Variety (Oct 1939)

12 VARIETY Wedoesday, October 4, 1939 ELIZABETH and ESSEX (COLOK) Hollywood, Sept, 27. \%*nrner Broii. relcaa* of Robert I^opd pniiliicilon: txeciillve producer. Hoi I). W.illln, .Slnrs nctlB Davia and. Brrol Klynn; features Olivia rte Havllland. Uon- nM Crisp. Alan H.tIc, Vincent Price. Tt\- 1,'crcd bv Michael Curllz. Screenplay by Norman Hellly nnlne ond Aeneas MncKen- Kle. from stOKO piny by Maxwell Anderson, SM produced by the Thentro Guild: dialog director. Stanley I-oRan: camern. Sol rollto. v. Howard Crccnc: special effects, Byron Kasklns nnd II. F. Koenekamp; editor. Owen Mnrl;»: asst. director. Sherry .Shrouds. Previewed nt WU Beverly, nev- erly Mills. Sept. 27, '30. Running time. 1V6 MIN»I. Queen Ellznhcth Bette Dnvis Eorl of Eafex...- Errol Flynn I.ndy I'enelopc Uriiy.. .Olivia de Ilavlll.-ind Fmncis llncon Donald Crisp Enrl of Tyrone Alan Hnio -Sir Walter KnlelKh Vincent Price Lord BurKldey ..Henry Stephenson Kir Robert Cecil Henry Pnnlcll Sir Thoma.'^ Eiperron James Stephenson Morenret Radcllffc Nanette Fabnren Lord Knollys Ralph Forbes Lord Moiinljoy Robert Warwick Sir Edward Coke Loo <3. Carroll 'The Private Lives of Elizabeth and Essex' is a lavishly-produced historical drama, extravagantly mounted in Technicolor. It's solid box office material, with fliie grosses and holdovers indicated. Starring duo of Bette Davis and Errol Flynn provides potent marquee attraction. Miss Davis dominates the produc- tion at every turn as Elizabeth, vir- gin Queen of England. Here is a persuasive and compelling perform- ance, a studious portrayal of an his- torical character that will catch at- tention and approval from audiences and critics. Her delineation would indicate that Miss Davis did much personal research on the character, habits and idiosyncrasies of Queen Bess from historical data. Which is easily understood in view of the fact the actress has been campaigning to play the role on the screen for sev- eral years. Picture is a film version of Max- well Anderson's 'Elizabeth the iQueen,' presented by the Theatre Guild, Stoiy details the intimate May-and-December love affair of youthful Ijord Essex (Flynn) and matronly Queen Elizabeth. Both are headstrong and stubborn; each is ambitious to rule England. Return- ing to London from a successful war against the Spaniards, Essex is the popular hero. Elizabeth, jealous of nis public acclaim, denounces him at court, but softens, in his embraces later. "The love affair is broken off intermittently by both pride and court intrigue. When Essex's cam- paign against the Irish patriot^ Ty- rone, fails, he believes the Queen's betrayal responsible and marches on London to seize the throne. Elizabeth agrees to his demand to share the throne ' until the Esse:: army is disbanded, and then senos him to London Tower and the block for the good of England. 'Elizabeth and Essex' is basically n love tragedy of historical fact blast- ed by the ambitions of one indi- vidual and arrogance of the other. It's an intimate romance, with pomp of court and pageantry of the day supplemental trimmings to the main purpose. Tragic in its display of sincere love of the oueen and noble- man, it is UDset by the ambitions of each to sit on England's throne. One must be sacrificed—even love—and Elizabeth makes that decision in her favor, believing it best for Eng- land's future interests. Froductionally, picture is impor- tant, fating with the best historical film oocuments turned out by War- ners, Robert Lord handled the pro- duction under guidance of Hal B. Wallis, with William Dietcrle direct- ing. • Screenplay from Anderson's pity was exoartly prepared by Nor- man Reilly Raipe and Aeneas Mac- Kensie. In support, most prominent are Olivia de Havilland, Donald Crisp, Vincent Price end Alan Hale. First three are members of the court, while Hale appears briefly as the Irish rebel, Tyrone. Picture has its slow spots, particu- larly the excursion of Essex to Ire- land to subdue Tyrone. At times the dialog becomes brittle, and direction grooves into stagey