Variety (Apr 1942)

FILM RETIEWS Wednesday, April 22, 1942 TORTILLA FLAT Metro nltam of Sam ZlmboJIit produc- tion, Btara Spanccr Tracy, Hedy Ijamnrr, John Oarflsld, Fmnk . Morgan; reattiraa Akim Tamlrotr,' Sheldon Leonard, John Qual«n, Donald M««k, Connie Gllcbrlat, Allen Jenkins. Henry O'Neill; directed by Victor, Fleming. Screenplay, John Leo Mohin and Benjamin dozer, bn.ied on book by John Steinbeck: camera, Karl Freund: musical acore, Franz Wnxnion; lyrlca, Frank Locescr; special olTccti, Wor- ren Newcombe; editor, Jamea E. Nowcom. Rovlowcd In projection room. N. Y., April 17. 'ii. Rnnnlni; time, 108 MINS. rilon < Spencer Tracy Dolores Bamlrez Hedy , Lnmarr Danny.,... John Onrfleld The Pirate Fmnk .Morean Pablo AkIm Tamlroff Tito Ralph.... Sheldon Leonmd Jose Maria Corcoran John Qualen Paul D. Cumnilnga Donald Meek Mrs. Torrelll Connie Ollchrlnt Portagee Joe Allen Jenkins Father Ramon Henry e'Nelll Mra. Marellla Mercedes nunino Senora Tereslna :.MIna Compana Bronn. Arthur Space Cesca , Betty Wells Torrelll..... nniry Burns From John Steinbeck's book of re- lated stories, 'Tortilla Flat,' Metro has made a sincere, tender, beguiling and at times exalting picture. It is sympathetically and adroitly adapt- ed, handsomely produced, expertly directed and eloquently acted. It .•will ^et impressive reviews and, with siich 'boxofitice names"'as Spencer Tracy, Hedy .Lamarr, John. Garfield, and Frank Morgan, should do hold- over business in first-runs and profit- ably in subsequents. It's definitely a quality click. . "Tortilla Flat,' published in 1935, was presented as a Broadway play by Jack Kirkland in the winter of 1937-38. Show was a failure, bow- ever, so Metro does not mention It In its production credits. As a pic- ture, Steinbeck's stories have been compressed into a single narrative, with dramatic form, steadily height- ening interest and a fairly moving. If obvious, climax. Not only does the camera's increased scope help th« yaita, but the characters have harper definition and Steinbeck's compassionate feeling for his humble- subject has been skillfully trans- mitted to the screen. Title refers to a locale near Mon- terey, in northern California, and the story deals-with the paisanos, lowly descendants- of early Spanish set- tlers. The^.are ignorant, indolent, irresponsible and generally worth- less, Dut are also harmless, generous and philosophical.' They have a hor- ror of work, or cleanliness, or order, but are simple children of nature, living from hand to month, drink- ing wine, eating whatever chicken or fish they can steal, and sleeping -Qirough the mild nights under the stars. One of these men Inherits two houses and a gold watch from his grandfather. He Is joined by sev- eral', other shiftless paisanos: they Sawn the watch for wine and, dur- ig the ensuing celebration, one of . the houses is burned down. But that doesnt bothet tliem—they merely move Into the otlfer house. But the young owner meets a beauteous Por- tuguese girl and presently is actu- al^ contemplating marriage and a Job. How it all works out Involves a gentle old religious zealot and a ' seeming miracle. . Spencer Tracy Is. superb as the strong-headed leader of the group, soinehow retaining sympathy for tiiei character even when he's behaving with shameless selfishness. Hedy Lamarr not only looks stimnlng as the Portugu^e girl, but gives' easily her be^t dramatic performance so far. Her posture seems self-con- scious at times, but her lighter mo- ments are Well handled and she Is excellent in the several emotional Ecen^ John Garfield is character- istically vigorous as the unexpected heir, but it Is BVank Morgan, as the old man who had the vision of St. Francis, who virtually swipes the picture. It Is a fine part and Mor- gan once again proves that he is en even better serious actor than come- dian. His Is a simple, believable end extremely touching per- formance. Others in the imposing cast^ including Akim TamirofT, Shel- don Leonard, John Qualen; Donald' Meek, Connie Gilchrist, Allen Jen- . kins and Henry O'Neill, are likewise convincing. Religious 'theme bl the'St; Francis phase of the story Is not such as would Irritate agnostic audiences, and yet may be a definite draw for . CathoUc .fllmgsers.. On. the .