Variety (June 1942)

8 FILM BEVIEWS Wednesday^ Jane 3, 1942 Yankee Doodle Dandy (MUSICAL) Warner Bros. (Hal'Walll»-Wim»m CS>B- ney) production iind rtlense. Stars Jnmoe CoETJoy: tcatures Joan Leslie, Walter Hus- ton, Richard Whorf, Jcnnno CoBiioy, FranVea LanKford a""** „ Mnnnln;. Directed by Michael Curtl*. Based on the lite and teaturlnR the aongs aooixo M. Cohan. Screenplay, Bobert Buckner and Edmund Joseph: Blory, Buckncr: camem. James Wong dances. Leroy Prini. Seymour Felix. .John Bovlc: dIaloK director, Hugh MacMullan: editor, Oeoree Amy; technical advisor. William collier. .'Sr.; amingemenU. Ray Hclndort; music director. Leo F. Forb- toln; monlaBOS. Don Slegal. At "oll>- wooil, N. Y.. Indef run. cominenclng May 2D, MI. Running lime, IM JllJiS. ^ Ooorso y. Cohan Jamea Cjgney Mary .Joan t,eslle Jerry Cohin" . . Waller Huston Sam Hanla Richard Whort Fny Tcmpleton Ircno Manning 131et2 4 George Tobias Nellie Cohan , Rosemary DeCamp Josle Cohan Jeanne Cagncy Blnger Frances Langiord Erinnger George Barbler Schwab S. Z. SaJjal Theatre Manager Walter Catlctt George M. Cohan, as boy ot 13 •. Douglas CroCl Eddie Foy .* Eddie Foy, Jr. Albee' Minor Watson Goft Chester Cluto Madame Barlholdl ..Odette Myrtll Josle Cohan, as Olrl ot 12 Fauy Lee Faraons Capt. Jack YiDung The President 'Yankee Doodle Dandy* is rah-rah, Tousingly American and ^eat box- office, no matter how you slice it. It's a tribute to a grand American gentleman of the theatre—George M. Cohan—whase life and songs are glorified by Warner Bros.; and it's a tribute, perhaps even more so, to all show business. When President .,r Roosevelt is shown telling Cohani wiU\cooperate (Jiimny Cagney) that 'you are the ■ first of your profession to win a ' Congressional Medal of Honor/, and the Eong-and-dance man, Cohan, is shown humbly absorbing the signifi- cance of this honor — that's all, brother! . Much will be written about War- ner Bros.' "Yankee Doodle,' It's a dandy topic for review, reprise and reiterated kudos. ' It hol^ so much, condensing several generations of the Four Cohans into two hours and six minutes of celluloid, that not all of K can be compressed into a single stmimation. Thus, its cumula- tive press and other comment put no ceiling on its public grip. Focused ior showinanly merphan- dlzlng, from a Memorial Day world's premiere «n Broadway through specialized engagements around JiSy 4—synonymous with Cohan's nat^ day and flagwavlng—the Cohan saga is a timely, dramatic and romantic story, which, by underplaying and ihdlrectional emphasis, all the more points up the American way of life. 'Yankee Doodle Dandy* °is some- thing to cheer alwut from any per- spective. The'least of-it should be the mundane boxbfiice equation. But the film goes beyond -the length and breadth of the intake at the wickets. It's a success saga as Sungent as an' Horatio Alger, Jr., . lie. It's as entertaining as any top fllmusical ever made. It's as salu- torv to its central character as the oath of allegiance to the American fla^ It's as American as the Liberty That it's showmanly is best an' swered by the above. .James Cag- ney does a Cohan of which the orig- inal George M,'might WelTbe proud. In fact, intra-trade info already has reported how Cohan wanted to know where Cagney learned to hoof, not knowing that the film star's own professional background is in the song-and-dance idiom. That Robert Buckner, and his.co ecripter, Edmund Joseph, jazzed up a little of the latter-day chronology is beside the point—that, too^ is so much additional showmanshilp. What matters it <)ne or another show pre- ceded this o^ that of Cohan's many successes. The basic story of a loving family —•my mother {hanks you,- my father thanks you, ray- sister thai^ yoti, and I thank you'—is a tribute to Uie domestic felicity of any home. That Cohan-was cocky and con certed as the kid star o| 'Peck's Bad Boy,' in which he clicked at 13: that, he remained close to Jerry Cohan; Nellie Cohan and sister Josie (so well Slayed by .the star's real-life sister eanne Cagney); that his string oi successes never upset this lovely and