Variety (May 1942)

22 PICTinUBS Wgdnesdby, May 6, 1942 Advance Production Chart (Continued from page 20) 41r^ Orson Welles; novel, Booth Tarklngton: screen- play, Orson WeUes, Karl Struss. Cast; Joseph Gotten. Dolores Costello, Anne Baxter, Tim Holt, Richard Bennett, Agnes Moorehead. Bay Collins. JOOBNBT INTO FEAB, meller; prodL, Orson Welles; dir.. Norman Foster: no writing credits: camera. Kail Stniss. Cast: Joseph Gotten, Dolores Del Rio, Agnes Moorehead, Ruth Warrick, Jack Durant, Eustace Wyatt, Edgar Barrier, Everett Stoase, Frank Readick, Richard Bennett, Bob Meltzer. BKO Tlx in Predoallon SCATTEBGOOD SURVIVES A MOBDER, mystery; prod, Jerrold Brandt; dir., Gliristy Cabanne: no writing credits; camera, no credit Cast Guy Klbbee, Mar- garet Hayes, John Archer, Wallace Ford, Florence Lake, John Miljan, Spencer Charters, WilUe Best, Mar- garet McWade, Margaret Seddon. THE BIO 6TBEET, comedy-drama; prod., Damon Runyon; dlr„ Irving Reis; no writing credits; camera, Russell Metty. Cast: Henry Fonda, Lucille Ball, Bar- ton MacLane, Sam Levene, Eugene Pallette, Ozzie Nelson and bis band, Aghes Moorhead, Ray Collins. 20lh Century-Fox . Pramliwd Om- Bhoat- ^K»m 41-tt pleted lac Onttliic Tot' Featorea 48 « U a 0 Westerns 5 » • • • Totals. M 81 U. , 1 • Pictures in cutting room or awaiting release: TALES OF BIANHATTAN, drama; prod, Boris Morros and S. P. Eagle: dir., JuUen Duvlvier; no writ- Ing credits; camera, Joseph Walker. Cast: Charles Boyer, Rita . Hayworth, Thomas IDtchelL Ginger Rogers, Henry Fonda, Charles Laugfaton, Elsa Man- chester, Edward G. Roblnison, W. C. Fields, Paul Robe- eon, Ethel Waters, Eddie 'Rochester* Anderson, Hall Johnson Choir. — TEN GENTLEMEN FBOM WEST POINT» drama; prod., William Perlbero; dir~ Irving Cummings; no writing credits; camera, Xeon Shamroy. Cast: Maureen OUara, Victor Mature, George Montgomery. Laird Cregar, O. Z. Whitehead. THF MAGNIFICENT JEBK, comedy-drama; prod, William Perlberg; dlr, Walter Lang; screenplay, George Seaton, based cn ori^al by Jfoseph Schrank; camerai, Peverell Marley. Cast: Hemy Fonda, Don Ameche, Lynn Barl. EMh €entnry-Foz Tlx In Pr«da«U«n THCNDEB BDKDSi air drama In Technicolor; prod., Sarryl F. Zanuifk; dir.,. William WeUman, original. Laurence StalUngs; screen play, Ladur TtotU; camera, Ernest Palmer. Technicolor, lUy Renahan.' Cast: Gene Tlemey, Preston 'Foster, Dana Andrews,' Janls Carter, Dorothy Deerlng, Viviaa Mason. Blaiy Scott, Claire Japies, Eladne Fenwlek. . THE LOVES OF lEDGAB ALLAN POB,' biography; prod., Bryan Foy; dir., Harry Lachman; no writing credits; camera. Luden Andriot Cast: John Shepperd, Unda Darnell, Virginia-Gilmore, Harry Howard. A-HAUNTINO WE WILL GO, Laurel-Hardy; prod.i Sol M. Wurtzel: dir., Alfred Werher; otighuil screen- play, Lou Breslow; camera, Glenn MacWilllams. Cast: Stan Laurel. Oliver Rardy. John Shelton. Brenda Joyce. THE PIED PIPEB, drama;-prod., NunnaUy Johnson; dir., Irving Plchel; screen play, Munnally Johnson from novel by -I^vile Shute; camera, Edward Gronjager; Cast: Roddy McDo-wall, Monty Wooley, Anne Baxter. IT HAPPENED IN FLATBUSH, baseball; prod., Walter Morosco; dir., Ray McCarer, original, Harold Buchmain, Lee Loeb; camera, Charles Clarke; Cast: Lloyd Nolan, Carole Landls, William Frawley, Jane Darwell. Sara Allgood, Robert Armstrong. - ' FDOTUGBT SERENADE, musical; prod., William lie Baron; dlr, Gregory Ratoft; screenplay, Robert TiH<« , Helen Logan, Lynn