Variety (Nov 1941)

FILM REVIEWS Wednesday, November 5, 1941 BLUES IN THE NIGHT (TTITH SONGS) Hollywood, Oct 30. Warner Broi. rrl«aM of H«nr7 BInnko croductlon. Featuru PriMllla Lant, Betty Field, Richard Whorf. Lloyd Nolan. Jack Cnraon, Wally Ford; also JImmIe Luncoford and Will Onborne bands. Directed by Ano- tolc LItv.ik. Screenplay by Robert RoHscn, from play by Bilwin Gilbert; camera, Ernlo HallPr: cclltitr. 0\Ton Marks; dialoff tlh-ec- tor. Harold Winston; nngB, Harold Arlon, Johnny .Mercer. I'rovlovved In studio pro* Jcctlon mom, Oct. 'il. Running time, HO .MINa Ginger ' FrlsclUa T>ano Kuy Gmnt Dotty Field Jllz-iCT IMne. RIchnrd Whnrf Del Davis Lloyd Nolan Leo I'Dwolt.. Jack Cnnton Brnd Ames Wally Ford NIckle Hnroyan '. lOlla Kazan Pete HoHsett Peter Whitney PrPDl Dllly Hnlop Snm Paryas Hnward Oa Sllva. Blonde Joyce Compton Brokoman Herbert Heywooil Joe George I/loyd nnrnoy Chorles Wilson Drunk Matt McHush Jlmmlc Lunreford and His Band Will Osborne nnO ,Hla Band, Combining- hot jive with straight antl familiar melodrama, 'Blues in the Night' carries sufficient quantities of the two ingredients to roll through as an above-par programmer. Will get by okay in the standaifd first runs, where support will be n^ded, however, to nab more than nominal returns. Warners tuned the music as secondary to the melodramatic ad- ventures of a swing band, organized In the south and projected into a Jersey honky-tonk for a series ot meller episodes. Jive quintet is or- ganized by pianist Richard Whorf, with Priscilla Lane—wile of trump-' eteer Jack Carson—as the singer and protected ward ot the boys. An escaping convict, Lloyd Nolan, sets them into the Jersey night spot, where plot grooves into formula lines of fast-action meller pro- portions. It all winds up, however, with the band united and off on the road for another stab at adventure. Musical section of the picture in- cludes brief numbors by the Jimmle Lunceford and Will Osborne's bands; several jive tunes sung by Miss Lane, and a few hot rounds by the swing band. Latter episodes are excellently dubbed - in to generate plausibility that the actors really play the in- struments. Richard Whorf, legit newcotner from Broadway (Lunt-Fontanne), dis- plays solid ability that indicates Warners will give him plenty of as- signments under his actor-writer- director contract Miss Iiane puts over her songs competently and Is okay as tl^e femme lead. Betty Field adds to her list of cinematic bad girls with a spotlight portrayal of a trol- lop. ■ Nolan puts vigor In the char- acterization of the tough criminal, while Carson amply puts over the heeliA qualities ot his role before becoming regular. Wally Ford, Elia Kazan, Billy Halop and Pete Whitney are most prominent in support After lightly playing with the en- deavors of the band to get organized, script swings to the straight meller brand, with coming events plainly Elanted most obviously along the ne. Despite the unoriginality ot the script in the second half, picture is geared to. swift tempo - via Anatole Lltvak's direction. Walt flntls and takes back to New York for proper rearing. Without the child dancer's tour is lifeless, until she returns to New York for a happy reconciliation at the finish. Miss Young, through a sterling performance, does much to maintain interest, aided by strong support from Veldt Jagger, Shepperd, Otto Kruger and Eugenie Leontovich. Lit- tle Ann Todd fits nicely as the child. Ratoff overcomes much of the story immobility through carrying various dramatic episodes to dramatic peaks, and then veering away to the next sequence without holding on the cli- max. In many spots he reaches the climax and shifts—taking it for granted that the audience under- stands the natural conclusions with- out wasting either time or footage in routine description. Ratoff also generate: strong sympathy in the latter reels with the mother-love heatttugs for the absent child. Picture gets top production mount- ing, with