loving. picture, are all part of a human, appealing story of one of the great theatrical families of all. times. Nor was their career, collectively and individually, tranquil.. There is plenty of uncertainty, frustration, disappointment—all the dramatic in- gredients that make for the proper admixture of hum^n. appeaL Joan Leslie as the romantic vis-a- vis, if perhaps not strictly of biog- raphy born, is certainly a fetching and reasonable facsimile tiiereo: Maybe Richard Whorf, as Sam H. Harris, isn't McCoy history, either, ' but it's skillfully enough blended and compromised. Ditto George Bar< bier's Abe Erlanger; Irene Manning's excellent Fay Templeton; and of cour^ Walter Huston as Jerry Cohan, father of the brood, who at times almost takes It away from the fitar. But it's. Cagney's film from the gong. Even his adolescent -counter' part,- Douglas Croft, as the sligbOy linpossible Peck's Bad Boy, Is in the groove for histrionic impress; and that too goes for Patey Lee Parsons, gls^ng Josle Cohan at 12, a fetch- ijS^ indeed Shirley ~ adolescent from whom much should be heard. Joan Leslie is winsome to the hilt as Cohan's romantic, interest; and Irene Manning makes her Fay Tem- pleton plenty socko. Frances Lang- ford in the Army canteen scene with 'Over There' (which Nora Bayes actually introduced) handles her chore well; and Jeanne Cagney,, as sister Josie, is in the present-day family tradition. There are fine con- tributions throughout Rosemary DeCamp is the winning Nellie Cohan (mother); Eddie Foy, Jr., personates his father in a sidewalk scene with Cagney that's a turn-back-the-pages- of-time excerpt of startling realism. Minor Watson is Albee; S, Z, Sakall, as a mildly lecherous aJc. angel, and George Tobias, as a rival manager, make their bits stand out above par. Mme. Bartholdi (Odette Myrtil) harks back to the immortal theatri- cal boarding house at Broadway and 45th, Bartholdi's Inn, back of 'Va- riety's' old office site; and Capt. Jack Young personates President Roose- velt with startling vocal simulation. It's little wonder that F. D. R. approved the idea of having him- self commercially personated. It's a piece of celluloid propaganda with- out peer. The manner in which he summons Cohan to Washington, then starring in 'I'd Rather Be Right,' the Kaufman & Hart hit musical on Broadway, and the manner in which Cohan (Cagney) teUs his life story to the President, is a showmanly coup of daring and enterprise that will surprise people in and out of Holljrwood. It proves to what lengths the (government can and ■ if the artistic skill and interpretation are ultra. The Buckner-Joseph script thus makes the President a straight man for the central character, who, in flashback form, recounts his career from his July 4th birthday, through 'Over There' and up to the present The Congressional Medal of Honor, of course, was a belated tribute from a grateful nation for Cohan's im- mortal war song of 1917-18. Thus is unfolded a sequence of plays-within-a-play, as excerpts from Cohan hits background the saga of his life and struggles. Thus are in- troduced Cohan's smashes, 'Yankee Doodle Boy,* 'Grand Old Flag,' 'Give My RegaVds to Broadway,' 'Mary's a Grand Old Name,' 'So Long, Mary,' 'Harrigan,' 'I Was Bom in Virginia,' '4S Minutes from Broadway' and, of course, 'Over There.' Backgrounding this is all the color and the tradition of the theatre; from Tony Pastor to E. F,' Albee; from Klaw & Erlanger to the Thea- tre Guild; from Tin Pan Alley to the Hit Parade; from yesteryear mellow- ness to present-day jive talk, [A . [roiip of ;youngsters see Cohan read ng 'Variety,' get a load of the headline, "Stix Nix Hix Pix,' and do a rhythmic scat ad lib on the phrase- fAoer, in the belief it's a new kind of Jive.] . For Cagney it's a personal tri umph, easily his top cinematic per- formance. He hoofs like one de- mented; he troupes like a lammister from the Lambs: he does Cohan like a relative. If he forgets the side- of-the-mouth droop, after the initial impress, it's little noticed and per- haps better liked.