Starling. Rased on sto^ by Fidel La Barba, Kenneth Earl; camera,'Lee Garmes. Cast: Betty Grable, Victor Mature, John Payne. THE POSTMAN DIDNT BING, drama; prod, Ralph Dietric'h; dir, Harold Schuster;,original story, Mortimer BfaUs, Leon Ware; Bcreenplay> Mortimer Braus; cam- era, Joseph MacDonald. Cast: Richard Travers, ■ Brenda Joyce.. THE BLACK SWAN, 'adventure in Technicolor; prod, Darryl F. Zanuck; asso. prod., Robert Bassler; dir., Henry King; asst dir, Hen^ Weinberg; novel by Rafael Sei>atlnl; camera, Ijeon Shamroy. Cast: l^one Power, Maureen O'Hara, I<aird Cregar, Thomas Mit- chell, George Sanders, Anthony Qulnn, George Zucco. OB0HE6TBA WIFE, musical-comedy; prod., William Le Baron; dir., John Rrahm; original story,. James Prlndle; screenplay, Karl Tunberg, Darrell Ware; cam- era, Lucien Ballard. Cast: George Montgomery, Glenn . Miller and band, Lynn Barl, Cesar Romero, Carole- I^andis, Mary Beth Hughes. ICELAND, musical-comedy; prod, WQllam Le IBaron; dir., K. Rxice Humbenstone; no writing credits; camera, - Arthur Miller. Cast: .Sonja Henie, 'John Payne, Jack OaUe, F^llx Bressart, Osa Massen. TWELVE HEN IN A BOX, jnystery; prod, Sol M. ' Wurtzel; dlr, Herbert I. Leeds; no writing nor camera ' credits. Cast: IJoyd Nolan. Marjorle Weaver, Janis Carter, Richard Derr, HiU Silvers. United Artists Firomlwd Com- Bhoot- .Mow 41-4X »lcted law tutOaf Ts«* Roach 10 1 1 3 - • Kord» S 4 0 .0 1 Small S e /O 2 1 Gloria FIcs 1 1 • • • Lesser 1 • • • 1 Loew-Lewln 2 6 0 1 1 Pressbwgcr ..... 1 1 0 0 0 Bowlaad «... 1 0 0 0 1 Pascal 1 0 0 0 1 ^ Tetols ......... 21 19 . "l ' "« "5 Pictures in cutting ro'om or awaiting rdeasei:' DUDES ABE FBETTT PEOPLE, western; prod., Hal Roach; dir., Hal ROach, Jr.; original. Donald Hough; no camera credit. Cast: Marjorie Woodworth, Jimmy Rogers, Noah Beery. Jr, Russell Gleason, PaiU HurM, Maijorle Gateson. FRIENDLT ENEMIES, drama; prod., Edward Small; dlr, Allan Dwan; sbreenplay, Adelaide Heilbron;' camera, Edward Cronjager. Cast: Charles Winninger, Charlie Buggies, James Craig, Nancy .Kelly, Otto Kruger, Ike Gruning. WXSB ANIVE BOONET, formerly ANNIE BOONET, drama; prod., Edward Small; dir., Edwin L. Marin; screenplay, George Bruce; camera. Les White. Cast: Shirley Temple, William Gargan, Dickie Moore, Roland DuPree. BROOKLTN BBIDGET. drama; prod., Hal'Roach; dir., Kurt Neumann; screen play, Earle Snell. Clarence Marks; camera. Bob Pittack. Cast; Arllne Judge, Wil- liam Bendix, Max Baer, Joe^Sawyer, Grace Bradley, Marjorie Woodsworth, Veda Ann Borg. HITLEB'S VALET, comedy drama: prod., Glenn Tryon; dir, Gordon Douglas; screen play« Al Martin; camera, Robert Pittack. Cast: Marjorie Wordsworth, Douglas Fowley, Alan Mowbray, Bobby Watson, Joe Devlin, .George £. Stone. Herman Bing. THE MOON AND SDCFENOE, drama; prod., David L. Loew; dir. All>ert Lewln; screen play, Al Lewin: camera, John Seitz. Cast: George Sanders, Herbert Marshall, Eric Blore, Doris Dudley, Florence Bates, Steve Geray, Irene Tedrow, Devi DJa Javanese Troupe. United ArtisU Fix In ProdueUon CALABOOSE, western; prod, Glenn Tiyon (Hal Roach); dii., Hal Roach, Jr.; no writing credits; camera, unassigned. Cast: Jimmy Rogers, Noah Beery, Jr, Maiy Brian, Marc Lawrence, Paul Hurst. Uniyersa] Promlud Com- ■ 41-4t plctod FmUwcs SO' 36 Carzllle-Devlnc- Fana 7 1 Westemi 7 4 Frank Ltoyd 3 2 SeriaU 4 3 WaKer WaBger... -1 0 Shooi- inm 4 0 0 1 0 0 Now Cottlaa Togo a s 0 0 0 1 1 17 > TMaU 70 40 B 10 Pictures in cutting room or awaiting release: EXES OF THE UNDERWORLD, formerly DESTINY, drama;.asso. prod.