-Qtb£)c hand, the ^oral behavior of the -paisanos in the early sequences is nardly likely to shock any but the most conventional-minded. There are a few Impromptu bits of vocaliz- ing in the picture, but no formal song numbers. Film is sepia-colored. Hobe. MOONTIDE - Twentieth Contory-Fox releaaa ot Mark Helllnger prodoctlon. Star* Jean .Gabln and Ida Luplno; features Thomas Mitchell, Claad* Rnlna and Jerome Cowan, Directed by Archie Mayo. - Screenplay by John O'llara. from the novel by Millard Robert- son. Camern, Charles Clarke; editor, Wll* llnm Reynnlds. -Pradeabown In N. T., April in, 'ii. Running time, 64 M1NB. Bobo Jean Qabln .\nna. Ida Luplno Tiny Thomas Mitchell Nuta>- : Claude Rains Dr. Brothpra Jerome Cowan Woman on ITont Helens Reynold* Heverenil Price Ralph Byrd ll.-trton(lor William Halllgan Tnkeo Sen Tung Illrola Cfaeater Gan Mildred Robin Raymond Pop Kelly Arthur Aylesworth Hotel Clerk Arthur Hohl Mae,...; .^ohn Kelly Pnllcenmn Ralph Dunn Mr. Simpson Tully Marshall First Walter Tom Dugan Willard Robertson's best-selling novel of 18 months ago has been brought to the screen by 20th-Fox as an American introductory vehicle for French actor Jean Gabin; It serves that purpose admirably. Be- yond that, however, as a boxoffice and entertainment entry, the picture scores only moderately. It's a bit too ponderous, under Archie Mayo's measured direction, to catch the audi- iehce 'ehtfiusiaaii' necessary for' big' grossed. , " ;. Much of the success of the film may hinge, of course, on reaction to Gabin. He's a pleasing and able player, but doesn't show^the spark, in this picture, at least, that could make of him the Gable or Tracy that Fox has been hoping for. Gabin has, as a matter of fact, been la- beled 'the French Spencer Tracy' and bears a remarkable resemblance to the Metro star. He fails to project, however, the warmth and personal feeling that is Tracy's secret Cabin's En^n is good.' It's easily under- standable and with just enough ac- cent to be quite pleasant "Moontide,' as scenarist John OUara has .transcribed it. for the screen. Is a series of incidents, al- though the overall impression is of a single important event In a man's life. Despite the sjpeed with which director Archie loayo paints each incident the total effect is one of slowness and lacking suspense. There's lots of story-telling, but Mayo's artistic dirtetion is too even- paced to provide the occasional kick that any story requires. Gabin, known as an earthy player in France, is given just that type of role in "Moontlde.' He's an Itiner- ant dock-worker who for years hasn't had'a home and Is chiefiy Interested in getting drunk. UntU, that is, he rescues from the surf a hash-house waitress (Ida Luplno) intent on kill- ing herself. Their idyl is all but smashed by Thomas Mitchell, no- good associate of Gabin who has been blackmailing -him. Mitchell seriously Injures Miss Luplno when she charges him with the murder about which Gabin has been paying him to keep his mouth shut She recovers, however; Mitchell dies in the E6a and the ending is familiar. Casting Is top-grade throughout Miss Luplno shows talent freshness and perfect adaptability for her role. Mitchell once again demonstrates his abilities, the audience hatred he cre- ates being the most concrete emo- tional reaction wrought by the pic- ture. Claude Rains is equally im- pressive as an educated and philo- sophical down-at-the-heels guy who befriends Gabin. Mayo and lenser Charles Clarke have achieved some fine photo- graphic effects and Mayo has given them full play in the cutting. Pro- ducer- Mark Helllnger, in his final release for 20th-Fox, has given the picture A-1 production trappings. Herb, KEIGHLEY CURED After 10 Tcari As WB DIreotor He Waati Prodneer SUtns Hollywood, April 21, William Kelghley, director for