- Thus, in celluloid, Cagney has immortalized Cohan for all time. There can be no more fitting climax to any career. Abel, THE GAY SISTERS Warner Bros, release of Henry Blanke production. Stare Barbara Stan\Tyck. George Brent, Ger.'dlne Fitzgerald; features Don- ald Crisp, Klancy Coleman, Qene Lockhart, Lanr SInuns, Donald Woods, Grant Mitch- ell, William T, Orr. Directed by Irving Rapper. Screenplay, Lenore ColTee, from novel by Stephen .Longstreet; music, Max Stelner: camera, Sol Follto: arrangements, Hugo. Friedhofer; musical director, Leo P. Forbstelnj editor, Werreo Low. Tradeshonn ios'ikisa ^' ■ Fiona Gaylord Barbara Stanwyck Oiarles Barclay,,, George Brent 5"?'!;" <'aylord^Geraldlce Fitzgerald Ralph Fedloch Donald Crisp Gig TouDg Gig Young Susanna Gaylord. ....Nancy Coleman Herschell Gibbon ,,. .Gene Lockhart Austin. Lairy SImms Penn Sutherland Gaylord....Donald Woods Gilbert Wheeler..., Grant Mitchell pick Tone WllUam T. Orr Ida Orncr Anne Revere Saakla Helena Thlmlg Jodge Barrows George Lessey Von Rennaaeler Charles Waldron Dr. BIgelow Frank Relcber Benson David Clyde Fiona <aged 8) Matr Thomai From Stephen Longstreet's novel, Warner Bros, has m&de a long, dill' nlfled, rather weighty, fairly impres sive and varyingly entertaining pi(. ture, 'The Gay Sisters.' With Bar bara Stanwyck, (3eorge Brent and Geraldine Fitzgerald as . boxoflice draw, with favorable reviews and word-bf-mouth likely, the filih should earn profitable, though hardly spec- tacular, grosses. The <5ay Sisters* Is a misleading title. Whatever the Gaylord girls may have been in the original novel, they're hardly a light-hearted trio 3e the picture shows ihem. There's lit- tle frivolousness. indeed, about the whole story. It s generally serious, frequently slow-paced and even its isolated touches of humor are in- clined to be ironic. Yet It is' a rea- sonably absorbing yam, with certain topical aspects and the suggestion of what appears to have been penetrat- ing psychological wrinkles in the novel. . Although the story's main concern is the careers of the sisters, there ii . . an accompaniment of a sort of caval Temple-type | cade of an old Fifth avenue mansion Mimatnre Reviews nrankee D«odIe Dandy' (WB) (Musical). It's Yankee and dandy, for oodles of boodle. 'The Gay Bisters* (WB). En- grossing and impressive, though - •heavy and overlong; names should help for good biz. . '10 Gentlemen From West Point' (20th). Light marquee voltage and overlong; a weak entry. 'They All Kissed the Bride' (Col). Joan Crawford and Mel- vyn Douglas in hilarious enter- tainment for profitable biz, 'Private Bnckaroo* (U) (Sotigs). Sti;ong program fllm- usical. . Harry James-Andrews Sisters top. 'The MagnJflcent Dope' (20th), Amusing comedy drama, aims for moderate success as topliner in the summer bookings. 'It Happened In Flatbnah' (20th), Mixture of baseball and drama doesn't quite jell. Pro- gram, supporter for duals. The Postman DIdnt Rlnx'- (20th). Standard program fare of moderate budget calibre; Will get by on secondary dates. The Big Shotr (WB). DuU gangster meller with Humphrey Bogart limited to dual support, 'Thro DUterent Eyes' (20th). Narrative flashback technique for formula whodunit without surprise. A dual supporter. 'WInga for the Eagle' (WB). Ann Sheridan and Dennis Mor- gan in comedy-drama of war factory front; profitable biz. 'Escape from Crime' (WB)., Minor dualer. 'Spy Ship' (WB). Trite fifth column yarn, strictly for kjds. No names. "the Day WIU Dawn' (GFD). British-made war pic; big b,o.. likely;, strong propaganda. 