Variety (Dec 1939)

VARIETY SWANEE RIVER (Color) (WITH SONGS) Hollywood, Dec. 19. 20lh Oenliiri'-FM rele»so of Kenneth >ine>,he, Anilrea I-eeJs, Al Jolson. DlrccUil ty Sidney I-nnllelil. Screcnplny by John film form which was previously turned out in silents by Pathe jn 1916 and Paramount in 1923. Pres- ent version, carrying advantages pi sound and dialog, is productionally nne. Combination of excellent por- trayals, vigorous direction and pow- erful dramatic force. Light That Failed' aims particularly for class trade rather than general audiences. ■Icnl direction. In miidlo inojci'tlon room, RtinnlnK time, «0 .MINS. Stephen Foster. Jnne K, 1*. Chrliily ^'Henry Klcber llones Andrew .\IcUo«i;i. ..J Old Joo Hnll Johnson t*.i '.i' Turn linrper Mnrlon Fosioi- Pond > Ambrose Tambo Mr. Foster Henry Foster.... Mrs. Foster Morrison Fosirr. Bee. 19. '3!) ... .Don Amecho ..Andrei Leeds Al Jolson . .Felix llressnrt .Clil'^k t'hnndlcr , ..Uussell HK-ks .,, .CeorKe need I .Themselves . .niohnrd Clnrko Dl.me Flolicr ..Charles Unllon lar runs, catching attention of the carriage trade, literati crowd and the critics. Lacking appeal for the women, picture has to hurdle a sub- stantial obstacle in this respect Although the story has its dramatic and tragic moments, it unwinds at a most leisurely pace that drops at times into a study of characters in ..nar.r, - unevcntful siluation.s. Thcres trag- Oeorge Drenksione edy in the grim realization of a man Al iiermnn | ^|,j,t i,e will go blind at any time, but it's 'not a particularly happy premise for picture purposes. The story cari be summed up in one sentence. A man's man faces the doom of blindness, and rushes to paint a masterpiece before darkness .falls. William Wellman, with his 'Swanee River' is a cinematic biog- fjajj. for broad sweep of action, opens raphy of Stephen Foster, composer picture with a colorfid battle in of American folk songs nearly a cen- jj^g Sudan between the small British tury ago. Beautifully photographed force and the fuzzy-wuzzies. He In Technicolor, and parading several jiojes with the same type of vivid of Foster's melodious tunes, picture panorama when the blind war cor- carries handicap of conventional, and respondent returns to ride out with slowly-developed dramatic theme the cavalry to his death ..1'h.irles TrowbrldBe ..OenrKO Meelier .I.cona Iloberts (.'harlrs Trxnnon Vrwln Ilnrry It.nydcn M.^. Grlfiln Clora Blandlck Mrs. McUoivell -^^".I "A Temperance Woninn Esther Dole lacking in spontaneity. The excellent color and showmanly presentation, however, assist materially to over- come the cumbersome story. With Ameche, Jolson and Andrea 1-reeds as nominal marquee attractors, picture carries sufficient entertainment fac- • tors to sustain it for profitable biz in the regular runs. , ^ Story .of Foster's life, struggle to success and tragic death has been provided with convenient dramatics by scripters JohnTaintor Foote and Phillipe Dunne. Failure to gain sympathy for the frequently-imbib FILM REVIEWS Miniature Reviews 'Swance River' t20lh). Life of Stephen Foster an unim- prc.?sive story; will hit profitable but not big b.6. ' „ , •I.lsht That FalltO' tPar). Colman starred iii Kipling classic. Production line for mod- erate b.o. •Crashing Thru' (Mono). Ac- tion item of the north that suits for the lower half of dlials. •Alarsliai of Mesa City' (RKO). Very good George O'Brien west- ern. All around, family pic, with okay action. 'Days of Jesse James' (Rep). Actioner, built around several suppo.sed exploits of the James brothers. A dualer. •Citadel of Silence' (FA). French import of better grade, based on strong romantic drama, should do OK in U, S. •Le Bols Sacre* (French). Adultery theme okay in France but would have censor trouble in U. S. (Maymon). Yiddish starring Maurice one of the best of its We«liics<lay, December 27, 1939 'Tevya' languager Schwartz, kind. Between these episodes, the story unreels in London through a maze of characterizations and undramatic sequences. But through it all, scripter Robert Carson and director Wellman maintained the tenor and spirit of Kipling's story, passing up