Variety (May 1941)

16 FILM REVIEWS Wednesday, May 28, 1941 BILLY THE KID (With SoncB) (TECHNICOLOR) Hollywood, May 23. Meiro relenw of Irvlnj Ashor prmluc- tlon. Slor* Robert Tnylor; fenlure» Brian Donlevy. Ion Hunlfr, Mary HowarU. Gene IXKkhnrl. Lon Chnney, Jr. Dlreclcil by Dnvld Miller. Srrceniilny by Gene Fow- SHINING VICTORY Hollywood, May 21. Wnrner Broe. relen^ie of JUlbert Lord production. FeatuRs Jamea StepheDnon, Coraldlne FItzcerald. Directed by Irving Rapper. Brreenploy by Howard Koch and Anno Froelick, from play, 'Jupiter Loiuchi,' by A. J. Crontn; camera, James Wong Howe; editor. Warren I.ow; aealat. direc- tor, Jeme Illbba. Previewed at Wamen Beverly, May 20, '41. Running time. ler; iitory by Howard Enimett Rogera and i Id .MI^b, Bradbury Fooie. sUK)te»led by book, 'Tho ur. Poul Venner Jamea Stephenson Snsa ot nilly the Kid' by Walter Nobia ji„ry Murray a«raldlne Flligcrold Burns: oameni, Leonard .Smith and wll-Ijjr. Drewett Donald Crisp Ham V. -Sknll; editor. Robert J. Kern; [ jii,b Leemlng Barbara O'Nell Bonga. Otmonrt B. Rulhven and Albert , Dr. Blake , Montagu Love Mannhi'lmor. Previewed In studio projfc- I yf„t, Herman Von Relter Slg Rumao tlon room. May 22, "41. Running time, Oi ■ Thornton George P. Huntley, Jr.' MIN8. I'Dr. Hale Richard AInley Blllv Bonney Robert Taylor ; Dr. Ucntley Bruce Lester Jim Sherwood Brian Donlevy Poater Leonard Mudle Eric Keating Ian Hunter Mra. Poster Doris Lloyd Edith Keating Mnry Howard | Dr. Ealcrhozy Frank Rckher Don HIckcy Gene Lockhort r Miss HoiTman Hermlne Sterler ■SDike' Hudson Lon Chaney, Jr. ! Chlvera '...- Ullly JInvnn •rim Word Henry O'N'elll ; Miss Dennis Clare Verdera Ed Bronson Oulnn Williams Dr. Corliss Crauford Kent Cass McAndrews, Sherlft Cy Kendall 'Bum' Cobb Ted Adama Judge Bloke Frank Conlon Pedro Goniales Frank Puglla Jeweler Alee Craig 'Shining Victory' Is another A. J. I^^hX™ .'.^^^^V.^^^V.V.MuTheU ii"wi^^ Cronm writing on the medical pro. Kirby cioTton Dick Curtis • lession. It s a film version of his Ed Shanahan Grant Withers ■ play, 'Jupiter Laughs,' which had a !""•";;;•.•,pi?? cLnn i or'ef three-week run on Broadway pTshan"Cn:::::::::::::;::::Ed"dTi duZ . ust September, as a strsightforward •Bat' smithera Carl Pittl : exposition of the avenues of clmical Thad Decker Kermit Maynnrd • research, picture might appeal to «'*«"■!';>'••• ^'?5lii?wml ■ very limited audiences; but enter- MrT ?^u™!;::::::::::::::oii:fBilik«ey ; tainmem factors are missing to make it suitable for general bookings, ex- _^ - X,.,, 't,.j < J cept as a filler in the class houses. The saga of BiUy the Kid, famed , ^s in the play, plcturization bad man of the American southwest stresses the straight drama involved frontier, is again unfolded in this . in medical research, unrelieved by * -.J _ » •*> comedy moments. Closest approach western production of A negative ^^ the latter is a brief and matter- cost. Although it plows famUiar ■ o£-fact love scene between the ab- ground in both dramatic foimda- I sorbed scientist and his lovely as- tion and delivery, there's sufficient < sistant. Screenplay by Howard action, riding and eye-catching vis- , Foch and Anne Froelick switches tas of the great open spaces via ; several of the characters from the Technicolor photography to make '. play script, but all of Dr. Cronin's for profitable biz in the regular key ; essentials are retained from the un- runs. B. o. strength wlU show fine successful play, gait in the subsequent and neighbor- | Story concerns James Stephenson, hood runs, where western settings a brilliant young research scientist In features of topline calibre click I delving into the field of psycho- consistently. {biology. His original findings are The actual tale of Billy the Kid's i brazenly appropriated by the head outlawry, and his wizardry on a of a Budapest hospital, and he is Miniafaire Reviews •Billy the Kid' (M-G). Robert Taylor starred as famed western bad man in tale of frontier days. Profitable b.o. •Shining Victory' (WB). Sci- entific medical research film for limited bookings In class duals. 