Variety (July 1942)

8 FILM REVIEWS Wednesday, July 1, 1942 The Magnificent Ambersons RKO r<;iei>»« of srercury Theolr* Produc- tion by. Oraon Welles. Feotures Joeeph CottcQ, Dolores Coatetlo. Anno Baxter. Tim Holt, Agnes Moorehead, Ray Collins, Em- klne Safiford and Richard Bennett, Direc- tion nnil screenplay by Onon Welles; from Booth TarhlnBton'a novel of same title; cnmem, Stanley Cortez; editor, Robert Wise; special effects, Vernon U Walker. Tradesbown In N. T.. June 26, '42. Run- ning tlmc-m MIKS. Buffene .., Joseph Gotten J^clt}el Dolores Costello Lucy Anne Baxter George Tim Holt Fanny .Anges Moorehead Jack Ray Collins Bronson Ersklne Sanford Major ADiberson Richard Bennett Wilbur Mlnafer vDon Dlllaway and shade. It's sombre and unat- tractive. At the . finale, Welles* offstage voice re-introduces the players, a closeup of each flashing on the screen, and then speaks the credits for cameraman, etc., Anally winding up with a personal bow for his own triple-threat job o£ scenarist, pro- duction and direction. He actually has very little to be proud of, nor has Booth Tarklngton, who wrote the best-selling novel on which this film is based. Scho. Orson Welles gives the film in- dustry a second lesson in his new celluloid technic—but this time the boxoffice "story is going to be far different than wds-the reaction to 'Citizen Kane.' In "The Magnificent Ambersons,' without stars and with much gloom, Welles has a picture that's distinctly not attuned to the times and probably will be just as dismal at the b.o. as the story is on the screen. Although within 88 minutes, this emotional downbeat appears to be endless. On top of the slow and constant jerking on the audience's feeling for hatred, the focal point of that emotion Is so inconsequential as to be ludicrous. With a world in flame, nations shattered, itopula- tions in rags, with massacres and bombings, Welles devotes 9,000 feet of film to a spoiled brat who grows up as a spoiled, spiteful young man. It's something of a "Little Foxes,' but without the same dynamic power of story, acting and social preachment. Also unlike 'Foxes,' this flim hasn't a single moment of contrast; it piles on and on a tale of woe, but with- out once striking at least a true chord of sentimentality. Like "Kane,'-although this time via photographer Stanley Cortez instead of Gregg Toland, Welles utilizes an original method of imfolding his story. Though not in the visual cast .this time, Welles serves as the off- stage commentator in introducing the characters and the plot The central character is Tim Holt, eon of Jack Holt, who is portrayed first as- the spoiled, curley-haired darling of the town's richest family, and then for the major portion as a conceited, power-conscious, insuf- ferable youth. It's brought out that his mother, Dolores Costello, bad originally been in love with Joseph Gotten, bul instead married tiie more social Don Dillaway. Gotten, an auto inventor, xettims to the town a widower with an attractive daughter, Anne Baxter, who attracts young Holt. When the latter's father dies and Gotten again attempts to cotton up to the brat's mother. Holt steps between them. He breaks off with Miss Baxter when she in- sists that he choose a career other than , that of an idle gentleman, and then he and his mother go on a trip. Meanwhile, Cotten's auto factory ' prospers while the Ambersons' wealth melts away. Miss Costello suffers a heart attack in Paris and Is brought home dying, but her son denies her last, wish of again seeing Gotten. Then the autocratic grand- pa Amberson, played by Richard Bennett, di6s virtually Impoverished and Holt finds himself on his up- pers. It's inferred at the finish, however, that Gotten accepts bim as a son-in-law. Thus is the woe piled up, but in Wellesf artistic fashion of keeping characters on the move, photography focussed so that it appears third- dimensional with sets almost con-'' stantly in the dark. Welles comes up with a few more tricks in the direction of the dialog. He plays heavily on the dramatic Impact of a whisper, and on the threatened or actual hysterics of a frustrated woman as played . by ' Agnes Moorebead, an excellent ac«' tress here portraying Holt's maiden aunt and long secretly in love with Gotten. However, she's hysterical too often for the film's good. In^ troducing a- story point via the mouths of bystanders is another trick Welles utilizes here. Of the original Mercury Theatre group in 'Kane,' only Gotten, Miss Moorehead, Ray