nine years at 'Warners, was renewed for another year, the last on his op- tional contract Future deals, ac- cording to Kelghley, will have to be on a producer-director basis. Currently he is piloting 'George Washington Slept Here.' His latest completed picture was The Man Who Came to Dinner.' MY GAL SAL (Color) (MUSICAL) Hollywood, April 16, 20th Century-Fox releoae of Robert Masa, ler 1(rt)^IIt(I5Ii:"biara"ima"HB^W(Sf£B;""VIc- tor Mature, John Sutton, 'Carols Landls. Directed by Irving Ctunmlngs. Screenplay by Baton I. Miller, Darrell Ware and Karl -Punberg, based on biography and songe of Paul Dresser, by Theodore Dreiser: camera, Bmeat Palmer; editor, Robert Simpson; additional songs by Leo Robin and Ralph RainiwL mujIcaLdlnMiLon/, Alfrjd .^Ifwr man; dancesTftermea Pan. and val Raset. Tradesbown In L. A. April IQ, '42. RnJi' nli(g-Mnre,--*6V-MI«Si ' Sally Blllott Rita Haywortb Paul Dresser Victor Mature Fred Havlland John Button Mae Collins Carole Landls Fat Howley..,. James Oleaaon Wiley,.., Phil silvers Colonel Truckee Walter Catlett Countess Roaalnl Mona Marls McOulncss >.Frank Ortb Mr. Dreiser Stanley. Andrews Mrs. Dreiser Margaret Moffat Ida , Llbby Taylor Jbhn L, Sullivan John Kelly De Rochemont Curt BoU Dancli)g Partner Hermes Fan Monsieur Gamier Gregory Gaye Corbln Andrew Tombes Henri ...Albert ContI Tailor Charles Amt Hiniatnre Reviews TortUU Flaf (M-C). Dignified, sympathetic and moving'adapta- tion from John Steinbeck's book; strong cast profitable business. •MoonUde* (20th>. Jean Gabln's first in U. S. OK for b.o. Wy CM SiO' (20th). (Musical) (Color). Rita Haywbrth and 'Victor Mature in elaborate'film- usical drama headed for profits. 'The Wife Takes » Flyer* (Col). Ranks with the best of MTazi satirical coiinedies turned out so far. Twin Beds' (UA). Remake of . bedroom farce has plenty ' of laughs In last half after slow start 'Moderately profitable biz. 'Ship Ahpy* (M-G (Musical). Eleanor Powell, Red Skelton, Tommy Dorsey orch names will' help otherwise weak entry. - 'WUsperiOK Chests' (20th). Milton Berle's initial comedy starrer- a -hazily-concocted chiUer-dlller. 'Grand Central Murder* (M- G). 'Van Heflln, Sam Levene, Patricia Dane in good supporting film, a whodunit ■The Man Who Wonl^'t Die* (20th). Standard whodunit pro- grammer for supporting spots in the dual bookings. Hie Mad Martlndales' (20th). FiUer for the duals. 'Let the People Sliic' (British). Too-long . adaptation of J. B. Priestley novel; okay if cut Pwdoa My Stripes' (Rep). Forced comedy, and weak story; strictly a filler. ■BUIy the Kid Trapped* (PRC).' Average western featuring Buster Crabbe. / Theodore Dreiser's biography of his songwriting brother, Paul Dresser, parades a number of popular times of the 'SOs—several with specially- staged production numbers—to round out a fairly entertaining piece of filmuslcal entertainment (Jomblned assets of the co-starring team of Rita Hayworth and Victor Mature, and excellent Technicolor moimtlng, pro- vides sufficient marquee voltage to roll it through the regular runs for profitable biz as topline attraction. Dresser's life is tar from sugar- coated in its cinematic unreeling as narrated by novelist-brother Dreiser. Young Paul (Victor Mature) Is picked up as. the youth who runs away from home to pursue a musical career rather than study for the ministry. After a short stretch as entertainer with a cheap medicine show, and an Intimate association -with Carole Landls, he finally tosses over the small time for a whirl at the big town of New York. 