King of .Sweden ...E. Omlk 'oroign Ambauaador V. r.i^lmv "™vkln 1\ ItuKdauov AUaurakliinnn .K. KcrimUiMyc (In Russian; with English Titles) This is. a sequel to 'Peter the '-••■eat made by the same producers and principals. Not quite as dra- matic and fervent as its predecessor and chopped up episodically to take in the renowned versatility of Czar Peter I as an emperor, diplomat, soldier, sailor, inventor and mer- chant prince, production stands out as a triumph of histrionics for Niko- lai Simonov. Film may be timely in view ot ils indirect allusions to current events, but is limited in scope to art and foreign language houses; Treatment is devoted to major and minor incidents in Peter's career. Of major interest to cinema students are the opening sequences of victory of Russian troops led by Peter at the battle of Poltava against the Swedes; another sea victory over the Swedish fleet after they have been deserted by the English ships, and condemning to death of the Czarevitch, Peter's weak-willed son, who is shown conspiring with the Austrians and Russian nobles and merchants to overthrow Peter. Minor and lighter episodes treat with Peter's punishment of his war miiiister, Prince Menshikov, for grafting and stealing; Peter's visit to Karlsbad and his snubbing scorn for the German peoples and king, and Peter's jnethods of ' dealing with recalcitraiit foreign buyers of Rus- sian goods. Over all is the con- stantly recurring theme of the great- ness of the Russian nation. Soviet depiction of England's de- sertion of the Swedes in a great sea battle and Peter's belittling of the craven character ot the Germans won't set well with those- nations to- day, in view of recent events in Europe. Battle scenes on: land and sea are lavishly directed and photographed. Bold camera strokes ot whole bat- talions marching into' conflict, photo- graphed from a height, and realistic closeups of bayonet Charges ap- proach technical perfection. Sombre, dungeonlike atmosphere of Russia in the 17th century ■ is faithfully reproduced. Musical score and setting is also an aid in carry<- ing out the martial and other tragic scenes involving the doom of the Czar's son by Peter and the Senate. Simonov, as Peter, Cherkassov, his son, and Alia Tarasova as the czarina, deliver standout perform- ances, Simonov, however,, is the dominating figure throughout. PRISONER OF CORBAL Unity production and releaar. Features Nil!i Asiher, Noah JJcory, Hazel Terry, Hugh Sinclair. Directed bV Karl Grune. Screenplay by .Fullinnn, froiiV novel by ItaCael i^abuUnl: s^.-nre. .Mian Clray: musi- cal director, Coyd Noal: cdl'.iir. I*:. .st(.kvi.s; camera, Olio Kunuirok. Al Cenlral, N. 'V'., dual, week Aug. 1:5,-*39. Runing lime, T.-i >HN!<. Varennos Nils .VKlher Porgeant Ntpuh recr.- CIconle llM'/.i'l 'i'lMiy Maninl.s of Corbiil lIUKh Shu'lair Tlip Fuglllve .I':riie.''l Ueuuch IMerrc. Uavy Itiiviiaby Jean Clifford 'McL-.iglen a good counterpoise for Simon. Song hit, 'Comme de Bien Entendu,' is very catchy and sure to be heard for months to come. Action moves fast, with few dull moments. Raw. DANS LES RUE ('Sons of the'streeU') (FRENCH-MADE) Biir.slyn-Mayer release ■ ot Sonores pro- dui-tluii. Keaiures 'Vladimir S^koloff. Made- leine Oxeray. Jean-Plcrre Aumont. Directed by Victor Trlvos. Screenplay,, Trlvas and Alevtinder Arnoux. baaed on novel'by J. H. Uoany: ' dialog. Hciirl DuVernola and Ar- noux; mualG, Hana Elaler; camera. Rudolph Mall*. rrevlewed nt 5olh St. Plnyhouao; y.. Aug. 17, '311. Itunnlng llnic, 83 Sclilainp Vladimir Sokoloff Koaallt^ ... Madeleine. Ozeray Mnu'. I,eraii(le........Marcelle-Jean \\'orma Ja i-guea Jean-Pierre .Auraonl Although this film's country of origin is obscure, 'Prisoner of Cor- bal' smacks of British studios, with Unity Films credited as producer and distributor. The Sabatini story of the French revolution, despite