oppor- tunities to inject obvious and over- theatric situations in . place of the originals. . Colman, as the war correspondent and artist, provides depth and sin- cerity in a difficult assignment He is a typical Englishman of adventur- ing composer, who neglected both his ous strain—complacent in his success, wife anS child while on benders, is but concenterated energyjvhen he hot entirely the fault of the writers, The background of Foster's life ne- cessitated sketching him that way, resulting in lack of audience sym- pathy for the main character. Foster visits Louisville to get his first inspiration to write negro folk songs. While there, he falls in love, and composes 'Oh, Susanah.' Pe- cunious, he sells the composition out- right to minstrel man E. P. Christy (Jolson) who makes it famous. Pair strike, up a lasting friendship, with Christy responsible for the com^ faces darkness, but withal calm when he makes his final decision to die in- battle to end it all. Walter Huston is excellent as Col- man's plal, who steers him through the tragedy of impending bUndness. Ida Lupino highlights with , an ex- ceptionally dramatic episode as the prostie who posfs for Colman's paint- ing,-and eventually cracks under the strain of constant work to destroy what the painter anticipated his Miss Lupino's eharac- thc exteriors have not been so well photographed. Film does not list a photographer, nor does the press book. Char. Marshal of Mesa City KKO-nadlo volcnse of 6ert Cllroy jfroduc- tlon. Stars UeorRe O'Urlen; features Vir- ginia Vulc. Henry Itrnndon, Leon Anica. directed by David Howard. Screenplay, Jack Laii. Jr.; cnmern, Harry Wild: nrt, Van Neat PolKlase; editor, Frederick Knudston. At I'olonlal, Lincoln, dual, llun- ning time, «D MINS. , Mason ....George O Hrlcn Virginia ■ Virginia N ale Sheriff 1-eon Ames Henry Urandon I.loyd Ingrahnm Slim WhIttRker Mary Cordon Horry Cording Joe McGuInn Frank Ellis masterpiece ^ I..... . terization is .vivid and inemorable; poser's early successes. Following will gain attention to her as a dra- marriage to Andrea Leeds, Foster matic actress of top rank. Muriel goes to New York, but his periodics Angelus, In her first film appearance, force his wife to leave with their is adequate for mild romantic inter- child, and he hits the downgrade, est btJt handicapped by an unevent Picked up in a slum saloon byUulrole. A scotch terrier, Mr. Whis- Christy, Foster straightens out long enough to write 'Swanee River,' but a heart attack strikes him down be- fore its initial presentation. Picture's main iattractions to re- kers,' adds intimate touches in Col- man's London quarters, Utilization of a prolog establishing adolescent love affair of Colman anc Miss Angelus two decades before tain audience interest is the liberal story opens, is unnecessary and wast spott^rie of eight Foster songs tha' are both familiar and popular. Jol- son sings 'Oh, Susanah,' 'Camp- towii Races' and 'Swanee Rivier' in Miinstrel show setting,-putting them over in showmanly presentations. His offering of 'Swanee River,' after ed footage. Sequence only serves as medium for meeting of the couple many years later, and script could have provided this situation without the handicap of the-prolog-footage, 'Light That Failed' is authentically British in its underlying texture and teUing The^udience "tharFost'er "has I background. As such, it will click just died and the song will live as the heavily in various parts of the Brit- composer's memorial, is dramatically impressive. Jolson gives out here as in the old days at the Winter Gar- den on Broadway. Ajneche, as Foster, sings three numbers-r-'My Old Kentucky Home,' •Ring the Banjo' and 'Jeanie With the Light Brown Hair.' The Hall John- son choir presents 'Here Comes the Heavin' Line' and 'Old Black Joe.' The latter, sung at grave of the old Negro coachman, is memorable in its setting and rendition. Ameche has been handed a most unsympathetic role as the composer, and has further handicap of unin- spired direction to prevent him from injection of some semblance of sparkle in a toiigh assignment An- drea Leeds is adequate, although re- strained, as the understanding wife of a dreamer; while Jolson puts both ver.ve and punch into the role of the minstrel man. Felix Bressart is prominent, in support as the. music teacher and friend of Foster. Picture has been provided with impressive production background, accentuated, by the excellence of Technicolor throughout, especially the exterior scenes along the river and in Kentucky. gun-throwing, battles and chnse.