-dir, George Waggner; no -writing credits; no camera credits. Cast: Claude Rains, Maria OuqtenskE^a, Dick Foran, Lon Ghaney, Jr.,BelaLugosi. TOITBE TELLING ME, comedy; asso. prod.. Ken Goldsmith; dir., Charles Lamont; original story, Charles O'Neill, Duane De'cker; screenplay, Frances Hyland, Brenda Weisberg; camera, Jerome' Ash. Cast: Hugh Herbert, ^Anne Gwynne, Robert Paige, Edward Aihley, Ernest' Truex, Esttier Dale, Elaine Morey, Susan MiUer, Marie McDonald, Nell ODay. Kathryn Adams, Linda Brent, Romaine Callender, Boyd, Da-vis, Olaf Hytten, Charles Smith, VlcU Le^r, Heleil Lrnd, Heinle Conklln, Elly Malyon. BAGLE SQUADBON. drama; prod, Walter Wanger; dlr, Arfhtir Lubin; original screen play, Norman RelUy Ralne, from magazine £tory, C. S. Forester; camera, Stanley Cortez. Cast: Robert Stack, Diana Barrymore, Jon EUll, Eddie Albert, Nigel Bruce, Evelyn Ankers, I<elf Erlckson, John Loder, Richard Da-vles, Frank Kelly, Edgar Barrier, Gavin. Mulr, Don Porter, Alan Hale, Jr., Howard Banks, Ed Glover, Clarence Stral^t, Harold Landon, Todd Karns, Charles King, Jr, Ben Erway, Tom Stevenspn, Donald Ste-wart, Fred Warlock^ Isobel Elsom, Jill Eanond, I.eslle Dennlson, Olaf Hyt- teui James Seay. LADT IN A JAM, romantic comedy; prod, dlr, Gregory La .Cava; no writing credits; camera, Hal Mohr. Cast: Irene' Dunne, Ralph Bellamy, Eugene Pallette, Queenle Vassar, Charles Coleman, Russell Hicks, Emmett Vogan, Hardle Albright, Mona Barrle, tiCster Dorr, Charles Cane, John Maurice Sullivan, Robert Emmett Keane, Eddie Fetherston, Beatrice Roberts, Theodore Von Eltz, Kathleen Howard, Claire Whitneyi^ Josephine Whittell, Eddie Gargan. BBOAOWAT, drama; prod., Bruce Manning; asso. prod., Frank Shaw; dir., William A. Seiter: no writing credits; cauiera, George Barnes. Cast: George Raft, Pat O'Brien, Janet Blair, Brod Crawford, Anne Gwynne, S. Z. Sakall, Edward Brophy, Marjorie Ram- :beau, Maria Wilson, Gus Schilling, Iris Adrian. ISalne Morey, Dorothy Moore, Damlan (yFlymi. Ralf Harolde. ' JUNIOR G-MEN OF THE AIB, airplaner; asso., prod, Henry McCrae; co-dirs, Ray Taylor; Lew Col- lins; -no writing credits; camera, WiUlam Sickaner. Cast: Billy Halop. Gene Reynulds. Lionel At'wUl, Frank Al- bertson, Kathryn Adams, Huhtz fiall, Gabriel Dell, Bernard Punsley, David Gorcey, Tiirhan Bey, Richard Lane, Paul PbilUps, John Bagnl, John Bleiffer, Dirk Thane, Noel Cravat, Edward Foster, Charlie Lung, Pat O'Melley and BiU Hunter. STRICTLY IN THE GROOVE, musical; esso, prod.; Joseph G. Sanford; dir, Vernon Keays; no writing credits; camera, John W. Boyle. Cast: Mary He^y, Richard Davies, Leon Errol, Shemp Hpward, Grace MacDonald, Ronald. O'Connor, Martha Tilton, Robert Weldon, Franklin Fangbom, Tip, Tap, Toe, Ozzie Nel- son and his band. FABOON-MT SARONG, comedy: Mayfair Produc- tions, Inc., asso,, prod., Alex Gottlieb; dir, .Erie C. Kenton; no -writing credits; camera, Milton Krasner. Cast: Bud Abbott and Lou Costello, Virginia Bruce, Nan Wynne, Robert Paige, Lionel Atwill, Leif Erlkson, Wil- liam Demarest, The Four Ink Spots, Tip Tap Toe Danc- ers, Tagalong, Marie McDonald, -Kath^ Adams, Jen- nifer Holt, Sig Amo and Cliarles I<ane.. SHOWDOWN, drama, asso,, prod', Ben-Pivar; dlr, Christy Cabanne; no ^ting credits; camera, George Robinson. Cast: Leo Carrillo, Andy Devlne, Don Terry,. Elyse Knox, Richard