'The Corpse Vanishes' (Mono). Dull murder mystery, with con- stant cliches and iininteresting story. A weak dualer. XI VleJo HadM' (Argentine). Spanish-languag^r that's first- rat^ for native audiences. lihe Mad Monster> (PRC). Childish horror picture with hackneyed situations and little punch. Acting better than script name, Is satlsfactoiy, though not re- markable, Larry Slmina U an ap- neallng urchin, and 8U<^ remlars as )«iia Woods, Grant Mitchell. Anne tevere and Helen Thlmlg are plau- sible in support _ _ . , ^ Where Lenore Coffetfs expressive screenplay enda and Irving «appcj^« mustratlve direction begins is dUfl- cult to say, but they form a fte- fluently eloquent combination. Han- Ser's pacing of the story la generally good and many of his scenes have amusing color, but others M«m U'- relevant (such as the wlne-flnlshing spree of Fiona and Susanna). The musical background Is unobtrusively helpful, but more severe editing would not only shorten the picture pleasantly but would give it added cohesion and force. Hooe. 0 Gentlemen From West Point Hollywood, May 28, 20th Century-Fox release of William Perl-- berg production. Stars George Montgom- ery, Maureen O'Hara, John Button. Di- rected by Henry Hathaway. Screenplay by Richard Malbaum, suggested by story by MnlvlD Ward; added dialog, George Sea- ton; camera, Leon Shomroy; editor, Jamea B. Clark. Tradeshown In L. A.,-May 27, '42 Running time, IM SHNS. Dawson George Montgomery Carolyn Balnbrldge Maureen O'Hara Howard Shelton John Sutton Major Sam Carter •. Laird Cregar Henry Clay John Shepperd Florlmond Maasey Victor Francen Bane .,- Harry Davenport Scully , ■. Ward Bond Gen. Wm. H, Harrison.Douglass Dunibrllle Maloney Ralph Byrd Benny Havens Joe Brown. Jr. Bhlppen David Bacon Mrs, Thompson Esther Dale Jared Danforth ........Loula Jean Hcydt Captain Sloane Stanley Andrews Captain Luddy James Flavin Letty Ediu Mae Jones Senate President Charles Trowbridge Ortindpa Tully Marshall John Randolph Edwin Max>vell Old Put ■. trno William Euatis Edward Fielding Wodd Morris Ankrum Sersen .Solmer Jackson Tecumaeh Noble Johnson O'Toole Edward Dunn Alden Brown Frank Ferguson and a background of what could be a typical history of one of Manhat- tans original land-owning families. Instead of distracting- from the main plot this broader accompaniment and background add atmospnere and even dramatic emphasis. It undoubt- edly will: increase Interest for audi- ences familiar with New York and its history, for they will recognize many thinly-veiled references, such as the obvious parallel of the film's Barclay Square real estate develop- ment io. Rockefeller Center, or the similarities of the Gaylord clan and the Gaylord mansion to the Vander- bilts and the Vanderbilt home on Fifth avenue, adjacent to Rodcefeller Center. Which is not to say that "The Gay Sisters' is_not or is not intended to be, fiction. Merely that some of its inspiration seems clear. A prolog lays the foimdation for the tale as the mother of the little ghrls is lost oii the Lusltania and the father goes to France to be killed with the AJS.F. In addition, that establishes the character of the steel- willed oldest sister, Fiona, who as a mere child is made head of the household by her father's departure. He has a strong sense of noblesse oblige tradition of aristocratic fam- ilies and in a solemn farewell cere mony he emphasizes/ that and the Gaylord doctrine, 'nevier sell the land.' ' Main portion of the film deals with the grownup Gaylord girls and the endless legal tangles that steaoLUy consume the family fortune. There Is the primary yam of Fiona's per- sonal vendetta with the -young ty- coon who wants to buy the Gaylord mansion to coinplete his Barclay Square development. Running along with this theme are the subordinate stories of the younger Gaylord sis- ters, the predatory Evelyn and the helpless, affectionate Susanna, Basis for the hatred of Fiona and Barclay, it develops, is their secret abruptly-short marriage some years before and, presently, his knowledge that she is the mother of his child. This part of the story has apparently been diluted for Hays office require- ments. But It nevertheless provides an ingenious narrative device as the sequence' is presented In a senti- mental flashback with Fiona's acrid running comment In the sound track, Barbara Stanwyck gives a vibrant- ly believable performance as Fiona. George B'tent looks disconcertingly hard and underplays io such an ex- tent he might as well be thinking of something else. Geraldine Fitzgerald seems somewhat stiff as the selfish Evelyn, but Nancy Coleman is con- vincingly tender as Susanna. Donald Crisp is competent as a shrewd lawyer, while Gene