Collins, playing an uncle of Holt, and Krskine Sanford, who is the bystander always hoping young Holt will get his final due, are included in 'Ambersolis.' They ' give fine performances. Welles' screenplay is far from good, being elow-moving and completely action- less. The dialog at times sounds childish. With the exception of Miss Moore head, Welles evidently strove for the noa-theatrical in performances. Hence Gotten works Uke a man on the street: ditto Miss Costello, Ray Collins, who is one of the few m the cast who smile, and Richard Bennett The latter evidences none of the scenery-chewing for which he was once known. Miss Baxter, a cute, personable and fine little actress, is another on the more cheerful side. Don Dillaway isn't seen much, but furnishes one of the picture's two deaths, the other being that of Miss Costello. She's still very attractive and does as good an acting job as possible in a stilted role. , Cameraman Cortez, evidently fol- lowing Welles' orders, filmed the picture jpirtually entirely in dark UNITED WE STAND Tu-entleth-Fox release of Edmund Reek production. Script by Prosper Buranelll; editor. Earl Allvlne; music, Louis de Fran- cesco; technical edects, Russell Shields. Herman Blumenfeld, Fi«nk Coffman. wai- ter HIcka, William Jordan, Ernest'Wlklng, TradeshoiTfl' In N. T., June 24, '42. Run- ning'time, 76 HIN8. Well contrived documentary is particularly timely and looms as a likely moneymaker for 20th-Fox 'United We Stand" is a story of how free nations dropped into life and ijleath peril because they were ^lit politically by internal dissension, or by overconfidence in the continu- ance of peace. Solid exploitation and bally now being placed behind the picture. What seems to be a comparatively low production nut is a factor m the pic's chances to wind up in the black. Fihn seldom fails to hold interest. However, it is overboard on length and some sequences could have been trimmed and others lifted bodily. Several of these do not further the main thesis about division in demo- cratic countries making them ripe for Nazi conquests. Others merely slow up the yam. Otherwise, it is a masterly job of reciting historical events from 1919 up until America's entrance into World War II. Understood that it required six months to cuU the ma- terial from Movietone News library. Picture traces the disunity in vari- ous countries after Versailles, point- ing up the rise of Hitler to power and Us scheme for undercover re- arming of the German nation. Then it recites the bloodless conquests of Hitler in Austria and Czecho- slovakia, the Polish Corridor crisis and final entrance of England and France into war with Germany. In between are dovetailed the rising war spirit via the revolution in. Spain, Japan's invasion of China, etc. The invasion of Denmark and Nor- way, followed by the blitz through the lowland countries, northern France, Dunkirk, Greece and Jugo- slavia are detailed. How the Japs started out in much the same way with the invasion of French Indo- china on do-wn. to the sneak attack on Pearl Harbor are deftly presented along with the President asking Con- gress for a war declaration on Japan and his plea for unity in the battle to defeat aggression as a climax. In most instances, the trend of events is expressed via world personalities, in the various phases from 1919 to the present time. Lowell Thomas has done a crisply spoken narrative, while Earl All- vine's editing for the most part is topfiight Script by Prosper Bura- nelli, always inteUigeo^t and factual, puts across the itjea of hpw the 'divide and conquer' idea was work- ed over and over again by the Nazis, even though in some instances there was little need for fifth column work. Some may criticize the failure to use the"bombastic narrative style in put- ting across the 'united we stand' idea. But actually, the pointed, dignified style employed by Thomas and scripter Buranelll gains force. Wear. Miniature Renews The Magnlfleent Ambersons' (RKO). Orson Welles' latest, without stars, a slow, gloomy film destined for poor b.o. ■Cnlted We Stand' (20th). Excellent documentary of causes for present Word War. •Lady In a Stof (U). Irene Dunne lightweight farce that should carry through okay In regular runs. Tonne Mr. FlU' (20th-British). Excellent British propaganda but a question mark for U. S. 