'Caught In the Draft' (Par). Bob Hope delivers smacko com- edy of army training camp with machine gun rapidity. Top b.o. •Million Dollar Baby' (WB). Overlong and unbelievable ro- mantic yarn. Time Out for Rhythm' (Col). Hodgepodge filmuslcal. A weak- ie. •Well Dlgger'g Danghter* (French). Socko, starring Fer- nandel and Raimu. •Naval Academy' (Col).^ Fa- miliar prep school tale of'boys' regeneration. Minor league B programmer. 'Desert Bandit' (Rep). First- rate western meller, Don 'R«d' Barry starring. quick draw, has been repeated many times in books and historical documents. Metro produred a' pre- vious version' 10 years ago, with John Mack Brown as the rather whitewashed bad men, and his re- ported exploits have been repeated- numerous times in other westerns «f greater or lesser degree—^with other characters essaying the iCid adventures. As a result, present screenplay and script take Uttle dramatic license . with the facts of the outlaw's life. Situations induct- ed into other westerns crop up from time to time to remind audiences that the episodes are repetitious. Despite this condition, Howard Emmett Rogers and Bradbury Foote concocted an above par story from which ^ene Fowler shaped a com- pact script that stresses action and minimum amount of <lialog to carry it along. David Miller, promoted chased from the country. Obtain- ing a research post In a Scottish sanitarium, Stephenson beeches im- mersed in his work, and rebels when given a woman medical interne, Geraldine Fitzgerald, as assistant. But girl organizes both the doctor and his lab, and the pair concen- trate on his experiments. With vic- tory in sight, the pair become en- gaged, but Miss Fitzgerald is killed in the laboratory fire in which she is able to save his records of treat- metits and formula. For her mem- ory, Stephenson decides .to go to China on medical missionary work planned by the girl. Despite the limited bookings In prospect for 'Shining Victory,' War- ners will salvage much from the ex- cellent performances of Jioth Steph- enson and Miss Fitzgerald; and the cf isp direction by Irving Rapper in his first s6\o piloting job after be- ?rom directing tvo-reelers^ on the 3ffi""/ 't$IcS?S%*^^S Metro lot, was drafted to pUot 'Billy the Kid' at the barrier. His dlrec- iton is crisp throughout, carrying the tale along at a consistently zippy pace, and generating the mMimum as dialog director. Despite their drab parts in this instance, Stephen- son and MissTltzgerald display act- ing abilities that entitle them to bet- ter assignments in the future. Rap- SnrV=^^j^',J^^e%"c^Sl?frSm Per demonstrates freshne^ In ^i- t'>*<?:'>toldtali" J I'wTt&MtS'e':'^""'"™ Robert Taylor'wiU surpriw, and Donald Crilp turns In his usual make plenty of progress toward | ^jgh grade performance as the phil- Btrongest marquees voltage, as a ^ osophical. doctot and closest friend rough and tough mans man type of „£ j^e researcher. Barbark CNeil, western outlaw.. Characterization MonUgu Love, Sig Human, George puts a .mat of hair on Taylor's chest p. HuiTtley, Jr. and iBilly B^van are Kgrrryg"e'd Sn"m7nts^."^'" "-"--t - -P'-'*. Walt. Story picks up the desperado on entry into a frontier town of the southwest, where he temporarily loins up with the lawless gang of <iene Iiockhart. Meeting a boyhood pal of Silver City, Briail Donlevy, Billy shifts over to the otter's out- fit, and comes under the kindly influ- ences of Ian Hunter and Mary How- ard. Progressing on the road to re- feneration, BiUy reverts to a cold- looded and premeditated killer when Hunter is murdered by Lock- hart's gang. The Kid gets his re- venge, knocking oft those respon- sible, but in turn is killed by mar- shal and best friend Donlevy when he refuses to surrender for legal trial of his misdeeds. Technicolor photography of the backgrounds—made in the color- splasned Monument Valley—pro- vides eye-arresting vistas for the rides and chases that are