<!, etc. Rogers is hired by a bankers as- sociation to solve a $90,000 bank rob- bery for which the James brothers are blamed. Harry Woods, as Capt. WoBthington, head of a national de- teifive ngenjcy. is brought in by the railroads to curb James depreda- tions on that quarter. .Rogers and Worthington are contimmlly at log- gerheads.' Former joins the James gang and proves to his own satisfac- tion that the bank robbery was done by bank officials and blamed on the James bunch. By a ru.se he .scares the guilty bank officials out of town and collars 'em on a train making a getaway with the cash. That ends the story—no telling what happened to the James boys Story shoots off. in all directions, and the finalo, wherein the missing cash is recovered and bank depositors paid off, is weak, inasmuch as most of the talc's telling is concerned with grabbing the James gang. Rogers is plenty adequate in his role, singing .several fairly impressive range tunes. One such scene, however, conforms with the u.sual singing westerns. Has Rogers and part of the James gang singing sdlo and in group with ac- cordion accompaniment. When the mob is supposedly hiding out and silence should be required. Even if the musical accompaniment were visible, which it's not it would still be a wonder what sort of an outlaw would tote one around with him. Installing Harry Woods as a peace officer is enough to tip action fans LE BOII^SACRE ('Saored woods') (FRENCH-Ivhu>E) Paris. Dec. 12. Plnlrlbuletira Asaoclnilon re1en«c of TItrvU Fllnjj |)Vo<1uctlon. Stars F:ivlr4\ 1'oiie.irn Onby .ilorlay. Victor • Douoher, Andri r.efniir; features Unllo, Afmand nernnrd Dlre<'lo<) by I.eon Msdioi, Dlaluit nni udaptnllon, from nobert de Fler:j* and A ilo Calllavel's piny of llio sanxo ii.ime by Carlo lllm: camera, llene Cnveau, Miu'i Vnn Hooreliecke. At. th« Olympin nml lllarrllz, I'arla. nunnlng llnic: lu.i .Mi\||, yi. Mnrgcrlo I..Victor Homlier Mme. Mnrgerle Klviro I'npeuro M. t'hnmpmorel Andre Lefnur .Mme. ('humpmorel Onby Mnrlny, .Snkouskint Dnllo A' Friend Annnnd Urrnnrd 'Le Bois Sacre* is a fa.st-riinning witty story of a wholly French vinl- age with a battery of established draw names which should combine to a.iisure good boxoffice in domestic showcases. It should do well, par- ticularly because of its spicincss and contagious humor, which is the order of the day since the war. Although it is undoubtedly the best effort of the new season, it has no commercial possibilities abroad. Like so many other local picts which base their action On dialog .-nd a cer- tain native type of humor, this one is not for export purposes as dub- bing would rob it of much of its fun. The censors would do the rest, for they would certainly object to the adultery theme. It was adopted from a play of the that he can't be trusted even in that f"""* "a,"™?- ^?^L"Ai'.?^.'':.^''.,^L'f role. He has always played heavies. Gabby Hayes supplies his usual laugh quota as Roger.s' partner, Pauline Moore isn't effective as Hayes' eranddaughter and Roger.s' heart Interest. Donald Barry and Michael Woi-th are okay as the James brothers. Camera standard. Allison... Mayor Hutch .Ma Hender.ion. Joe Harry ish Empire, where it can be released within a reasonable time. ■ Every where it will get critical attention on its top production standards. CRASHING THRU (WITH SONGS) ' ^fonogram release of Grlterlon-Phlllp N. ICrasne production. Features James Newill, Jean Carmen. Mllburn Stone. Directed by Kimer Clifton, llascd on novel 'Henfrew Itldes the Range.* by I.anrle York Ersklne; ndnptatlpn. .Sherman l.otve; editor, Roy Luby; 86ng.«. Jack I1roo!(a and Jules Lomnn. At CentrnI, .N*. V.. dual, week Dec. I'l, '3U. Running time, 61 AIINS. .