Davies, Roy Harris, Don Porter, Addison Richards, Alan Hale^ Jr, Gene Garrick, Lou Kelly, Harry Strang, Ken Christy and George Eldredge. . CARBT ON, comedy drama; aSso. prod. Ken Gold- smith; dir. Edward Gline; no -writing credits; camera, unassigned. Gait: The Andrews Sisters, Joe E> Lewis, Harry James and his orchestra. Universal Fix la Frodactlon . MADAM SPY, mystery; asso. prod, Marshall Grant; dir., Roy William Neil; no writing credits; camera, George Robinsob. Cast: Constance Bennett, Don Por- ter, John Litel, Mlra McKinney, Grace Hayle, Norma Drury, Johnny Berkes, TIMBEB, drama; asso. prod, Ben Pivar; dir., Christy Cabanne; no writing credits; camera. Jack McKenzie. Cast: Leo Carrillo, Andy Devine, Marjorie Lord, Dan Dailey, Jr, Edmund I^cDonald, Jean PhilUps. LOVE AND KISSES. CAROLINE, drama; prod.-dlf, Henry Kostcr; ho writing credits; camera, Joseph Val- entine. Cast: Robert Cummings, Dltna Barrymore, Andy Devlne, Kay Francis, John Boles. ' . . . INVISIBLE AGENT, Frank Lloyd Productions, Inc.; asso. prod, George Waggner; dlr, Edwin L. Marin; no writing credits; Camera, I,ester W^te. Cast: Ilona (Continued on page 27) 'Caravan' Review iCoBUAned frem pace '4; hitches. Slow spots in Washington bad been pretty well scissored out by the time the troupe reached Phjlly. It would have been surprising If the show hadn't been rouglv for even Hollywood, the miracle city., couldn't be expected to perform the miracle of penectly writing and staging such a tremendous show in a.totalof about 20 days from the time the idea was adopted until the curtain went up. . Minor production flaws, the result of Insufficient rehearsal, -were easily overlooked. Deeper source of diffi- culty lay in most of the sketches- some of them, original, others adapta- tions of old standards—which weren't as funny as might have'beeta expect- ed. Had there t>een t$me,« break-in date in the sticks could have'^ell preceded the flossy Capital preem to give the scripters a chance for re- writing and to work out production bugs. A major. Item in the- latter category was proper placement bnd use of mikes that had to be scat- tered around stages so that sketches could be lieard in the large audi- toriums played. No 'Hewdys' Nevertheless, the -writers, sponsors and producer.Mark Sandrich deserve an accolade for their determination that no one w«s to do a mere 'so glad to be here,' but that everyone would have a real xole to play. In that -they -were iuccessful. Everyone did at least fotir or five minutes of croBs-flre with m.c. Bob Hope, If nothing else, while many of the stars made several appearances in sketches. That -some of them en- tirely unfanS^ar with the .stage, fluffed punch lines was entirely un- derstandable at the preem. The race against time they had been through was too much and rehearsals were too arduous. Practice of their spew Historic Hub Event Boston. May 4. - Editor 'Variety': The Hollywood Victory Cara- van show in Boston -was -such a sensation UiBt there's . talk around Iwre that it -will live in history along 'with another great HuB event, the Boston Tea Party, A ndllion people crowded the streets pt downto-wn Boston -to watdi the parade of liars to the Boston Garden where another 20,000 donated $78,000 in admis- sion ^ces to the Army and Navy Relief Funds. The motion picture Industry Is gainkig In- estimable prestige through this work for diarlty. M. J. MuUin (General