passages that could have been lightened by greater movement allowed by the camera. Minor shortcomings, however, in the general excellence of the production. Star's interoretation of Elizabeth must be tabbed as one of the most distinguished screen performances. Deliberately unpretly, with an ashen makeup accentuated by a red wig, she dares to follow historical facts. Her characterization—tempestuous in court, coy and kittenish in the arms of her lover, swiftly changing moods of anger and forgiveness but always the dominant queen—will be accept ed as an outstanding film perform ance. Flynn is adequate as the swashbuckling Essex from a physi cal standpoint. But as a popular hero with ambitions to rule England and as a conqueror of hearts, he lacks dash and virility that might have been injected into the role. Photography by Sol Polito and W. Howard Greene is of exceptional quality. Picture is first to be re- leased usin;^ the new fast Techni- color negative, and improved pro- cessing methods recently developed in the color labora.tory. In all technical departments, picture has received topnotch investiture. Hollywood Cavalcade (COLOR) . SOlh Century-Fox release 'of Darryl P. Ziinuck production; associate producer. Harry Jo« Brown. Stars Alica Faye and Don Amo»*e; features J. Edward Brom- bcn;, Alan Curlls. Stuart Krwin, Jed I'rouly, Uusler Keaton, Donald Meek, (JeorRO nivot. Eddio Collins. Directed by IrvinK Cummlniis. Screenplay by Krncst rascul; .slory by Hilary Lynn and Brown Holmes; camera. Allen M. Davey. Trade preview at Locw's Zlesfeld. N. Y., Oct. a. Running time, 109 .MIKS. Molly Adair Alice Faye .Michael LInnelt Connors Don Amechc Dnvo .Spingold J. Edward Bromberg .Vicky Hayden Alan Curlls I'rit Tinney Stuart Krwin Chief of Police Jed Pi-ouiy Buster Kcolon Himself Lyle-r..Slout Donald Meek lOngllslimon. George Ulvot Keystone Cops..E<ldle Collins. Hank Mann. Heinle Conklln, James FInlayaon Assistant Direclor Chick Clinndlcr Hrnry Potter Robert Lowcry Kflberts Rursell HIrks Agent Den Welden Vnict Willie Fung ni^on Paul Stanton Mrs. Ouynes Mary Forbes .attorney Joseph Crohan Clerk Irving Kacon lliirlender Den Turpin .■iherilf Chester Conklln Telephono Operator Marjorle lleebc Thomas Frederick Rurton Lee Duncan.....' .Himself Rin-Tln-TIn, Jr Himself There is boxoflice lure and highly satisfactory entertainment in 'Holly- wood Cavalcade,' which relates an interesting and sentimental story of film producing in California, begin- ning in the pie-throwing. Keystone era of 1913, and winding up when Al Jolson sang from the screen in 'The Jazz Singer,' and the silent pic- ture days were ended. With emphasis on an earlier Holly- wood, there are introduced numerous incidents and characterizations more familiar to an older generation of filmgoers, perhaps, than to present day audiences. Excellently produced, however, and brightened by color, the film should score heavily in theatres of every type. Don Ameche and Alice Faye are starred. Various versions of the Hollywood saga have preceded 'Cavalcade,' which was produced 'by Darryl F. Zanuck, for 20th-Fox. Most reciently, A Star Is Born' (Selzrtick) handled the theme of broken hearts and thwarted ambitions among members of the film colony. New production steers clear of the tragic note, cover- ing an earlier period of sunk'ist happenings. It -moves easily in a nostalgic groove. In addition to a .brief personal ap- pearance, Mack Sennett plays ah im- portant off-screen role in the film, principal novelty of which is the successful and amusing introduction of oldtime Sennett comedy routines and formula. Views of film making in the days when a pie was worth five jokes, and when Keystone cops whirled recklessly through traffic to save distressed maidens, are hilari- ously reproduced. Something more than pantomime passed from films when sound entered the studios. A complete form of story-telling, labelled slapstick, also disappeared. It is resurrected in 'Cavalcade,' v/ith the assistance of Mai St. Clair, director, and the reassembling of some of the