*Jgt. Renfrew James NcwDI Corporal Kelly '. Warren Hull Ann Jean Carmen Herrlngion .Mllburn Stone McClu.iky ...Walter Byron LaMnntP '...Stanley Dlystone IJr. Smjili '.....nobert Frazer Captain Jo5;eph Glraril Fred David O'Brien .':|ant K.ve liarl Douglas EsMmo I'ete Ted Adams Green .' Roy narcroft Indian Joe..- Iron Eyes Cody This is a good George O'Brien western, an edge better than his pre- vious ones, and he has always main- tained a good average for the saddle opuses. It's a story and screenplay by Jack Lait Jr., and among other things has as the romantic attraction, Virginia 'Vale, second Gateway to Hollywood winner (Des Moines, July 2). . ^ Miss Vale, Dorothy Howe prior to being Laskyized, is no newcomer to films, having been, on a termer at Par for some time and in several fea tured roles before being given the buildup and moniker re-vamp of the Gateway program. She goes into this western, frontier school teacher role easily, and does well by it. She's obviously in for some training while the studio finds something better for - Marshals- have -been increasingly important as film subjects during the past year, especially the peace officer migratory type of the Wyatt Earp school, who talked little but shot well. It's one of these, who is the O'Brien characterization, called in by a citizens' committee to routfrom office a gang of range terrorlstr who work under direction of the county sheriff. I.eon Ames. ... O'Brien piris oh the badge, which elects him as an immediaite target Knowledge of his aptitude in gun matters stalls the mobsters for awhile, but they import Henry Bran- don, a quarrel-picker with a light- ning draw, to indulge in some leaden persuasion. Brandon, impressed by the whiteness of O'Brien, elects to become his deputy, instead, which brings things to a head fast ■ Dave Howard, who has handled (D'Brien for a lone time, directs him again in 'Marshal,' and Howard again delivers him in an anpropriately paced vehicle. 'Marshal' is in the upper bracket western class, will go very well with the juve pa.steboard sale, and has stuff for the family trade generally. Barn, The Citadel of Silence (FRENCH-MADE) Film .Alliance release of Imperial Film prodnctlon. Features .\nnnliclla. Pierre Renoir, llernard Lnncrct. Directed by Marcel L'llerbler. From novel bv T. H. Herbert: adaptation. T. H. Herbert; Eng- lish titles. Joe ^Vell;' pholocrapbv, A. Thirard and I.ouls Nee. At I'lx. .N. Y.. eck Dec. II.'I. ':I0. Running time. Ul MINS. lana Wolonska ,\nnabella Commandant of the Citadel... I'lerre Ilennir Cesar BIrsky llernard l.onrref rrlBon Chief... Robert LcVlpan overnor Alesnnder RIgnault Prison Spy I.ucas Grldnux Prison Tj-usly rierre l.nr(itiey LIGHT THAT FAILED Hollywood,. Dec, 20. Paramount release of William. A. Well- man production. Stars Ronald Colman; features Waller Huston, Ida Lupino. Mu- riel Angelus. Dudley DIgges. Screenplay by Robert Carson, based on hovel by Rudyard Kipling; camera. rheo<lor Sparkuhl; eill- tor. Ttiomas .Scott; second unit director. Joseph C. Toungcrman; asst. directors. .Stanley Goldsmith, Fritz Colllng.s. Clem Jones. Previewed at Westwood Village, Dec. la, "M. Running time, 08 .MIN'S. Dick Heldor Ronald Colman Torpcnhow. Walter Huston Mnlsle Muriel Angelus Bcssio Broke u",?''* '•""'"'^ go places in time. 'Ihe .N'llghal Dudley DIgges jjeeton Ernest Cnssart Madnmo RInai Ferike Boros Monsieur Ulnat I'edro dc Cordoba Oardner ; Colin Tapley Rcd-hnlred GNi .....Fay Helm Dick—ns a boy Ronald Sinclair Malsle-as a glil .Sarltn tVooton Doctor Halllwcll Hobbes Koldier Model Charles Irwin Coorge Francis McDonald 'ras.