'Whether fictional or factual, his experiences in ihe big tbwn-^d eventual suc- cess—run pretty close to formula. There's a romance with> musical comedv star Rita Hayworth—the usual bickerings, separations aiid re- unions—and a brief Interlude with a French countess, before the even- tual clinch. . Of the Dresser pop favorites of the era, six that are displayed will be reminiscent to only a small- por- tion of the oldsters In the audience. Four additional tunes provided by Leo'Robin and Ralph Ralnger are in- serted to add considerable heft to the musical display. Only Dresser's 'li^ Gal Sal' and 'On the Banks of the Wabash' have even faintly stood the' test of time; but Ralnger-Robin ellck with "Me and My Fella' and "Here You Are.' Latter looks like good candidate for popularity, while ■Fella' might catch on as a novelty tune in the jukeboxes. Picture Is not too smoothly Ironed out for most effective presentation. There's too much footage consumed- In unnecessary episodes and Inci- dents that might have been histori- cally correct for the times, but not Important to a, straight line presen- tation of a musical drama. Some- where-along the line, someone want- ed to retain pet stretches that do little mQre than consume footage and slow up the proceedings. Expensive production' mounting Is apparent and accentuated via the color presentation. l^ee stage numbers are expertly presented,''hesf is decidedly novel beach scene with Boy ^'grrensfemBle beKfricntnss" Hayworth singing 'Me and My Fella,' with her earlier song and dance de- livery of 'On the Gay White Way* a close second for honors. The Indiana favorite, 'Banks of the Wabash,' Is presented In a garden set with Miss Hayworth singing the tune -with en- semble backgroimd. Miss Hajrworth and Mature also team up for duo delivery of the Robin-Rainger tunes. Although Mature gives a solid per- formance as the songwriter, it's Miss Hayworth who catches major atten- tion from her first entrance. Red- tinged hair-dO' Is particularly effec- tive to add to her screen personal!^ and charm, and In addition to turn- ing in a fine characterization, she fully qualifies as a film singing-danc- ing personality of -top proportions with the excellent delivery In both departments. Carole Landls makes only , a brief appearance as the medicine show entertainer, and disappears after the earhr reels. John Sutton does well as the stage producer and suitor for UlH EayworttTi hand, and |Tac«- fuUy baoks away wfaan Mature jiiov«« In. Jamea Gleason Is prom* Inent ai the mudc pubUiher; while laadera in the strong mrtiportlng cast include PhU SUvers. Walter Catlett, Mona Marls and-John Kelly. Hermes Pan comet from the 'wlnga for one stage ninnber to perform as dancing partner for Miss Hayworth. Irving Cununlngs* direction Im- bues plenty of lightness and life into the proceedings, which partially overcome the oveifootaged spots. Costuming of Mlsa Hayworth in gowns and dresses of pastel pinks and blues will catch attention of the women patrons. Photography by Ernest ramer is not up to usual color standard,' with several scenes noticeably overlighted. Walt The Wife Takes a Flyer JHollywood, April 17. Columbia release of B. P. Schulberg pro- duction. Stars Joan Bennett, Franchot Tone: (eatntca Allyn Joslyn, CeoU Cunning- ham, Roger Clark, Lloyd Corrlgan. Di- rected by Richard Wallace. Screenplay by Olna Kaua and Jay DraUer, based on atory by Kaua; added dialog, Harry Segall; cam- era, FrKns F. Planer; editor. Gene Havlick; asst. directon, - William Uull and Bugene Anderson. Previewed at Alexander.' Olen- dale, April IS, '42. Running Ume (7 HINS. -AnltA. Wavennan ....Joan-Bennett Chrlatopher Reynold! Francdot T6ne Major ZclUrlti Allyn Joalyn Countess Oldenburg Cecil Cunningham Keith Roger Clark Thomas Woverman Lloyd Corrlgan Mnller Lyle Latell Mrs. Woverman GeorgU Calne Maria Woverman .....Barbara Brown Jan 'v Brsklne Sanford Adolph Bletjelboer .....Cheater Clute Hendrlk Woverman Hana Conrled Zanten Romalno Callander Chief Justice Aubrey Mather Ouatav William Edmunds Mra. Brandt Curtis Balling Mlsa Updike.,.. \ Nora Cecil Capt. Sohmutnlck Kurt Katob The Twina (Margaret Seddon (Kate MacKenna Major Wilson Gordon Richards This is one of the most explosive satires directed at the Nazi army of occupation and the Hitler satellites that has come out of the studios since the film -writers have aimed their darts of ridicule at the entire Nazi setup. Spontaneous in Its comedy display, which hits the mark for wide audience appeal, picture will give an excellent accoimt