onetime Sennett troupe, including Eddie Collins, Hank Mann, Heinie Conklln and James Finlayson. Bolstering the force are George Givot and Buster Keaton. There is a brief sequence also from 'The Jazz Singer,' in which Jolson sings 'Kol Nidre.' Obviously, this was made especially for the film. Irving Cummings had the major directorial' assignment on 'Hollywood Cavalcade,' fQr which Ernest Pascal did the screenplay ftom a story by Hilary. Lynn and Brown Holmes. It is a deft piece of workmanship, punctuated with numerous miechanl- cal twists and turns. Scenes from the older films are projected in black and white,. sometimes trained in colored borders. Production in every particular is splendid. As for the yarn itself. It relates the I'ii'e, fall and rise again of an enthusi- rstic young director, played by Don Ameche. At a New York perform- r.nca of 'The Man Who Came Back' in William A. Brady's Playhouse, he sees a promising understudy (Alice Faye) who is substituting for the leading woman. He persuatles her to make the jump to Hollywood and the films, promising her a brilliant future. Her introduction to the new film art. as practiced at Sennctt's. is a pie in the eye—a wild pitch by Keaton.' Thereafter is related against the Hollywood background, the story of the new entertainment industry. Cummings keeps the running ac- count in a light and humorous vein. The playing of it is up to the par of the oroduction. Miss Faye brings looks and earnestness to a part that always is on the borderline of in- credulity. Ameche is convincing, and J. Edward Bromberg Rets the most from a sympathetic character part. Alan Curtis and Stuart Erwin have le.c"! to do and do it well. Film has abundance of novelty and will be a strong contender in the early season lineup of attractions with draught. Flin. Bouquet for Bucquet 'Metro signed Harold S. Bucquet to a new contract as director. Currently he is piloting "The Secret of Dr, Kildare,' co-starring Lionel Barrymore and Lew Ayres. MiniatDre Reviews " ^Elizabeth and Essex' (WB). Bette Davis in a distinguished performance opposite Errol Flynn. Top grosser. 'Hollywood Cavalcade' (20th). New version of the story of films and the people who made them in the silent days. Surefire. 'Intermezzo' (Sel'zn Ick - UA). Fine production showcasing In- grid Bergman as potential top- flight star. 'Eternally Yours' (Wanger- UA). Loretta'Young-David Niven starrer that will have to depend on the name power to gist it by. 'Rio' <U). Romantic adventure film with Rathbone, McLaglcn, Sigrid Curie, okay top dualer. Three Sons' (RKO). Remake of 'Sweepings' fails to impress. Heavy drama and slated for lower dual brackets. 'A Woman Is (he Judge' (Col). Courtroom drama; strong dualer. 'The Challenge' (F.A.). Brit- ish-made adventure thriller, mostly for duals.' INTERMEZZO Hollywood, Sept. 26. I'nited Artists release of Sclznlck-Intcr- nailoniil pruducllon; David. O. Selznlck. producer: Leslie .Howard, ossoclate pro- ducer. Stars Lesllo Howard; features In- grJd Bergman. Edna Best. John Halllday. Directed by Gregory Ratoff. Screenplay by Georgo O'.Nell. based on. story by Gostu Stevens nnd Gustav Molander; ctimera. Gregg-Tolnnd; supervising film editor. Hal C. Kern; etlltor. Prancla D. Lyon; apeclal effects. Jack Cosgrove; musical direction. Lou Forbes; asst. director. Walter Mayo. Previewed at Weatwood Village. Sept. 20, '.1U. Running time, 76 MIN'8. Holger Rmndt ; iMWt Howard Anita Hoffman ..Ingrld Bergman Marglt Brandt Edna Best Thomas Rienborg John Halllday Charles Moler Cecil Kellaway Greta stenborg Enid Bennett Ann Marie Brandt Ann Todd Kric Brandt Douglas Scott Kmmn Eleanor Wctsclhoeft Marianne Marie Flynn 'Intermezzo' is an American re- make of a picture turned out three years ago in Sweden which Gustav Molander directed, with-Ingrid Berg- man in the femme lead. When David Selznick tabbed Miss Bergman as starring material, he purchased the film rights for a remake, and signed her for her original role. Story structure Is a love triangle involving a famed concert violinist and a young girl pianist, but the ro- mance lacks persuasiveness. It is unsympathetic in its setup, the girl continually trying to run away from it all, and the music master deserting his wife and two small children. 