interwoven. perfect setup for the laugh purposes Intended. Hope is a film star, allergic to gun- fire. When the draft hits, he decides to marry and concludes Miss La- mour, daughter of an army officer, as his wife, will keep him out of the draft. Idea concocted by Hope and agent Overman for him to oe re- jected by a recruiting sergeant back- Ares—and Hope, Overman, and stooge Bracken find themselves dumped into the training camp. Trio go through series of broadly- sketched rookie experiences, taking advantage of every laugh angle, un- til Hope finally saves a company from casualties in a mock battle, and gains promotion to corporal—there- by winning approval of the colonel and the girl. Outstanding script by Harry Tug- end utilizes every excuse on which to hang broad and slapstick gags that might happen in fact or lancy in a training camp. Hope does duty as kitchen police, drives a tank for a wild ride, is transferred to the para- chute trooDS, and does guard duty in long underwear. Everything ados- up to maximum entertainment. Hope indicates he's on the road to a top comedy star attraction with his expert handling and timing of situations and dialog. Overman aiid Bracken team up as excellent come- dlc assistants, while Htirst is the tough top sergeant 'Kolb scores re- peatedly as the methodic colonel who is the bane ot Hope^s soldier- ing career—always around at the wrong time. David Butler's direction )s top- notch, milking all the laughs possi- ble out of the situations provided or concocted. Butler cuts the laugh se- quences at the peaks, and catches utmost audience reaction at the top, refusing to tarry with extraneous footage. Camera work bv Karl Struss is of high standard through- out.- . .Walt. the brush-off by the spectator as not mattering anyway. That icing on the pic Is as ob- vious as would be on Junior's birth- day cal^e. It consists In part of what WB apparently deemed snappy dia- log. But the 'rapid-fire' cross-talk actually is a string of old gags that a third-rate m.c. at a fourth-rate bistro would have ducked. Viz.: 'Don't comb your hair with an egg beater' and that equally venerable one about miners cliggine gold out of the ground only to sell ft to the government, which buries it again at Fort Knox. PriscUla Lane, Jeffrey Lynn, Ron- ald Reagan and May Robson bear the weight of the interminable story and dialog with all the fortitude that can be expected. Miss Lane is pretty and pleasaiRly effervescent as a bar- gain-basement cutie whose sudden acquisition of $1,000,000 tears her between rich smoothie Jeffrey Lynn and sourpuss piano-player Ronald Reagan. If an usher, as you en- tered, handed you a card with the answer on it, you couldn't be surer that the poor guy was going to wiq Cinderella for the fadeout clinch. Yoimgsters weather the storm bet- ter than Miss Robson, who is some- what Irritating as the filthily wealthy old gal who returns to America after 31 years to right her pappy's wrong by presenting his partner's grand- daughter with moolah to the extent of ]J)00 G's. Number of minor play- ers (characters in the cheapie board- ing house in which Miss Lane lives) overplay outrageously. Director Curtis (nee Ktirt) Bern- hardt tries hard to keep the film moving at a decent pace, but it's im- possible. Direction as a whole is undistinguished. And then. there's that ola business again of report- ers being very rude to an old lady and all shouting questions at once. Didn't Hollywood a long .time ago decide to bury that version (most- ly its own) of the men of the press as smelling of the corn cob? Herb. Caught in the Draft Hollywood, May 24. Paramount release of B. O. De Silva production. .Stars Bob Hope, Dorothy La- mour; features Lynne Overman, Eddie Bracken, Clarence Kolb, Paul Hurst. Di- rected by David Butler. Original story and screenplay by Harry Tugend; additional dialog, Wllkle C. Mahoney; camera, Karl SIruas: editor, Irene Morra. Previewed at Alexander, Glendale, May 23. '41. Rmmlng lime, 82 MINS, Don