Manager); cialtles started on the train from the Coast, but couldn't really get going until the cast could wOrk with with the orchestra in Washington. Rehearsals began at 1 pjn„ Wednes- day, continued in the WlUard hotel imtil midnight, and then moved over to I/lew's Capitol, where they went on until after 8 am the next morn- ing. That hardly left the perform- ers fresh. . Idyout of the ^oW is. good, with • nice balance'of comedy, music and seriousness. In the serious category there are only two sketches, one in each act, which -is just about right. Their depth helps to set off the humor and music, although . they could naturally have used some touching up.. Comedy end, of course, was topped by Hope. Fact is, it was more Hope's than Hollywood's Victory Caravan. As long .as the Pepsodent peddler -was at the mike the show had zest and lift. And It 'was -those pllyers whose turns consisted of gagging with Hope who came out best. Gary Grant, for instance, who shared some m.c. chores with Hope, made an execellent .Impression in running off a string of situation gags with him between Introduction^. They were probably - the funniest bits of the show., Grant's former vaude and legit experience was clearly evi- dent It was easy to pick out in every cssfe.jD..facW ths. people with stage back^ounds. Charlotte Greeowood'M Click Highlight In the veteran classlfl- cation was CHiarlotte Greenwood, a surprise cUck. She sang a bit of satire, 'Shall I Be an Old Man's Darling or Shall I Be a Young Man's Slave,' followed It with 'Heaven H^p the U. S. A,' from her faiAed 'So Long Letty,''and wound up In a routine with those free-swinging gams. Another smash from- -way back was Bert Lahr, doing his well-known 'Woodsman'—and he has probably never done It better. Groucho Marx 'was restrained by the limitations of his ' old "Who's Olive?' sketch in which he worked with Olivia de Bavllland. Like most of the sketches, it was much, too long for the amount of humor given off. Marx followed it with his standard 'Dr. Hackenbush' patter. Alsd sufferers from lack of mate- rial .were Laurel and Hardy, with their simple-slfflon cross-talk. Joan Blondell fared better on the mate- ria end with a pattered strip-tease number. She actually impeeled a few not-too-essentlals, -vrith^ the blackout punchline coming when the zipper on her dress gets stuck and she can't get It off after all. She also appeared in « numba:- of other sketches. . Frank McHugh and Claudette. Col- bert suffered through a skit by Matt Brooks tiiat seemed to have the mak- ings but didn't 4uite dick. It was dropped after the- -first night. Jerry. Colonna was oke in. gags 'wltb Ho^e and bis hokum 'Sonny Boy' number. He subbed a trombone specialty for the latter In later fhows. Joan Ben- nett, Joan Blondell and Olivia de Havilland WMked together in a sketch about voluntary women war workers which was definitely n.s.h. .IIoyer*s,-Serious Note Major serious note of the show was Charles Boyer's sketch. It's called Tbe Last Class^ and was written by Alphonse Daudet It's localed In Al. sace in 1871, when once before Ger- mans overran France. Boyer is • teacher of a class of girls. Their lesson is suddenly broken off by ar- rival of the mayor (Pat O'Brien) to tell them that Bismarck- lias ordered that henceforth they must speak nothing but German. Boyer im« passlonedly Instructs his last. class that the one French word they must not forget, whatever language