'Intermezzo' is strictly adult fare, and main attraction will be for the women. Not too strong in its ap- peal, picture will go through the top deluxers for moderate biz, tapering off when it hits the family houses. Seemingly dubious about the title, it's full tag is 'Intermezzo, a Love Story,' latter phrase used as a sub- billing to circumvent any idea thfit it's an operatic film. Picture is productionally fine in all departments, highlighted by smooth- flowing direction by Gregory Ratoff, and excellent photography by Gregg Toland. Class audiences will catch the artistic and technical merits of the production. Leslie Howard, who functions as star and associate - producer, is eclipsed by Miss Bergman. Latter is beautiful, talented and convincing, providing an arresting performance and a warrn personality that intro- duces a new stellar asset to Holly- wood. She has charm, sincerity and an infectious vivaclousness that will serve her well in both drama and comedy. Howard is satisfactory in the role of the music master who takes a brief fiing at romance. Best in sup- port are. the two youngsters, Ann Todd and Eric Brandt. Former is cute and appealing as the daughter finally responsible in attracting the maestro back to his fireside. Edna Best is adequate as the wife, while John Halllday is capable in brief ap- pearances as Howard's accompanist and friend. Little Maria Flynn catches attention as a youngster at the Riviera resort. Returning to his home in Sweden from an American concert tour, Howard and Miss Bergman fall in love. Musically talented, Miss Berg- man is teaching Ann Todd the piano. Realizing her unhappy position, girl tries to run away, but Howard per- suades her to go on his tour as ac- companist. From there the.love' af- fair winds up in a vacation on the Riviera, with the girl finally giving up the interlude to continue her studies. Howard, attracted home to see his daughter, finds that an auto accident to the latter reunites him with the family. • Picture unwinds at a liesurely pace, without theatrics of too great intensity in the romantic passages. Major shortcoming of the picture is its lack of punch and conviction in sequences where such essentials seem necessary. Musical score Is particularly im- pressive, and will gain critical' at- tention. Violin and piano playing by Howard and Miss Bergman is skillful dubbing presumably al- though Howard^s fingering seems professional, and same is true of Miss Bergman's technique at the piano. ETERNALLY YOURS United Arllsts release (Waller Wanger) of Tay Oarnctt production. Stars Loretta Young and Dnvid -V'iven; features Hugh Herbert. Illllle Uurke. C. Aubrey Smith. Directed by Tay Garnett. .Screenplay. Gene Towne nnd Graham Baker; additional dia- log. John Meehnn; music, Werner Janssen; ed'ltor. Dorothy Spencer: camera. Morritt Gcr.stad and Ray ningcr. Reviewed In Projection Room. N. Y., Sept. 20, '30. Running time. 90 MINS. Anita r..i)retta Young Tonv ; David. NIven llenton Husti Herbert Aunt Abhy ^111110 Burke niRhop Hubert Pcabody...C. Aubrey Smith I..nla Do Vcrc Virginia Field Don Rarnen Itrodcrick Crawford Mr. Bingham Raymond Wnlhurn Mrs. lllnghnm /nau Pitta Gloria Kve Arden Morrlssey.. Ralph Graves Howard Lionel Pape Waitress Deiinle Moore Dowager May Beatty Phillips Douglas Wood Captain Vlckors Leyland Hotlgson Herman, the Rabbit By Himself Doctor Frank Jacnuet Master of Ceremonies Fred Kcatin-r Butler .Paul Le Paul Svaller Itaiiih Norwood .Stage Manager IJIlly Wayne Lawyer ...