Iiockhart Is ex- peruy odious as a shyster. Gig Young, for some unexplained reason playing a character of the same They AU Kiued the Bride Hollywood, May 30, Colnrabia releaM ot Edward Kaufman prodDotlon, Stat* Jou) Crawford, Melvyn JousUb: featnrea Roland Toung, Blllle Burke, Allen Jenkins, Helen Farrlsb. Di- rected ty Alexander HolL Screenplay by P. J, Woltson; adapted br Andrew P. Solt and Henry Altlnm*, (ram atory by GIna Kaoa and Bait; cameria, Joieph Walker; editor, VlolB La\mnae; oast, director, Wil- liam Mull, Previewed at Pantages, May 30, '42. Running time, Ba HIMS, Margaret J. Drew Joan Crawford Michael Holmes Melvyn Donglas MarA Roland Toung Mrs. Drew, Blllle Burke Johnny Jo<inion Allen Jenkins Crane Andreir Tombes Vivian Drew Helen Parrlsh Mohony Emory Parnell Susie Johnson Mary Trcen Becretoiy .Nydia Weatmon Dr, Cassell Ivan Simpson Stephen Fettlnglll Roger Clork Taxi Driver , Gordon Jones Private Policeman Edward Gargaii The establishment of West Point as a military academy ih the early 1800's, and the experiences, of the original class of cadets provide pa- triotic flavor to this dual-supporter, Light in marquee and sufficient en- tertainment values with the factual and fictional episodes of early West Point, picture will need all the pa- triotism angles for exploitation. After a brief prolog in which Con> grass is shown debating and then ]}asslng an appropriation for malh- enance of the military training school, picture swings to the old fort and the arrival of the first class. (Seorge Montgomery is a buckskin- clothed youth from Kentucky, and contrast Is provided by the socialite John Sutton who's along for a lark and not too much soldiering. The cadets are considered intruders by the regular bombardier company quartered at West Point and are rousingly hazed by the commanding major. Laird Cregar, who's against the entire scheme of training future army officers. Victor Francen, how- ever. Is a Frenchman and professor of military strategy, decidedly sym- pathetic to the whole plan of the academy. After all but 10 of the initial class quit, the West Point unit —with the-cadets—^Is ordered to Fort Harrison in the Indiana territory. Here, there's an - Indian uprising, capture of Cregar, and routing of the braves by the cadets using military strategy learned in' the classroom. Back at West Point for commissions, Cregar is won over—and the mili- tary-academy survives. There's a fair amount of dramatic incident and some comedy injected to keep up audience interest—but overall the picture is over footage and drops too many times into the doldrums. Only the patriotic angle helps It survive. There's a rouslni: finish, with montage sketches o'.'. famous West Point graduates from Grant Lee,. Sheridan and Sherman down to Pershing and MacAfthur. Major difficulty encountered by scripter Richard Maibaum seems to be the requirement of jelling dra- matic episodes with factual history— and, as is usually the case, the prob- lem was too great for Malbaum to solve for sustained 'entertainment purposes. Henry Hathaway is able to highlight a number of scenes with excellent and vivid direction, espe- cially the Indian fight sequences, but was unable to maintain a steady pace in the unfolding. Camera work by Leon «Shamroy is consistently good throughout George Montgomery provides a strong characterization of the young Kentuckian who's determined to be- come an army officer; Cregar is ex- cellent as the commanding major; and John Sutton Is neatly cast as t(ie young socialite, Maureen O'Hara conveniently comes to West Point to visit relatives near the fort, In order to generate the. triangle romance with Montgomery-and Sutton, She even chases the pair to the Indian territory ' Wolt. Logan Gets the) Bird Hollywood, June 2. RKO assigned Stanley Logan to direct The Falcon's Brother,' orlg Inally slated for Irving Reis. 