Is im- posed on them, Is 'liberte.' Long seeches make the sketch somewhat drajgy in -spots, and it provides a difficult production job, but ifs very effective. Boyer follows It -with a fine curtain speech, revealing that he has just become an American citi- zen 9nd '^aks English with a Free Fredch accent' It's one of the mem- orable points of the evening. The other important serious sketch, by Jerome Ghodorov,'featured Frank McHugh as a wounded soldier on Bataan urging his mate, Pat O'Brien, to swim to tbe safety of Gorregldor. O'Brien is finally persuaded to leave his pal, but with the assurance, "We'll be back.' It's a bit on the sticky side, but got over fairly'well. O'Brien fol- lowed It with "My Country Tis of Thee' done in recitative st^le while the tune is played In the background. It -won a tremendous response. Merle Oberon also contributed a serious note, reading a poem by A 10-year-old Washington boy .who johied the Canadian air force and was recently killed. It's the ethereal type of verse that's difficult to get meaning out of without close at- tention and, with-a less than periect PA. system, the whole thing became pretty tininteUlgible. Sandrich might do well to make a substitution of material' for Miss Oberon if possible. Rise Stevens' Metopera voice topped the musical end. She did one operatic number and one 8emi» classic, being called back for numer- ous bows, but failed to do 'The Moon Is Down,' the highly-touted new tune specially written by Arthur' Schwartz and Frank Loesser. Frances Langf ord on the other hand smacked across niftlly with « new number by Jerome Kem and Johnny Mercer, 'Windmill Under the Stars.' Desl Arnaz with a Latin medley and Ray Mlddleton, filled out the vocal division. Net Enongh Terplng What the show lacked, for a revue of this type, 'was dancing. Jiininy Gagney and Eleanor Powell, than wmchi there are few better, were, however, the only two entries in this department. Cagney was on- next'-to- close with the "Yankee Doodle Dandy' number he does in Warner Bros.*^ forthcoming Qeorge M. Cohan biog. He foUowed It with Cohan's 'Grand Old Flag* to break Into the Inspiring finale, which had everyone onstage. Miss Powell's terplng was one of the clicks of the evening in every town. Opening night she told a du- bious, yam of a date she once had with Jimmy ute-wart In later ses- sions she subbed an additional dance routine, which 'was a great improve- nieht Eight Hollywood Starlets in the line' unfortunately are not dancers- and,-although -very' delect- able specimens; dldnH dd much but patter an unintelligible opening number and provide atmosphere. They are Katnu-Ine Booth, Alma Carroll, Frances Gifford, ElyseKnox, Marie McDonald, Fay McKenzie, Juanita, Stark and Aileen Whelan, Real song and dance ability here could weU have been used. Many production eSecfs were sur- prisingly good. Sets by Milt Gross, conslsung- merely of 'humorously- Milnted flats, .-erve the purpose of lie tour excellently. " ■ - • ^ And no review of the Caravan could be complete without tribute to Al Newman, the music conductor. He Is carrving 14 key men -with him and adds 20 or so local musicians in each town. It took sweat and blood and tears, but the pit .band that New- man presented for the perform- ances was close to th] epitome of such aggregations. There seemed never to be a cue missed, never an embarrassing pause, always the right music at the r^t time.