<invetll George Regas Burton Wilfred Robcrla Good action 'film of the north in the Henfrew moiiiitie series, with plenty of shooting, suspense, agree- able romantic flavor and-a fist fight in a cabin among several men that has beeii very effectively staged. James Newill, striking outdoors type, shoulders the vocal burdin entirely, two numbers, 'Crimson Sunset,' and "You're So Easy on the Eyes,' both listening acceptably. Newill sings them well. Story concerns the efforts of a brother and sister to hi-jack a ship- ment of gold that is going to a min- ing company that has been stolen from them. Jean Carmen, the girl, is a screen personality that should She figures in the This is the third appearance ot Rudvard' Kipling's tragic drama! in cabin fist fight and herself takes .some punishment in the free-for-all that transpires. Balance of the cast is made up of characters who are typed, but never- theless quite satisfactory. These in elude Warren Hull, also playing a mountie; Milburn S'tone, Walter Byron, Stanley BIystone and David O'Brien, among the more important memb'ers of the cast Technically, Philip N. Krasne's production is okay, although some of Days of Jesse James (WITH SONGS) ■ Republic release of Joseph Kane produc lion, Stars Roy Itogers: features Cleorgo. Hayes. Screenplay. Karic Snell, from orig, Inal by Jack Naltefoitl; lamera, Reggie Lannlng; musical director. Cy l-'enr. Re viewed In I>roJe<-tlon Room. N. .Y., Dec. H, ':iU. Running time, C3 ^INS. ^' Roy ......... ^ Roy RuKCr Cinbby ., .tjeorge •dubby* Hayes Jesse James ..Donald Harry .Mary 1*aullnc Moor Captain Worlliliitcloi) Harry Wood: .Sam Wyntt.. Arthur Loft Pr. Samuels Wade Roielei -.Mrs. Saniuelf- Kthel Wale; Busier Samtiols St'oliy Itockett Frank Jitmes Michael Worlh ("olc Y'ounger (ilonrt Strange i;nder-.')herlff Olin Howlnnd Fields .Monlo Blue MrDajilels Jack Rockwell Sheriff Frod Durns 'Days of Jesse James' as a title means little in this in.stance.. The train robber's activities in this un folding are incidental to a feud over a bank robbery solution James supposed to have committed. Its un reeling is interesting enough, though the story and direction leaves many loose ends still unraveled at the fin- ale. However, faults aren't so glaring that action fans won't derive satis- faction. It's replete with the usual (In Frejrch; toilh English Titles) A strong love story, hackgrounded in Russia in the days shortly preced ing the world war, 'The Citadel of Silence' is a French import of major conseciuence and its chances in America are far above the average. In spite of the fact that the film is lengthy, as most from abroad are, and the dreariness of prison life be comes somewhat tiresome, the gen, eral worth of the production more than compensates for these shortcom ngs. The story is of imperialistic Rus- sia but being based on the struggle of Poland a quarter ot a century ago, it strikes a note of timeliness for all audiences since Poland had-a secontl recent taste of Russia. An exploita- tion approach might be to point up the Russo-Polish angle, in view ot what has happened in the 1939 war. While much of the production deals with the meanness of life in a prison fortress ruled by hard Miis covite hands, the theme is the spirited fight of Poles and Russian plebes against the system that existed 25 years back. Following a foreword explaining that a girl's father had been executed, Annabclla being the survivor, the plot lays a foundation in efforts of a small group to bump off the local governor. Annabella escapes and flees to Paris, but her b.f., played by Bernard Lancret, is knocked off for a prison 'erm at a place where the inmates are not per mitted to speak. Hence the title, 'Citadel of Silence.' The producer has made it one of the grimmest bastilles yet pictured, with .some of the methods to maintain discipline considerably on the gruesome side. A unique turn in the plot is the marriage of Annabella to a colonel who is placed in charge f the prison, the wedlock being for the purpose of finding out what happened to her .sweetheart. In the end, the lad and other prisoners effect an escape that has been well filmed and particu larly well directed by Marcel L'Her bier. His short sequence dealing with the assassination plot early in the footage is also a t,em. Joe Weil's pithy English titles make it possible to follow the story •with ease, but in some respects the action is too conversational. Cutting it for American consumption might be desirable. Annabella, brought to Hollywood by 20th-Fox, turns in a ine perform- ance, with all the charm at her com- mand going 'into her work. Lan cret, opposite her, plays his role ca pably