'The Big Street,' on the sahie lot will keep Rels busy for two weeks after The Falcon's' starting date, This Is another in the current Hollywood cycle of glrl-immersed- in-biz vs. irresponsible male. But it Is so spritely, snappy, and spicy in both situation and dialog--due mainly to expert timing in script and direction—that it rates n'Jajor at- tention as billtopplng attraction for good biz generally. . Picture Is adult entertainment— liberally spotted with episodes and lines of explosive and intimate na- ture—that veers from the general run of pictures ot its type sufficiently to get audience attention. Originally, Carole Lombard had been set for the starring spot, but her tmtimely death projected Joan Crawford In -as re- placement. Miss Crawford kicks the stuffing out of the part and gets a new lease on her screen career after some minor league assignments. Miss Crawford is in command of the vast business - Interests left by her father, and shaken by the writ- ings of Melvyn Doiiglas, a happy-go- luckv scribbler of sorts who takes a crack at the family personal and business' skeletons. Douglas gains en- trance to the Crawlbrd mansion when youngv sister Helen Parrlsh, is being married, and mistaken for former boy friend of Miss Parrlsh. But he makes Miss Crawford's knees collapse—a hereditary quirk on the female side when love- comes up— and from there on it's a rousing and intimate romance that culminates In brtraking down the girl's concentra- tion on business affairs. In addition to a spotlight perform- ance by Miss Crawford, Douglas clicks solidly as the writer and prin- cipal romanticist There are a num- ber of hot episodes between the pair that just did get under the wire with, the seal-coders. Script is studded with amusing and explosive episodes and • dialog of most intimate and double entendre content—while Miss Crawford is banded the most timely line, 'When I want a sneak, I'll hire the best and get,a Jap.' Crack Is a standout. Supporting cast is excellently set up, with Roland Young. Billle Burke, Allen Jenkins, Mary &een, Andrew Tombes, Miss Parrlsh and Roger Clark prbmlnent and adding much mirth to the proceedings. Alexander HaU's direction is snappy and speedy all along the line, and ne contrives laugh toppers to every episode. Adaptation by An- drew Solt and Henry Altlmus, With screenplay by P. J. Wolfson, dishes out sparkling dialog and situations in compact form. Camera work by Joseph Walker Is topgrade, and In keeping with the A production- back- ground accorded the picture in all technical departments, ■ Wolt. PRIVATE BUCKAROO (MUSICAL) Hollywood, May 29. Unlveroal release of Ken Goldsmith pro- duction. Staiia Harry James band, Andrew* Sisters; features Dick Foran, Joe E. Lewis, Jennifer Holt; Shemp Howard. Directed by Eddie Cllne, Screenplay-By Edmnnd Kelco and Edward Jamea; original by Paul Ger- ard 'Smith; camera, Woody Bredell; editor, Milton Camith; musical director, Harrz Jamea; orchestrations, Vlo Schoen and Jack Matttuiu; donees, John Mattlson, Previewed at Westlake, U A„ May 28, 'VS. Running Ume, e» HINB. Andrews Sisters Themaelvea liOn Prentice Dick Foran Lancelot Prlngle McBlft Joe B. Lewis Joyce Mason Jennifer Holt Betveant 'Muggsy' Sbavel. .Shemp Howard Lieutenant Maaon :Richard Davlea Bonnie-Belle Schlopklas Mary WIckea Colonel Weatherford Ernest Truex Denny Donald O'Connor Peggy .Peggy Ryan Corporal Anemic Huotz Uoll Tagalong.:-,., Susan Levlne The Jlvln' Jacks & Jills Harry James and His Music Makers This one provides a generous dis- play of Harry James' music and vo- calking' by the Andrews Sisters, with some incidental comedy of slapstick variety interspersed. Despite total lack of plot structure, 12 musical numbers are spotted along the route of sufficient merit in both rendition and setup to make this one a strong filmusical programmer that will tab a generous number of billtopper dat- Ings around the cbuntry. James and ■ his gang are on fre- quently for tunes In typical arrange- ments and the trumpeteer givmg generously of his musical wares. The Andrews Sisters are just as prom- third geared for pop attention, 'That s the Moon, My Son.' Dick Foran is no less prominent with slick vocaliz- ing of 'Private Buckaroo,' which has a chance for attention; 'Nobody Knows the Trouble Tve Seen,' 'We've Got a Job to Do.' and 'Ma, J,.Miss