^ Evlwln Stanley Croupier Franl:lln Parker Housekeeper Mary Field .Ship Captain Gr.mvllle Bales Pilot Toy *^amett Ofncer George Cathrey Since the ornateness of tinsel and foil inevitably wears -oft, it's quite natural that 'Eternally Yours' should find itself tottering after 99 minutes. It has most of the productional assets for an excellent film, but the boxoffice potency of Loretta Young and David Niven will have to be the selling power. Niven is the Great Arturo, master prestidigitator and charmer of wo- men, who meets Miss Young at one of his special matinees.' woos and, just like that, marries her, leaving her socialite fiance (Broderick Craw- ford) in the cold. It wasn't because Arturo came home from rendezvous with un- named women, lipstick besmearing his collar, by the way, that incited Miss Young to leave him in South America during their tour. That she could understand, since .she knew he really loved her. But. she saw, this knocking about the world wasn't getting her a thatched cottage in Connecticut. So she ups and quits him, gets a divorce and returns to the old reliable (Crawford). All of which, of course, is one way for a woman to get her thatched cottage ultimately. There are some absurdities in which Hugh Herbert is involved, as Niven's valet, which tend to give the film some questionable comedv. Tay Garnett's direction is skillful, at times enabling situations ap- proaching the ridiculous to assume somewhat of an authenticity. He also hanilles a minor characterization. Miss Young and Niven are excel- lent, and only through their ability are they able to remain untouched. The excellent support is headed by Herbert, ZaSu Pitts, Crawford, Ray- mond 'Walburn, C. Aubrey Smith and Virginia Field. RIO (WITH SONGS) . Universal production iind release. .Stars B;(8ll Rathbone. Virlor McLaglcn. .SIgrld Gurler features Robert Cummings. Directed by John Bratim. .screenplay by Stephen Morehouse Avery. Frank I'ftrlos. Kdwin Justus Mayer and Abcn Kandel from origi- nal story by Jean NVguiesco; camera. Hal Mohr; editor, Phil (.'nhn;' musical director, Charles Previa: song.'^. Jimmie McHugh. Frank Skinner. Ralph Freed. Reviewed In Projection Room. N". Y., Sept. ii, '30. Running time,'78 MINS. Paul Reynard Basil Rathbone Dirk Victor M<-r.a^ien Irene Iteynnrd Sigrid Gurle nill Gregory Hubert Cummlncs Roberto T.<>o Carrlllo Mushy Irving Dacon Old Convict uurlce Moscovlch Head Walter Henry Armetta Universal has here a fair program- mer with a blend of romance and adventure and it should stand up satisfactorily as a top dualler in most situations. Direction and story are sluggish at times, but for the most part it moves at a good clip. Story is of. an audacious French financier. Basil Rathbone. sent tn a penal colony after causing wide- spread banking collapses by forg-* ing bonds. His personal secretary and friend, Victor McLazlen, and wife, Sigrid Gurie, go to Rio to be near him and.aid In his escape. Miss Gurie meanwhile falls in love with Robert Cummings, an American en- gineer, and when Rathbone finally gets to his wife finds he has lost her. He is killed by McLaglen in a scuffle over a pistol which he is aiming at Cummings. . Yarn is of a made-to-order vari- ety for Rathbone, giving him excel- lent opportunity to exhibit - his unique ability of playing at the same time syinpathetic and unsympathet- ic parts. Despite his cruel .coldness, which goes so far as murdering his partner, in escape from prison, he creates considerable feeling for him- self. McLaglen is excellent as his stooge before he goes to jail and the guard- ian of his wife 'while he is away. The loved servant's shooting his master at the end to preserve tho happiness of Miss Gurie is a nic« touch. Miss,Gurie is given plenty of op- portunity to perform. There are all so'rts of posed shots to bring out her beauty and she has two songs. Despite all, she doesn't stand out, turning in a good but not brilliant performance. Both of her' vocal numbers have an excellent chance, but 'Love Opened My Eyes' and 'Heart of Mine' are rendered only so-so by Miss Gurie. Cummings is. given a hefty role iii this, but also fares mildly. Leo Carillo, in the minor part of a bistro proprietor, registers neatly. Sprinkling of com- edy was left almost entirely to Henry Armetta. Herb. THREE SONS (WITH SONGS) Hollywood, Sept. 25. niCO release of Robert Sisk production. Directed by Jack HIvely. Screenplay l;y John Twist, from novel '.