excellent contributions by all technical departments. Photog- raphy by Harry Stradling and Ar- thur Miller is uniform throughout. Watt Obliging Young Lady RKO reloaso of Howard Bencdlot pro- duction. Features Joan Carroll. Edmond O'Brien, Rutb Warrick. Directed by Rich- ard Wollace. Story, Arthur T. Herman; adaptntlop. Frank Ryan and Bert Granett; e<1ltor. Henry Derman: photography, Michael Musuracn, Tradeshown In N. T. Nov. S, '41. Running time, 80 snNS. Bridget Potter Joan Carroll Red Roddy Edmond O'Brien Linda Norton Ruth Wnrrlck Charles Bnker Robert Smith Space O'Sheu l^e Arden Detective Smith Charles Lane Qlbney .Franklin Pangbom The Men in.. Her Life Hollywood, Oct. 2B. Columbia release of Qr«gory Ratoft pro- duction, directed by Rat^. Stars Loretta Toung; features Conrad Veldt, Dean Jag- Kir, 3t/bn Bhepperd, Otto Kruger, Eugenie I Leontovltcb. Screenplay by Frederick \ Kobner, Michael Wilson, Paul Trlvers; based on novel, 'Ballerina/ by Lady Elea- nor Smith; assistant to producer, Gordon . SmILh; camera, Harry Stradling and.Arthur UlUer; editor. Francis D. Lyon; aas't di- rector, Harold Godeoe; dialog director, Berge Bertensson; danco director, Adolph Bolm. Previewed at Alexander, Glendale, Oit. 2a, 'il.^ Running time, 88 MIN8. Llna Varsavlna Loretta Toung Btanlslas Rosing '..Conrad Veldt David Olbson Dean Jagger Harle Eugenie Leentovlcb Rcftcr Chevis John Shepperd Victor Otto Kruger Manllov...^ Paul BaratofT Bose Ann Todd Nurdo Billy Rayes Madame Olenkova Ludmlla Toretzka Zilna'a Dance Partner Tom Ladd Title ot this one quickly and aptly describes essence of this romantic drama which will catch moderate at- tention from the sentimental reac- tion ot women customers to put it across for nominal biz In the regular runs as solo or billtopper. Picture is first independent pro- ducer-director venture ot Gregory Ratoff, who is tied up with Harry Goetz in the financing. It's a care- fully made and neatly-staged produc- tion, accenting a group ot excellent performances and carrying deft di- rection by Ratoff. In contrast, the story and script Is generally delib- erate and slowly 'paced in Its unreel- ing, in keeping with the period background ot 80 years ago. Lady Eleanor Smith's novel, 'Bal- lerina,' in providing basis for the tale, details the intensive training re- quired to bring a ballet dancer to stardom—and her love life along the way. Loretta Young comes under the stem hand of elderly ballet mas- ter, Conrad Veldt marrying him in appreciation after a sensational de- but although in love with young John Shepperd. After Veldt's death, she marries shipping magnate Dean Jaeger, and honeymoon tour of Europe finds her forgetting the stage life. But she returns to danc- ing for separation, and bears a daughter, wnom Jigger eventually The RKO salesinen will run up against tough resistance with this one. Despite Its teaser-title, 'Obliging Young Lady' has-very little boxofflce value. In the main the story has been tailored to glve^little Joan Carroll, a promising youngstef', as much promi- nence as possible while at the same time seeking to^keep alive, a romance between Etfinond O'Brien and Ruth Warrick. As dressing, tfie adaptors and Richard Wallace, director, have placed themselves under telltale strain In an attempt to inject some laughs into the dull proceedings. Oh all counts the result is a strike- out but the sequence with the nutty members of the Migratory Bird Society is a little funny and the bit Eve Arden does when posing as a Memphis belle is well lione by this clever comedienne. But tlje old time Mack Sennett type of chase, with action speeded up by the camera, and the constant gag of having Miss Carroll place tacks on chairs or sofas, Is something else, again. A phrase not in the dictionary but pronounced like 'heine menusch' is repeated as a term that becomes contagious among those hearing it but as a gag it has no particular point The dialog is extremely commonplace; obviously a padding job on a