of itself at the box- offices of the regular runs. No time is wasted in tipping off the audience what it's all about Foreword right after the titles fade out states 'resemblance to any Nazi characters are intentional and not coincidental.' Initial scene . intro- duces Nazi major Allyn Joslyn set^ ting bored with the repetitious 'Hell Hitler,' for a smacko introduction, and then continues at a merry pace to the finish. Franchot Tone is a downed pilot in Holland who Is secreted in a Dutch household into which moves Joslyn. Tone is passed off as the mentally unbalanced husband of Joan Bennett, and the substitution pdsses inspec- tion Of the Nazi officials and Crestapo through a series of hilarious and sa- tirical episodes. With Miss Bennett ready to divorce her real husband, love affair with the flyer dovetails conveniently and logically for story Surposes. After kicking around the fazi method of . occupation. Tone steals a (German plane to carry the pair back to safe^ in England. - Picture is studded with laughs in both lines and situations, with Rich- ard Wallace pacing the proceedings with deft direction. Script is com- gactly set up, and additional dialog y Harry Segall sparkles through- out Joslyn's food supply for a tete- a-tete dinner -with Miss Beimet in which caviar is omitted; the over- emphasis of the Nazi ' salute; and Tone's phobia for kicking. Joslyn in the posterior are only a few of the many smash laugh sequences. Although Tone and Miss Bennett capably carry out their respective requirements in the leads, it's Joslyn who -walks off with the major acting honors -with a splendid and spotlight- ed chiaracterlzauon of the'Nazl major. If s one of those solid support roles that come along once In a while to overshadow the best lead In any pic- ture. C^cil Cunningham, Lloyd Cot- rlgan, Georgia Came an3 Barbara Brown ere most prominent In ap ex- cellently selected supporting cast Wallace's direction is of high grade throughout and be takes fullest ad- vantage of the slick script provided. Production guidance-by Ben Schul- , berg capably steers the tale on a |- •straiKht-Kne-fDrmaitlmunraudie'ffce' > reaction,. Photography and all tech- nical contributions are A calibre throughput. Wolf. TWIN BEDS . . Hollywood, April 16. United Artists release of Bdward Small (Stanley Logan) production. Stars George Brent, Joan Bennett. Directed -by Tim -Whelan. Screenplay by Curtis Kenyon, Kenneth Earl and E. Edwin Moras, based on play by Morgorot Mayo and Sallsbnry Field. Assistant to producer and super- vising Him editor. Grant Whytock; camera, Hal Mohr: editor, nancla Lyons; asst. di- rector, RoIUe Asher. Previewed at Alex- ander, Glendole, April IS, '42. Running time, SS MINS. Mike Abbott George Brent Julio Abbott.. Joan Bennett Nlcolat Cberupln Mlsctia Auer Lydia Una. Merkel Bonya Olenda FarreH I*rky , Ehuest Truex I^orah Margaret Hamilton Butler...... Charles Coleman Manager Charles Arat This is the third film version of the Margaret Mayo-Salisbury Field bed- room farce that enjoyed lengthy stage popularity when first presented 30 years ago. Modernized in setting, lines and situations, picture has suf- ficient belly-laugh content in the second half to carry It through the regular runs for moderately profit- able biz. Piece still depends on the familiar farcical horseplay and slapstick in the boudoir to catch laugh reactloiL The slow and- Incident-ladened first half iiearly loses audience attention before it swings Into the- bedroom set for racy lines and situations to maintain high-gear laugh speed to the finish. Creorge Brent and Joan Beimett lack spontaneity in putting over the two leads; with both over- shadowed by the comedlc antics of Mischa Auer, Una Merkel, Glenda Farrell, Ernest Truex and Margaret Hamilton. . Both Brent and Miss Bennett appear to strain In attempts to give their roles the necessary lightness—and seldom put the neces- sary zip Into their assignments. Story has been detailed In basic ' form many times In both silent and sound pictures. - Newlyweds Brent