-iwcplngs' by Lester Cohen: camera. Rus.scll Metty: edl- tor. Tlieron SVarth; asst. director. James Anderson, Previewed at Pantnges. Sept. IM. ';I0. Running time. 70 MINS. Daniel Pardway HTdward Ellis Thane Pardway William Gargan Ceno Pardway......; Kent Taylor Abe I'llman J. Kdward Bromberg Abigail Pardway Katharine Alexander Phoebe Pardway Virginia Vale Bert Pardway Robert Stnntun Freddie Pardway Dick Hogan Grlmson....: Grady .Sutton Mamie Adeie Pcarco riioebc's Husband Alexander IV.\rcy Viola Uarbnra Pepper This Is a remake of 'Sweepings,' originally turned out six years ago by RKO with Lionel Barrymore and Gregory Ratoff. At that time, it was a weak entry and the current version is no improvement over the original. Under John Cromwell's direction, Lionel Barrymore pro- vided an interesting characteriza- tion stutjy, but here those advan- tages arc lacking. It's dual fodder. Story never clearly lines its aims for audience sympathy. At times, seems like the father is getting a raw deal from his sons and daugh- ters, then again motivation .seems to be in reverse. As result, it's rather confusing and far from en- tertainment Story starts immediately after the Chicago fire, and covers a span of years. Edward Ellis establishes a store, and watches it grow into a big enterprise. When his three sons grow up, he fails to enlist their in- terest in the business, and finally gives each stock of the firm in a last attempt to have family manage- ment continue after his death. Sons soon sell the stock to continue their high living, except the youngest. Picture is slow and draggy, never catching audience attention. It's handicapped by too stolid direction. Ellis does as well as can be expect- ed with material provided, with J. Edward Bromberg getting whatever sympathy might be aroused as the manager responsible for the store's success. Virginia Vale and Robert Stanton, selections from the second Lasky 'Gateway to Hollywood'talent broad- casts, are cast as Ellis' children. Former sings a Straus' waltz in a Vienna beer garden while touring Europe, and Stanton song-plugs a ragtime tune. 'Tootin' Down to Ten- nessee' in the music department Both are brief and not impressive. Jack Hivcly, film cutter with RKO for several years, directed. As script is set up, assignment would be a difficult one for any topranker to get more than an ordinary pro- grammer out of it. Picture is de- void of .selling names in cast and was turned out on a moderate bud- get. A Woman Is the Judge CohimI)Ia production and release. Fea- tures Frieda Ineatort. Olio Krnger. Rocheile Hudsun. Directed by .NUk Grlnde. Orig- inal Screenplay by Karl Brown; asst. di- rector. Milton Carter; editor, Ilyron Robin- son; musical director. Jl. W. StolofC; cnni- era. Benjamin Kline. At Criterion. X. Y., week Sept. 2T, "M. Running time, «1 MI\8. Mary Cabot Frieda Ine.Hcort Steven GraliuLi'i , Olio Krugrr Justine West Rochelle HuOsiin Ucrtie Alayo Meilmt Itobcrt I«ingi<y Gordon Oliver rim Ryan Arthur L<ift Harper Walter Tenner Itam^cy John J>ilsf>n Wolf Ueniley Hewlett Mrs. Butler Beryl Mcrccr Nearly two years ago Frieda Ines- cort played a role similar to that of the femme barrister in 'A Woman Is the Judge.' Present production car- ries more appeal than 'Portia on Trial,' the earlier film, because it benefits from Nick Grinde's deft di- rection and several strong support- ing performances. Picture looks destined to get the most coin from dual setups, and is trimmed to fit into such combos. It's red-corpuscled fare for the double-bill spots. Plot is the all-too familiar one concerning the missing daughter who bobs up after nearly 20 years in a jam with the law. In this yarn the offspring is being tried for murder because of an accidental shooting that occurred when the daughter was trying to protect her mother's honor. Slightly hew twist Is that up until she discovers her long-lost child's identity, the parent had been serving as jud^e at the trial. When she finds out, she steos down, after (Continued on page 47)