thin jplot outline. There is nothing wrong with the cast but it's been done dirt In this case. Little Miss CarroU, who was in 'Panama Hattie' (legit) and reminds ot Shirley Temple, exhibits great poise and assurance but it she's ever to follow in Shirley's footsteps, they'll have to give her something to move with. Char, MISS POLLY Hollywood, Oct. 30. United Artists release of Hal Roach pro- duction. Features ZaSu Pitts, Slim Sum- mervllle. Kathleen Howard, Brenda Forbes, Elyso Knox, Dick Clayton. Directed by Fred Quiol.' Screenplay by Eugene Con- rad and Edward E. Seabrook; adaptation, Dorothy White; camera, Robert PIttack; o<11tor, Richard Currier; ass't director, John Burch; photographic effects, Roy Sea- wrlgbt. Previewed at Alexander, 'Glendale, Oct. 20, '41. Running time, 44 .MINS. Miss Polly ZaSu Pitts Slim Slim Summervllle Mrs. Snodgrass Kathleen Howard Patsy Brenda Forbes Barbara Elyse Knox Eddie Dick Clayton Wilbur Dink Trout Hubert William Newell Mayor Walsh Ferris Taylor Mra. Frlsby Fern Bmmett Elvira Penn>*wlnkle Vera Lewis Anglo'Turner Sara Edwards Orslna Wiggins Virginia Sale Lew Wiggins Walter Baldwin Elmer...' ; Mickey Daniels Constable George' Pembroke Storekeeper Syd Saylor Another ot Hal Roach's abbre- viated featurettes designed to fill in supporting" spots along the second- ary duals, 'Miss Polly' strives un- successfully to be a farce—but winds up as an expanded two-feeler ot two decades ago, with elemental laughs of that day sparsely dotted through the unwinding. Picture Is minor league entertain- ment but will slide through the sec- ondary houses as . date and time filler, with Its brevity catching manyi dates where short support Is re- quired to dovetail with a long bill- topper. Story of bluenose reformers in a sniall town, who are finally loosened up by an old maid, tugs and strains throughout to catch laughs. Even the oldtime smudge-pot under- cranked photography, and screwball Inventions are dragged into the pro- ceedings tor comedy purposes, ZaSu Pitts does the best she can in the title spotf being aided by a Miniatore Reviews ■Bine* in the Mght> (WB) (Songs). Formula action meller In jive time. Good for nominal biz in regular key runs. 'The Men In Her Life' (Col). Career-vs.-love drama carrying moderate women appeal. Satis- factory biz for regular runs, 'Oblleing Tonng Lady* (RKO). Very poor comedy romance fitted largely to give little Joan Carroll the spotlight 'Miss Polly' (Roach-UA). Streamlined featurette strains with old-fashioned comedy rou- tines for minor attention. '4Sth Parallel' (British). Leslie Howard, Raymond Massey, Olivier, Walbrook in stick propa- ganda film. 'Spooks Bon Wild' (Mono). Bela Lugosi-Dead End Kids- comedy thriller will find ready acceptance in minor league. . 'Musical Story'. (Artkino) (Songs). Soviet-made that's good tor moderate returns. 'Canolon de Cuna' (Argentine). Argentine remake ot 'Cradle Song,' but has limited audience appeal though well sroduced. 'Eternal Gift' (Doc). In- structive piciorial on meaning of Catholic masses of Interest to religious-minded audiences. 'Asnonia' (Greek). Uniquely uninteresting melodrama. 'En Sjoman TIU Bast' (Swed- ish) (with songs). Topflight Swedish farce for native audi- ences. ■ ' 'Gentleman from Dixie' (Mono). Slow-galted meller; lower half of twinners. 'Sonar, No Cnesta Nada,' (Ar- 'gentlne-made). \Okay Spanish- language cometly tor Latin audi- ences. Not much for U. S. 