Bolton Bob Hope Tony Fairbanks. Dorothy Lamour Steve Lynno Overman Bert Eddie Bracken Co). Pcler Fairbanks Clarence Kolb Sergeant Buma > Paul Hurat Yett« Ferlke Boros Margie Phyllis Ruth Cogswell Irving Bacon Director Arthur Loft Recruiting Sergeant Edgar Dearing 'Caught in the Draft' Inducts Bob shadings and pastels rather than splashes of colors, will add much to the b. 0. punch of the picture. Leon- ard Smith and William Skall are credited with the photography, al- though the combo of Sid Wagner and Charles Boyle are responsible for most of the Monument Valley footage as cameraman on the second unit that covered that country. Donlevy is excellent as the pal of Billy, who, as frontier marshal fights it out with the desperado at with maximum laugh results. In concentrating on the broadly humor- ous angles of rookie adventures, pic- ture shoots laughs in situation and dialog with machine-gun rapidity, and win hit topmark b.o. rating in both key£ and subsequents for sunl- mer bookings. Picture makes no pretext of being serious. Everything is set up to generate hilarity, and the, laughs come so rapidly th:.t the ensuing dialog Is lost in the uproar. Story is decidedly episodic, but thait doesn't the finish. Mary Howard is the girl, matter, there's a maximum of engaged to.Donlevy, but secretly ad- laugh content which is positive to mired by the Kid. Miss Howard has i hit audience fancy and pay off hand- too little to do. but demonstrates somely at the wickets: ability to carry an assignment with | Although Hope carries the major prominence in most satisfactory ] portion of the comedy responsibill- fashion. Ian Hunter easily handles ties, he is aided in a big way by the role of the British rancher, while Lynne Overman, Eddie Bracken, Gene Lockhart gives his usual effec- I Clarence Kolb and Paul Hurst. Dor tive, performance as the ruler of lawless frontier town. Two brief songs are used for incidental display. Wott. othy Lamour, as the daughter of the colonel, .who eggs Hope into the army and then battles for him In whirls with her father, makes for a '< Million Dollar Baby Warner Bros, production and release. Stars Prlscllla Lane; Jettrey Lynn, Ron- ald Reagan: features May Robson, Lee Patrick. Directed by Curtis Bernhardt. Screenplay by Casey Robinson, Richard Macaulay, Jerry Wald from original by Leonard Splgelgass; camera, .Charles Rosher; editor, RudI Fehr, Previewed In projection room, N. Y., May 21, '41. Run- ning time, 102 MINS. Pamela McAIIIeler Prlscllla Lane James Amory Jeffrey Lynn Peter Rowan Ronald Reagan Cornelia Wheelwright May Robson JoHle La Rue Lee Patrick Mrs. Galloway Helen Weatley Mnrlln George Barbler Flo Nan Wynn Dr. Patterson John Qualen Mr. Slmpwin , Walter Catlett Mrs. arayson Fay Helm ■Sooree-i Jllchard Carlo O lio Ward Kjohn RIdgely Diana Bennet Marls Wrixon Callahan Jamea Burke Pnrkln«nn Charles Ralton Alvie Grayson John Sheffleld Initially labeled 'Miss Wheelwright Discovers America,' this original yarn by Leonard Splgelgass caused quite a flurry In story departments a year or so ago and was tagged as highly promising. . Warner Bros, has given it a production and rui»- ning time (102 minutes) commensu- rate with that advance billing. Un- fortunately, screenwriters Casey Robinson, Richard Macaulay and Jerry Wald were unable to extract from the original what it promised, for the result is an unbelievable and tedious .strain on both the Imagina- tion and the seat of the pants. With its moderately good marouee names and overfootage it will squeeze through for top billing in some sit- uations In the stix, but really rates no more than supporting rank. Yarn, as the trio of scrlpters lias ■worked it out, is one'of 'those mad- dening things In which, if only one character had acted with the com- mon sense the audience there is en- titled to expect, never would have been a story at. all. Idea the writers had in mind is evident, but it didn't come off. It was to give the puckish and semi-screwball icing to the film