its obvious flaws, is well trouped by Nils Asther, Noah Beery and Hugh Sinclair. Several brutal passages and nu- merous spicy items enliven proceed- ings but this vehicle has so many weak points, including direction, story development, undue length, feeble recordin| and lack of humor, that it never will struggle beyond a secondary spot on duals; Film starts oiff very meller, but soon develops into a romantic drama, when^ a leader of the revolution and an aristocrat fall in love with a lady of noble bitth. Former risks his own neck on the guillotine to take the young woman along with him dis- guised as his nephew. There's the usual escape in order to ring in the aristocrat who eventually saves her life and his own freedom while the revolutionary lad commits suicide.. In the current - American sense several scenes are quite daring, par- ticularly one where the soldiers for- get their boudoir manners, and an- other wherein a maid makes love to the heroine, thinking that she is a man. Dialog keeps pace with most risque situations.. After this, the more sincere romantic passages seem out of place. Because ot clipping, possibly for consumption in this country, sequence of events at times is jerky. Unusual camera angles dot the picture but seldom are effective. Direction of Karl Grune is largely responsible for the acting flaws that crop up. Nils Asther is convincing as the. kindly revolutionary villain, Hugh Sinclaii: proves equally good, if at times stilted, as the aristocrat who falls in love with the lass saved from the guillotine. Latter role is por- trayed by. Haiel Terry, presumably an English actress, who is petite but no screen find. Noah Beery, in a minor character, is Noah Beery de- spite his soldier garb. Weor, Napoli Che Noni Muore (■Naples That Never Dies') (ITALIAN-MADE) Rome, Aug. 18. Citi-ci n-l'-iiNC of ^Uincli iPi'u.tui-Uuii. Stavrf Marie tllory, J''o.sr« CJIachelll and l'a<da Barbara. Ulrecied by Aniolio I'ali rml. Mu- sic. Cirognlnl-Donavolonla anil \*alente K. FruaUK-r. - At the Arena Eacdera Moderno, Rome. Caal: Marie Glory, Foaco Olachelll. Paola Ftai-hai'a. Delia ."^(uraco Salnnil, illuaeppe Porelll, Knnio Ccrlo.ii. Armanilii. MIdliarl. Ceaare Bettarinl, Clol la Malania, Garla Sveva, NMcola Maldacea, MIrlanbruna Mar- call. Running time 81 MINS. .■Maurlre I.uclen l^nrla raulino Paillette Dubost .leaoiio ' Cliarlotle Dauvia .1anlti-t>sa Germalne Michel .MouatlQuo Patachou ClKare lluinbei'l Aluuturiltf ...Rogor ijcgria Cohlclitf IJmlle Roaen Main J.>roiie '. Francola ^..lenaa Main <:;iiu-ii** Rene Prat Uusengari .-...; Pierre Lugon Circonstances Attenuahtes (.'Circumstantial Evidence') (FRENCH-MADE ) What Hollywood has done for its 'Dead End' kids 'Dans Les Rue' ('Song of the Streets') has attempted for its own group of embryo mob- sters, of varying ages, hovering in the crooked, cobblcstoncd streets along the Seine. 'Streets' is basically another 'Dead End,' but morally righteous, climax- ing a series of pillaging by the gang with its conversion to social recti- tude. In this, perhaps, is where the film filters, possibly for censorial reasons. Where the Gotham contin- gent are wont to give the masses a true slant of squalor conditions and their effect upon youth—and where there is no happy ending as in 'Streets'—Jacques, Cigare and the rest stick more to fiction in ultimate- ly finding it more profitable to hawk their papers and shine shoes. While this a collective story of cradled gangs, it's essentially one of Jacques, nurturing the qualms of un- certainty that accompany approach- ing manhood. He loves Rosalie, daughter of old Schlamp, the junk- man who harbors the kids' stolen loot, but first had to acq'uire her by beating another thug whose sweet- heart she was. After many small forays, Jacques yearns a bigger job, one that would 'make them millionaires.' The old lady whom they try to* rob. dies of heart failure and therein ■ ensues Jacques' flight, during which he real- izes the futility, of crime, and the ultimate capture. 