'Surprise Honr' (Argentine- made). Better than average Argentine comedy with music. Stars Rosita Moreno. struggling cast including Slim Sum' merviUe, Brenda Forbes and Kath- leen Howard. Fred Gulol directed better two-reelers for Roach 20-odd years ago. Walt 49TH PARALLEL (BBITISH-MADE) London, Oct 16. General Film DIstrlbutora release of Ortus Film production. Released In the tr. B. by Columbia. Stan Leslh Howard, Raymond Mosscy, Laurence 'Olivier, Anton Walbrook. Directed by Michael Powell. Original ston*. Emerlc Pressbarger; dialog, Rodney Ackland, Emerlc Pressburger; music, Ralph Vaughan Williams; camera, Frederick Toung. At Odeon theatre, Lon- don. Running time: ISS MINS. Philip Armstrong Scott Leslie Howard Andy Brock Raymoni Massey Johnnie Laurence Olivier Peter Anton Walbrook Anna „ Glynls Johns The Factor FInlay Currle Lieutenant HIrtb Eric Portman Vogel NUU MacQlnnls N^ck Ley On Art Eric Clavering Andreas Charles Victor Lieutenant Kuhnecke Raymond Lovell Lohrmann :...Jolin Chandoa Jahner Basil Appleby This Is an Important and effective propaganda film. ' Picture, started In April, 1940, took 18 months to com' plete and Included two expeditions to Canada. The British Government Invested over $100,000 In the ven- ture, and there is every indication it will realize a handsome profit in addition to its- propaganda value throughout the democracies. The main criticism is its title. Even this reviewer, an American, did not know until he saw the film that 49th parallel means the dividing line between the U. S. and Canada. The locales depict Canadian life from an Eskimo vlUage to a Hutter- ite settlement in the Canadian wheatfields. Every part, to the smallest bits, is magnificently played in a vast canvass that contributes to the dignity ot the undertaking. -Di- rection is also excellent Story is the strongest possible In- dictment against Nazism. Opening scenes promise much and live up to expectation. Plot'Concerns six Nazi U-boat men whose craft is blown up in the Hudson Bay Straits, They reach land and commit every sort ot crime up to murder in their ef- forts to reach the neutral territory ot the U. S, The script of Emeric Pressburger is direclrand forceful. The stars are Leslie Howard, with his comedy gifts at high tide; Lau- rence Olivier (a bit'but best thing he has ever done); Raymond Massey (also a bit but outstanding), and Anton Walbrook, as a dignified Hit- lerite leader). Despite the heart- breaking difficulties encountered, such as the detection of Elisabeth Bergner after the picture was well on its way, Michael Powell, the di- rector, has managed to maintain his stature among the top directors. Jolo. SPOOKS RUN WILD Monogram release of Bam Katzroan pro- duoUon. Star* Bela LugosI; features Leo Oonmr, Santa Hall, Sobby Jordan. Dl- t«cted Dy Phil Rosen. Story and screenplay by Carl Foreman and Charles Marlon: cam- era. Marcel Le Plcard; editor, Robert Golden. At Central, N. 7., Nov, 1, '41. Running time, 65 MINB. The Monster Bela Lugdsl Mugr«y Leo Qorcey Gllrapy ....Hunts Hall Danny .' Bobby Jordan Peowee David Gorcey Scrtjno ...Sammy Morrison Skinny Donald Haines JoQt Dixon Dave O'Brien Linda Mason Dorothy Short Margie Rosemary Portia Von Orosch George Pembroko Constable , Guy Wllkerson Okay supporting fodder for nabes and other subsequent situations, this hokey, though evenly balanced, mix ture ot chills and comedy should prove a winner with, the juvenile trade in particular. I AU the familiar tricks and situa- tions ot the haunted house formula, with a murderous maniac on the loose, have been employed advan' tageously through good use ot com edy effects. The "Dead End' klds; de spite stereo routines, hang up a pretty good laugh score. Bela LugosI, as the monster, here meets his match In the East Side hoodlums,' or maybe it's vice versa. LugosI doesn't look ferocious in this effort He inspires terror wiUi an innocent smile. His appearance in a lonely hamlet in the dead of night with a carload of coffins, just when news ab6ut a homicidal maniac has been released via raclio, serves as the signal for general panic in the com' munlty. But no matter how nice and disarming LugosI tries to be, no- hpdy believes it Yam has the East SIders as a group of tmderprlvil'eged boys sent to a summer camp for their own good under counsellor Jeff Dixon, with Dorothy Short going along as a nurse. They quickly get tangled up in the haunted house where Lu- gosI and jt dwarf, both looking sin- ister in immaculate evening clothes, have put up for the