but, being a prisoner, is out of the dialog for about half of the pic- ture. At the beginning, he gets a little noisy in spots, tending to over, act. The fine character actor, Pierre Renoir, acquits himself very credit ably, as do lessers, including Rob- ert LeVigan, Lucas Gridoux and Pierre Larquey, Last-metnioned is excellent while he's on, as a prison trusty. General workmanship on the film rates much over average,-with very good photography figuring. Two cameramen are credited, .'V. Thirard and liOuis Nee. Char. '20s, and its chief fault is that it re- mains a theatrical piece. It is a minor offense, however, since the pic moves along at top speed with but few lapses, and these could be easily remedied lay more judicious cutting. Carlo Rim's dialog and adaptation are exhilarating, with his subtle satire being poked with equal skill at the morality of present-day so- ciety. Elvire Popesco plays a novelist the best seller ot the day, who is deeply chagrined because she is over- looked when the Legion of Honor is given out. Refusing to pay the price hinted by the rakish, ogling Director ot Beaux Arts (Andre Lcfaur), she essays other channels. Out of the clear comes the- rather dubious chance. Gaby Morlny, as the di- rector's wife, falls hard for Victor Boucher, the authoress' dentist-hus- band. The red ribbon tantalizes Popesco, and she puts the devil in hubby's head, telling him ho could help her get the Legior) of 'Honor by responding , to Morlay's affections. That's the yarn's basis. All the ends finally meet and even Ihe most conventional should ap- prove of the final pastoral scene. Performances are superb. Mile. Morlay, as the vivacious, flighty wife who periodically falls f jr some pass- ing male, makes a difficult role ap- pear easy. As much can be said for Boucher. Lefaur is first-rate, keep- ing the audience guffawing with his satire. . Mile. PopescQ stays will within her role. It is strange to see her as the betrayee rather than the betr.iyer. Dalio, as the Russian ballet m.ister who preceded Boucher- as Morlay'e lover, and Armand Bernard, the diplomat who comes near .spoiling Popesco's chances of getting the decoration, contribute sizably to Ihe action. Photography ' and sets ordinary; music good. Riivo. lis Etaient Neuf Celibataires ('There Were Nine Bachelors') (PBENCH-MADE) Paris, Dec. 12. r.C.F.C. release of Films fSlbc prwlur- llcin. ilars .Sachn Gultr.v. Klvire I'olMfc"; features Max Dearly, Victor linucher. Andre I^fanr, A1mos. .Marguerite Moreno. I.*l- rrcted by fJuItry. Storv and M-enario, Uullry; music. Adolplio Ilonhard; ciimeia, Armenlse. At tho .Morlvaux and i'olIi.e«, Paris. ■ . Cast: Sacfia Gullry. Flvlre rnjirsro, JIns Pearly, Victor Itnuclici'. Andre Lrfnur, .-Minos, Marguerite M«,reno. Siiturnln-l-'abre, Hetty Slorkfeld. Marguerite I'lenv, <■. I.IIieuu. lienevlove Uullry. Mnrguerlie De- viil, SInoel. (Hides. C. Dulmsc. Morion, Princess i-hylo; .Iac<]ues Krwin. neorgwi Grey, Cremlcux. JIiinnlnK time, 120 .MINS. 'lis Etaient Neuf Celibataires' brings back Sacha Guitry to the screen in one of his less Inspired moments. The film's chief demerit seems to be too much Guitry, wilh the French Noel Coward pulling an- other 'jack-of-allrtrades' stunt as author, scenarist dialogist direc- tor and actor. It results in a com- posite that brackets the pic as ordi- nary. . • Plot has some claims to origiriality and a battery of local draw names .should make it a b.o. success in France. Yet it lacks crack exploita- tion possibilities. The fault lies, not in Guitry, the author, but rather in Guitry, the director. Its chief ap- peal will be to a limited group ol Guitry fans for whom a few of tne author's quips and bon mots will be well worth the price of admii^ion. Its chances abroad seem to be on- side. . ., ■., It fails to click because of "s."- regular tempo caused by ill timing, repetition and the introduction Irrelevant material which, of course, is nece.ssitated if Guitry is to strut about. It is far too long and a more liberal use of the shears would have been welcomed. The finale wilhei-' to nothing, with Guitry himseii (Continued on page 49) of