'Vladimir Sokoloff, known to Hol- lywood, plays the drunken Schlamp, but it is . Jean-Pierre Aumont, as Jacques, who shows best with an ex cellent portrayal. Madeleine Ozeray, as his sweetheart: MarceUe-Jean Worms, as Jacques' widowed mother, are other outstandcrs. Direction by 'Victor Trivas is ex cellent, helping to gain the full val ues of the emotional scenes without permitting them to touch the maud- lin, Photography is poor and so is the editing. Hans Eisler has written a fine score; Film will gain its share of arty audiences, 'Streets' has its American preem at the 55lh Street Playhouse, N. Y, early next month. Paris, Aug. 18. r. r. F. C. relea.w of French Society Production, stara Michel Simon, Arletty realurea IJorvllie.. Suzanne Uanlea; Mlla I'aroiy. Directed by Jean Boyer. . Dialog, Vvea Alimnde: screenplay. Jean-pierro Fey- deau, based on novel by Afarcel Arnac: muaic. Van I'arys; camera, Itibanll. At Ihe Marivaux. Running lime, 85 MIN.?. r.o Seiiiencler Michel Simon Arletty Mario H'lulc Bouic Mine, r.e Senlencivr Suzanno Dantea r.a I'anthere Mlla l»nrely Momc do DIeu .Andrex Chauffeur Arnoux 'This won't keep the payees on the edge of their seats, but is, however, a pleasant, smoothly produced do- mestic tale. Story and well-portrayed glamor of Naples should also see the film through outside Italy. French actress, Marie Glory, in- jects plenty of her impish vitality into the pale plot. She plays a French mademoiselle thrown into a dull family life when she' says yes to Fosco Giachetti. Giachetti portrays a likeable but serious heir to a great liidiistriial family. Eventually she revolts against the grooved customs and her restlessness in a house where everyone else is occupied with his own business. Re- sult is she makes enjoying herself her business and takes along her sister- in-law (Paola Barbara) to horse races, bridge games, etc. When mat- ters come to a showdown, the Frerich wife packs her trunks. Situation, however, is saved by the story, with the fluttery old music teacher (Giu- seppe Porelli) taking over the wife's duty of informing the family about the impending heir, a high point of comedy. Throughout, Porelli does much to lighten the ofttimes tedious situation. Tops, though, is child actor, Mirian- bruna Marcati, who gets over his surefire, sentimental interludes with a minimum of aftectedness. Miss Barbara is miscast, while Giachetti is pleasingly sympathetic. Film gets off slowly with its many shots of Naples, suggesting at first that it's a travelog. But, on the whole, the film is well edited, costumed, photographed and cast. LArREGtE PU JEU (The Rules ot the Game') (FRENCH-MADE) Paris, Aug. 19, <. E. F. production and retcaae. Slura Nora Cregor (Prlnceas ytarhcmberg), Jean Renoir: features Dallo, Roland' Toutain Paulette Duboat, Carrctte. Direction, -ace- narlo and dialog by Renoir: camera, Jean r.achelet; mualc, Joseph Kosmo; editor, Marguerite -Houlet-Renolr. At Uauinont, Paris. Running time. 80 MINS. ■Marfllllltft d'f in Chewn^iyi* , ._NonL-Gcegoi:- l>ctave... Jean Renoir Marquis de la Chesnaye Dallo Andre .JuVleux Itolnnd Toutain Llaette Paulette Dolioat Marceau : Carrctte Gamei(eei)er ' Gaaton Mo<lol Genevieve - Mlla Parely plete with impossible situations — which shouldn't be investigated too closely—it offers 100 minutes of real laughs and is limed right for just such a season. Although done on a light budget, the pic should gain top returns in France because of the fast-yarn and Raimu's excellent playing. It would be due for success abroad if it could got by the censors. Film gets off on a comedy note when Raimu arrives at the bank throe-quarters of an hour late. This causes a sensation. He has never been known to be late