night. Mystery as to Identi^ ot killer Is cluinsily tipped off early and finale, with almost everybody smoking pipe of peace, is tepid. ' Mori. MUSICAL STORY (With Songs) (SOVIET-MADE) Artkino release of Lenfllm production. Featuros Seivel Lemeshev, Zoya Fyodorova. Directed by A. V. Ivanovsky and H. Rappa- port. Story, B. Petrova and G. Munbllt: oamsra, A. KaltsatI; music, D. Astradant- sev. At Stanley theatre, N. T.. single, Oct. 10. '41. Running time. 80 MIM8. Petya GoTorkoT Sergei Lemsshev Klava Belklna Zoya Fyodorova Tarahkanov B. Garin Makedonsky H. Konvalov Nastenka A. Sergeyeva Fankor A, Korolkevich As in nearly all such stories, it's the .music that's the thing. In 'Mu- sical Story,' the first Soviet-made film to stress an operatic theme, the poor libretto Is something to ignore for the sake ot the excellent music by Bizet Tschalkovsky, Rimsky- Korsakoff, Borodin and liotow. On that basis the fllin should find mod- erate returns among a left-wing pat- ronage. A factor in the presentation ot the classical music Is Its excellent inter- pretation by Sergei Lemeshev, tenor star of the Leningrad State Opera, who's making his film debut in ^Mu- sical Story.' With the charming, wist- ftjl Zoya Fyodorova for the romance, plus H. Konvalov as Lemeshev's teacher. 'Story' has other redeem- ing features among the cast though here and there, through better than average direction for this type ot film, a lesser character stands out with some native humor. - Story Is something that might have been taken from the American files. It smacks of old hat, dealing, in its slight Soviet variation, with a worker group's sponsoring ot one ot Its own (Lemeshev) at the State Conservatory, where he studies voice. Dovetailed is the singer's quarrel with Miss Fyodorova, their parting and- subsequent reconcilia- tion following his success. Camera is uncommonly, good for a Soviet film, though far from Amer- ican standards. Waka. CANCION DE CUNA ('Cradle Song') (WITH SONGS) (Argentina-Made) Buenos Aires, Oct. 4. Generalclne release of dallart production. Features CaUllna Barcena, Maria Duval, Montse, Pablo Vicuna, Maria Santos, Miguel Gomez Bao, Gloria Bayardo. NInl Oamblsr. story and direction, Grettorlo Martinez Sierra. Reviewed at the Monu- mental theatni, Buenos Alrea. Running time, 88 MIIiB. Action in the current make is' slow from an action point of view. Dialog is beautifully done, often poetic, and the musical background by Julian Bautlsta, with songs by Concepcion Badia, is outstanding. But these are not enough. Catallna Barcena, as Sister Joan of the Cross, which she created on the stage here, takes top honors. Maria Deval, as the girl who falls In love with the engineer, almost loses him, and finally wins at the last mo- ment Is also outstanding. Nury Montse Is efficient as the playful young nun, Mario Santos is in an effective comic and Miguel Gomez Bao also does well. Presen- tation, which includes interesting in- teriors ot convent life are all authen- tic looking, and there are some well- taken outdoor scenes. Slight faults in sound and synchronization on out- door shot, however. Rav.' THE ETERNAL GIFT (AOCUMENTABT) Lament reloose of Borvltv Fnthoni pnxl'ic* tlon (undor auporvlalon Perpotual Movent In hnnur uf Our Sorrowful Mother). Rov. HuKh Calklna In cbarKo production; dlroo- tor of photoffnphy nnd ■ recordlnfr. David Wark Scott; con.tlnulty. Kdwnrd Sctaagcr; nBsoctnto editor. Cnrl M. Tlllou; pholoKro- pby, Howard Slemon; liturgical c«r«moiilea, K*v. Ocn rd C Plrnrd:-venlmont*. Hev. William P. Long. Rovlewdd In pro}«ctlon room. N. T., Oct. S, '41. Running time, 84 MINR. Cast: Narrator, Rt. Rev. Pulton J. Sheen; Celebrant, Rev. J am en R. Keane; Deacon, Rev. Hugh Cnlklns: Subdencon, Rev. Frank Cnlklns; master of ceremonies. Jack O'Keefe: Thurlfer, Harry Bristow, Maurice Couture; Torchbearers, Jnmes G. Sullivan, Arthur Ley. Michael Bheehan. Maynard SchQltz, Ptank Fierce, Jkmes Hanlon, Jacic White: director of music. Rev. Kdwln