and Miss Bennett are established in a swank apartment -with neighbor Auer, concert singer, soon maUng romantic approaches to the -wife:. To prevent complications, the principals move to another . building >slmulta- . neously—^Brent becomes -jealous -»id- < lea-ves town, and the inebriated Auer wanders into Miss Bennett's apart- ' ment by mistake. This sets the stage for a series of wild and slapstick epi- sodes in which the wife attempts to conceal Auer in a clothes hamper and closet when Brent returns in the morning, and Auer's wife, Glenda FalTcl, shows up. An extended first half consumes plenty of footage to establish characters with incidents that would -materially speed up that portion by editing. Auer's bedroom horseplay and bouncihg around in ankle-length im- derwear hits the high spots of bur- lesque and slapstick for utmost in laugh values. Director Tim Whelan and Auer milk the bedroom se- quences to the hilt, and the pro- ceedings are topped off .with arrival of burglar-chasing Truex via the fire-escape for a rousing finish. Auer dominates the action for hu- morous reaction at every point with strong support from Miss Merkel, Miss Farrell, Truex and Miss Hamil- ton. Latter, as the confused and deadpan maid, scores In solid fashion. Thurston Hall, In uncredited bit highlights his brief dialog sequence early. Producer Edward Small has pro- vided the picture with A production values throughout Script Is rather wandering and overwritten in the first half, but gets hito prpP*"^ in the latter portion. Whelan's di- rection is okay. Wolt, SHIP AHOY (BTOSICAL) Metro-CJoldwyn-Mayer release of 7a£k Cummlngs production. Stars Eleanor Powell, Red Skelton: features Bert Lahr, Virginia O'Brien, Tommy Dorsey orchestra. Directed by Bdward N, Buxzell. Bcreen- ploy by Harry Clork: story. Matt Brooks, Bradford Ropes and Bert Kalmar; tnuslcol presentation by Merrill Pye; camert, Leonard Smith and Robert Planck; editor, Blanche Sewell. Tradeiiiown In. W. T„ April 16, '42. Running time. M MINS. Tallalah Winters Eleanor Fowen Morton K. Kibble Red Skelton •Skip' Owens , Bert Lahr Fran Evans Virginia O'Brien H. U. Sennet .William Poet. Jr. 'Stump'... James Cross •Stumpy' ..Eddie Hartmon Art Hlgglns Stuart Crawford Dr. Farno • John Emery Pletro Poleel Bernard NedeU Tommy Doreey and Orcheetra The names on the marquee will mean a fair amount of business for this musical, though the asinine story and treatment plodding direc- tion and some rather poor perform- ances would lirdlnarily scuttle a film like 'Ship Ahoy,' If ever a picture in recent years looked as though It was shot off the director's cuff, this Is It. Fortunately for the investment picture Includes Red Skelton, Tommy Dorsey's orch and Eleanor Powell in the billing, though Dorsey is only featured while the other two are starred, Bert Lahr, also featured. Is another marquee asset and, inci- dentally, the laugh mainstay of-the film, nis comedy overshadowing Skelton's by a wide margin. Metro, In fact doesn't treat Skel- ton too well In this opus. He mouthB_ a "lot ol'uniim'ny'matefial "as- ti'Weti- rotlc pulp-hack, plus being handi- capped by his casting as both a buf- foon and a romantic lead. There's too wide a gap between clown and leading man for even a clever per- former like Skelton to bridge—espe- cially with no help from the writers and extremely stilted direction from Ed-ward Buzzell. As the film unfolds with iU ridicu- lous libretto, which Includes virtu- ally every musical and patriotic cliche, it becomes an obvious exer- cise for Miss Powell, who has four production dancing routines—all good, of course, but too much of the same thing. This film, incidentally, presents a strange coincidence In re- lation, to Miss Powell. In her last Metro musical "Lady Be (Sood,* Miss Powell's dancing was overshadowed, by the work of the colored Berry Brothers (3). Same thing happens in 'Ship Ahoy,* the click comedy dance routine by Stump and Stumpy talcing the edge off her hoofery. Dorsey's band is alsoeglven plenty (Continued on page 18)