so that thcvbaslc plot could be given Time Out for Rhythm (MUSICAL) HpUywood, May 27. Columbia release of Irving Starr produc- tion. Features Ann Miller, Rudy Vallee. Rosemary Lane, Allen Jenkins, Joan Mer- rill, Richard Lane. Directed' by Sidney Solkow. Screenplay, Edmund I.. Hartmann and Beit Lawrence; story by Bert Qranet based upon play by Alex Ruben; songs, Simmy Cahn and Saul Chaplin; dances. IiSRoy Prinz; camera. Fror.i F. Planer: editor. Arthur Seld; musical director. M. W. StolofI; assistant director. Bud Brill. Previewed May 20. '41, In studio projeotlon room. Running time, 74 MINS. Kitty Brown Ann Miller Daniel Collljis :.Rudy Vallee Frances Lewie Rosemary Lane Olt-Beat Davis > Allen Jenkins Joan Merrill Herself Miks Armstrong Richard Lane James Anderson Sunley Andrewa The Three Stooges 'Brenda & Coblna Six Hits and a MI«b Eddie Durant's Rhumba Orchestra Glen Gray and His Casa Loma Band Columbia tossed a carload of tal- ent into this fllmusical attempt with inauspicious results. Dragging story, combined with dull direction that fails to accentuate production num- bers and songs, leaves things in a rather confusing state. Picture will have to be content with dual sup- porting spots where audiences will not expect too much. Story never hits the line of credu- lity, and only the tap dance numbers of Ann Miller and a few songs de- livered by film newcomer Joan Mer- rill (former night club warbler) momentarily lift the onlooker out of slumping seats. Rudy Vallee demonstrates he's better on the ra- dio than for pictures and his script part and direction doesn't help any. Yarn concerns Vallee, Richard Lane and AUen Jenkins. First Is the production Idea man. Lane the promoter, and Jenkins is VaUee's pal. Joining up as agency partner- ship in producing shows fop- tele- vision, splitup comes when Lane at- tempts to inject Rosemary Lane Into a star spot of the program'in re- hearsal. • Vallee decides to continue with new talent of Misses Miller and Merrill: and finally uses Dick Lane's night club to present the show for a Hollywood producer. Miss Lane then shows Richard Lane she's more interested In a career than his mar- riage proposal. The Show's a suc- cess and the partnership resumed: Glen Gray and his band, Eddie Durant's rhumba orchestra, and Six ^Hits and a Miss are inducted to help out on the musical side. Their rou- tines, although tuneful, are sub- merged In the hodgepodge. The "Three Stopges' wander In and out with silly antics that might have gone over on the mutual burleycue wheel, but ari just ridiculous pad- ding here. Brenda and Coblna are lost In the shuffle. Gray band's playing of one num- ber is presented in a highly effective stunt which highlights the instru- ments in white on black background, with perlorming musicians Invisible. Even this innovation loses top poten- tentlalltles in unshowmanly han- dling. Best tune, which has a chance for pop appeal, is the title juanbei:; with 'Gentleman Prefers to Dance.' runner up. Production background, plus talent assembled. Indicates studio hit for a nominal budgeter that might rise to 'A' classification. Results demon- strate a bad aim for exhibitors. Walt La Fille du Puisatier (•Well-Digger's Daughter') (FBENCH-HADE) Casablanca, May 8. Marcel Pagnol production. Stars Fer- nandel, Ralmu; features, Josetto Day, Chnrplnl, Tram/il, Llneo Nora. George* Grey. Story, scenario and direction. Mar- cel Pagnol; camera, Wlllyi music, Vincent Srotto. At Empire, Casablanca. French Morocco. Running time, ISO MINS. The first pic to be started and completed since the Armistice, it cleverly uses the war and post-war period'as a handy springboard from which to relate a much-repeated love tale. Marcel Pagnol's fine band is seen throughout Film recalls his former b.o. successes, 'Mar- lus,' 'Fanny' and 'Caesar,' although the story pattern comes nearer to 'Angele,' another Pagnol hit. Cast Is a positive marquee draw.' Getting comedians Fernandel, Rai- mu, Cnarpini and Tramel together in one