Y. Hoover; director of Gregorian Chant. Rev. Joseph T. Kush; Ordinary of the Mass, Holy Nnme Cathedral t^olr; Proper of tha Masn, Schola Cahtorlnm; organist. Alfred WIdeman. This Is Gregorlo Martinez Sierra's own screen version of 'Cancion' de Cuna,' made some years ago with Dorothea WIeck. While Interesting and well produced, it lacks any real punch and will never be a big grosser for Generalcine, the Spanlsh- aSUIated local Indie which produced it. Has certain possibilities for showings in the art theatres in the States, however. Story of how the nuns in a convent educate an orphan who, when she becomes 18, falls in love, is generally familiar here both from the Holly- wood version, which was a strong local grosser; and from the book. Within certain definite limits, this documentary. The Eternal Giff is M interesting and Instructive expla- nation ot the history and meaning of the Catholic mass. It's naturally spe- cialized In Its appeal, despite the efforts ot the producers and distrib- utor to stir wider interest It's also inordinately long, and its elaborate pageantry begs aloud for color pho- tography Instead of its present black and white. But Its subject-matter is Impressive for those of all religions, and, particularly to non-Catholics, its elucidation ot the sacrificial serv- ice is enormously ehllghtenlng. According to Rt. Re'v»Msgr. Fulton J. Sheen, the narrator, the picture la intended to advance a mass move- ment of prayer among Catholics by helping to provide an 'exact tmder^ standing. of the church's sacrifice worship.' It opens with shots of crowds of worshippers waiting in good weather and 'bad outside the Holy Name Cathedral, (Chicago, then shifts to a congregation listening to a priest outline the aims of the 'mass movement' After that the picture swings into Its main subject the pic- turlzatlon ot the entire service of the Mass. All the participants and parts of the ceremony are carefully and clearly shown. There Is also a run- ning translation, either In the sound track or via sub-titles, ot the service, which, of course, is conducted In Latin. In addition the narrator ex- plains the derivation symbolism of the entire ceremony. AU this Is illuminating and intense- ly interesting, although too attenu- ated. Picture's length (84 minutes) is likely to create a problem in book- mg, as most theatres would probably be reluctant to give feature-length space on the program to a film of such specialized appeal. Catholic or- ganizatlons and schools will undoubt- edly provide 'most showings. But that's undoubtedly the principal In- tention of the producers in' the first place. Hobe. AGNOULA (GREEK-MADE) Editor, VARIETY: Unless you have sdme-pull with Spyros or Charlie Skouras, the Greek Embassy or someone else who might act as interpreter there will be no review on 'Agnoula' In the paper this week. 1 call up the Miami theatre (N. Y.) in good faith and say. Innocently enough, 'What time does 'Agnoula' go on?' The girl says hold the line a minute and if my arm hadn't gone numb I would probably, still be waiting. I call back halt ah hour later and the girl says Would I speak to the manager. I hold the line for 15 minutes at which point a guy on the other end says, 'What for you want to know what time 'Agnoula' goes on?' I tell him it's for a patter. He says, 'What paper.' I say VARIETY. He says 'Okay, fine.' Then he hangs up. By this time I am becoming Inter- ested—to the boiling point. I call back and I say to the manager, 'If you can't tell me when 'Agnoula' goes on maybe you can tell me when It started. He says it started half an hour earlier. So I figure the pic- ture should be coming on again at around'five o'clock and I am Inside the Miami theatre at that time. Does that get me anywhere? Not a bit The programs are printed in Greek (without English equivalent). I can't make out one hieroglyphic from another. Meantime a picture is on and I don't know it It's Agnoula,' r - (Continued on page 24)