in all the years he has been employed there. Loyal, hard-working Raimu has a reason, however—he found his wife. Marguerite Pierry in bed with Saturhln Fabre, neighbor and bank assistant. - Young, attractive secretary Josette Day sympathizes with her fraught boss. With this encouragement he cedes his wife to Fabre and settles down with his secretary. His long, uneven moustache is trimmed and replaced by a trim, dapper one. This best reflects his altered view on life.. Fabre tires rapidly of the shrew- ish Pierry and she returns to her husband. . Raim.u weakens under her shower of tears and he admits her into his little nest on the anniversary —third month^of his new life with Mile. Day, thinking he has cleverly solved the" impasse. But his neigh- bors, einplbyers and fellow employes think otherwise. They o'olige Mile. Day to leave Raimu and the triumph- ant wife remains' behind. But Raimu, however, in a violent scene, announces he's going to live his own life and returns to his mi-stress. The transition from browbeaten husband and employe to masterful lover is done convincingly by the .star. The attractive Mile. Day gives her role a feel of sincerity, while Miss Pierry and Fabre, too, are ex- cellent. ' Minor roles are well han- dled. Dialog tip-top, photography passable. Rai;o. This;is one of the most'amusing French film farces in months. Sev- eral potent b.o. names further assure it of top returns in this country. Dialog is in the colorful underworld parlance thus killing the pic's chances abroad unless skillfully dubbed. Film deals with a recently retired magistrate, played by Michel Simon, who had a reputation for his sever- ity behind the bar. Leaving on a vacation with his ■wife (Suzanne Dantes), the chauffeur (Arnoux) feigns a breakdown while a few miles outside of Paris, enabling him to return to spy on his mistress whom he doubts. After a long wait, Simon and Miss Dantes repair to Dorville's cafe, headquarters, for a band of .small- time crooks headed by Dorville. Ar- letty plays a principal member of the gang. After his reserve is broken down with food and cham^ pagne, Simon warms up and is taken by the group to be a master thief because he recites the civil and criminal code from memory. The band adopts him as its chief and he promptly organizes a score of jobs in order to prove his thesis, that a good thief cannot be apprehended Robberies go off successfully and the gang's respect grows into open admiration. No infractions are caused, however, as Simon arranges for the stolen goods to be paid for beforehand. The job which gives hini greatest delight occurs when he leads the,gang to his own home, from which it carts all the detested brie a-br'ac his wife had . collected for years. .There's the ultimate denouement and his preachment for them to go straight, The logic of his reasoning and his sincerity touch Arletty -who convinces the gang of Simon's wis- dom. Simon and Arletty, who teamed in 'Fric Frac' which suggests inspira- tion for this pic, add considerably to their stature, with stellar honor.s going to the male star. Dorville 'ts 'La Regie du Jeu' is one of those controversial pix bound to elicit much, comment but definitely lacking in marquee strength. It's advertised as a comic film 'called upon to open new horizons for the French cinema, taking its inspiration from a new school.' As an experiment it's interesting, but'Jean Renoir, who directed, wrote the scenario and dialog and took a leading role, made a common error, he attempted to crowd too many ideas into 80 minutes of film fare, resulting in confusion. Also weak is Nora Gregor, the former Princess Starhemberg, whose accent is far from pleasing and her acting stilted Tale concerns transatlantic flyer Andre Jurieux (Roland Toutain), who confesses to his buddy, Octave (Jean Renoir), that he's frantically in love with the Marquise (Gregor) Whimsical Octave wants to see the love affair \:arried out to its denoue ment and arranges for a hunting party at the Marquise (Dalio) cha teau. Here begin a series of screwy .situations. The Marquise discovers that he loves his wife and decides to give up his mistress, played by Mila Parely. But the latter has other ideas. Andre' then atternpts to TU£h the Marquise into running away with him. To cornplicate matters, Paul ette Dubost, as the Marquise's maid and wife of the gamekeeper (Gaston Modot), carries on a highrpoweretJ flirtation with the Marquise's valet (Carette). All of which continues into a dizzier whirl ot infldelities. Dalio, Carette^ Toutain and Ren^ oir are excellent. Modot is com inendable. All minor roles are ade quale. Photography is nifty and score pleasant. Ravo, Monsieur Brotoneau (FRENCH-MADE) .Paris, Aug. 19, Marcel Pftgnol production and * releaae, Siara Raimu: tealurea Josette Day. Mar- Ruerlte Plerr.v. Salurnin Falirc. Directed l.y Alexandre Eaway. AdaptAtlon. scenario flnil dlalng hy Pagnol. baaed on play by Itoberl de Flera and Q. A. Calllavet. ' folihce. Paila. Runiilng time, 100 MIN ni'Oloneau Raimu rx>ulne .....Joaelte Hay Mme. Brotoneau ^Inr. Pierry Do Dci'vlUo. S. Fabre Sears *New Policy .Continued from page 2 tors intended doing about selling methods during the coming season. From correspondence received from Warner branch managers and sales representatives in the field. Sears had been informed that both sales executives and theatre opera- tors were confused and mystified by the long code negotiations and lack ot a unified sales contract satisfac- tory to all. It was partly for this reason that theatre owners were hes- itant to enter negotiations for prod- uct, thiis consequently delaying sell- ing—and-moking—for—a—late-scllinff— season. In a statem'ent last Friday (25), Ed Kuykendall, president of the Mo- tion Picture Theatre Owners of America, opined that the new War- ner policy is.'very encouraging' and while it does not cover all the anglies, it is a definite step forward in bring- ing a happier relationship between distribution, and exhibition, "The MPTOA has insisted all along that distributors should promulgate fair trade practices by putting them into effect I am hopeful other distribu- tors will follow the Warner lead.' The first Warner '39-40 release to come under the new policy is 'The Old Maid.' After a dozen test en- gagements in the east and midwest, its classification has been set and will be sold to exhibitors on a basis ot 35% of the gro.'ss after a split fig- ure. The next film to be classified on the new standards will be 'Dust Be My Destiny.' Determination ol its selling bracket has not been com- pleted. Sears emphasized that the new policy was Warners' own, indepen- dently arrived at without prior agreements with other distributors, and its features were not adapteil from the proposed fair trade practice . code which the distributors had been trying to work out. No other com- panies are bound by Sears' policies and he is not concerned with what the Department of Justice attitude will be regarding it All sales contracts for Warner pic- tures which were written after Jan. 1, 1939, will be applicable to the new concessions, and are retroactive to that date. This was taken to mean that any film sold on a higher or different allocation and classifi- cation, prior to the latest decision, will receive amended consitieration in accordance with the classifications to be set 'Monsieur Brotoneau' is a fast, de- ■" lightfully light farce. Although re- > capacity EOBT. WYLEH'S BKPTCY Los Angeles, Aug. 29, Robert Wyler, screen writer, filed a bankruptcy petition in Federal court listing $13,131 in debts and $250 in assets. He has beeh working for his brother, William Wyler, at the Goldwyn studio and recently joined the Paul Kohner agency in a slory