picture Is getting the cream of French male humor under one root Fernandel and Raimu hit it off to perfection, while Josette Day ad^s the sweet, innocent, charming touch. Two and half hours Is pretty long In the way of pictures, but in this case it is acceptable since the French public sow has limitations on its amusements. Sitting through two and one-half hours of Marcel Pag- nol is not the worst substitute. The pic has exploitation possibilities abroad, but will naturally have to be cut for foreign market, although .that's going to be hard since every moment is crowded with action and humor. Subject Is old, but Pagnol gives it the touch which Ufts It above ordi- nary level, while acting talent does the rest. Like all of Pagnol's sub- jects, this one Is laid in the province wiUi itSshumor.and rural touch. Miss Day, daughter of well-dig- ?:er Raimu and a close friend of her ather's assistant, Fernandel, .meets Georges Grey, aviator son of wealthy shopkeeper Cnarpini and disappoint- ed, nagging wife Llneo Noro. Grey carries Day across brook and into land of romance. Grey, however, is an old hand with the girls, and Miss Day to him Is just another in a long series of romances. Grey exploits her innoncence and she's left with a baby. Of course all ends welL Grey is not dead, as reported from the front, and he returns for the honor- able marriage. Photography is good, direction and acting first rate. Film tempo is fast and regular throughout. Film might have been improved by eliminating scene in which Marshal Retain makes his pathetic speech to countrymen that armistice had been asked. It's passable only for local consumption. Another conundrum Is why Miss Day does up her hair as If she lived next door to a hairdresser In Paris instead of living in a small village. Ravo. GOLDEN GATE GIRL (U. 8.-MADE CmNEBE TUM) Golden Gate Film Co. production^ Di- rected by Esther Eng. Photographed by J. Sunn. Script, dialog and editing. Moon Juan. At the Grand View, San Francisco. Running Ume, 110 MINS. The Girl.. TSO Tee Mao The Boy \ Wong Hok'.Sing Ttie Father Moon Quan Salesman Ltu Nom The Cook Luk Won Fe« (In Chinese) Initial production of a new outfit, the Golden Gate Film Co., 'Golden Gate Girl,' is the first feature-length Chinese talking picture ever made in San Francisco's Chinatown. A version with English titles is now being readied. As far as can be gleaned from viewing the original in Chinese, film should do okay as a novelty in an English version and would be a nat- ural for benefit performances to raise money for Rice Bowl drives, etc. Story is easv to follow and is I loaded with familiar scenes around Frisco, partlctilarly Chinatown, but also the Waterfront, Golden Gate Park, etc. Other exploitable angles include fact that the director Is China's only woman film director, Esther Eng, who has a flock of releases to her credit In China and made an Orien- tal film in Hollywood flve years ago. Co-director Moon Quan (who also wrote the story, dialog, plays a part and edited the film) hasoeen in pic- tures since leiS, much of the time in Hollywood, where he was techni- cal director, for D. W. Griffith on 'Broken Blossoms' and others. In China, Quan Is a top producer, one of his major successes. The Life Line,' a railroad story, still going strong after eight years. (A bat- tered print did okay In Chinatown last month on its fifth return date). Story of 'Golden Gate Girl' has to do with the student daughter of a stem Chinatown curlo-shop owner who disobeys her parent's orders to stay away from ,the Chinese Opera. Aided by the owner's fat salesman, the gal sneaks away to a music club where she meeto the star of the operafic troupe and falls In love. When the old man finds out what everyone else knows, he throws her put and fires his salesman, promot- ing the cook to the job. The gal and singer wed, but latter eventually loses his job as a result of ostracism and has to return to China. Gal meanwhile has a baby and dies. The (Continued on pc^ge 18)