'One ThrliUng Night' (Mono). Bright comedy for the . pro- grammers. Habber BaeketeeiB* (Mono). Timely program meller based on tire bootlegger activities. Sup- port for family houses. Tower of Terror" (Mono). Grade 'B' British-made horror thriller; for duals. ■> ing up an old rich vein to get some high-content quartz, and finally falls into the arms of Eiiowles. Story Is rather staccato at times, hut there are some bright lines and situations that whUe slUy In the ex- treme, still are natural laugh-pro- ducers. Miss Dunne handles the lead ex- cellently, getting good support from Knowles, Ralph Bellamy, Eugene Pallette, Edward McWade and Sam- uel S. Hinds. Miss Vassar muggs all over the desert to provide a syn- thetic tinge to her desert-queen char- acterization, while little Jane Gar- land Is excess baggage as an intrud- ing youngster; THE YOUNG MR. PITT (BBITISH-MADE) London, June 16. Twenttetb-Foz release of Edward Black- Maurice Ostrer production. Stars Robert Doaat; featnrvs Robert Morlsy, Phyllis Calvert, John Ullls. . Directed by Carol Reed. .Frvduced by Edward Black, Uaurlce Ostrer. ' Screenplay, Sidney OU- llat, Frank Launder; story and dialog. Viscount Castlerosse; camera, Frederick Toung. Running time, 118 SONS.' Earl of ChaUtm f ■bm^^ Ti»-.t 'William Pitt J Robert Donat Charles James Fox Robert Morley Eleanor Eden Fbyllla Calvert William 'Wllberforce John Hills Qeerge III Raymond Lovell Sheridan Has Adrian Lord North Felix Aylmer Lord Nelson....Stephen Haggard Tallyiand Albert Lleveq Napoleon Herbert Slom Mrs. Sparry Jean Cadell were when he uttered them. For example, In the debate on the xrar between England and Napolon, he said: 'We must remind ounelves that toe are called to ftrugole /or the destiny not of thi* country alone, but of the civilized loorld...and we shall at lost see that tuicked fabric dettroyed tohich has broucrht vHth it more miseries, more horrors than are paralleled in any part o/ aw aniiaXs of mankind.' Robert Morley, who so frequently 'steals the show,' again towers above the rest of the excellent cast In the stellar role Robert Donat acts with meticulous earnestness and sincerity, but seemingly lacks in- spiration. One seems fo detect the mechanics of fine acting-^ sort of straining to be convincing.. In sharp contrast John Mills, in a relatively minor role, is implicit without re- sorting to heroics. They are two diametrically opposed schools of act- ing. ' Raymond Lovell,--as King George III, contributes a splendid characterization. Carol Reed's direction Is sensitive, the work of the producer interesting throughout, mvd the photography on a high planp. ■ ^ Jola One,Thrilling Night Hollywood, June 26. HonogTom pioduotlon and release. Stars John Beal; teatorea 'Wanda McKay; with Warren Hyraer, J. FaireU McDonald, Bar- bara Pepper, Tom Meal, Emie Adams, Lyn- ton Brent, Pierce Lyden, X3ene O'Donnell, Jlra O'Qatty, Tom Herbert and Charles Williams. Produced by A. W, Hackel. Di- rected by William Beaudlne. Assistant di- rector, Maok V. Wrigbt. Phtography, Mar- cel Le PIcard. Soond recorder, Olen Olenn, Bdltor, Martin O. Cohn. Moatcal dIrecUon, Frank Sanacol. Production manager, Ben Outterman. Original acrvenplar by Joseph Hoffman, Reviewed at Vista. Jane 26, '42. Running time, 69 BIINS, There is so much to acclaim and so little with which to find fault in this production. It has a certain propaganda message for England, but it remains to be ieen whether America will" take to It from the £ame angle. There are over 150 speaking parts, all of them praise- worthily hantUed, and the overly generous 18th century period de- tails have seldom been better re- produced. It's a costly production all. tha way. For American audi- ences it may be too leisureJy In its unfOldment, consuming aUqut two hours. Story Is based on the political ca- reer of William Pitt, Jr., who was Prime Minister of England at 24. Some of the things he said in Parlia- ment are as timely today as they LADY IN A JAM Hollywood, June'26. Universal release of Oreftory LaCava pro- duction, directed by LaCava. Stare Irene Dunne; features Patric Knowles, Ralph Bellamy, Eugene Pallette, Queenle Vossar, Screenplay by Eugene Tliackrey, Fraok Cockrell and Otho Levering; camera, Hal Mohr; editor, Russell Schoengarth; asst. di- rector, Joseph A. McDonough. Previewed in projection room, Juno 2&, '42. Running time, 81 MIM8. Jane Palmer ; Irene Dunne Dr. Enrlght. Patric Knowlee Stanley Ralph Bellamy Mr. Blllingsley Eugene Pallette Dr» Brewster Samuel S. Hlnde Cactus Kate ...Queenle Vassar strawberry Jane Garland Qroundhog Edward McWade Faro Bill Robert Homans Name of Irene Dunne in starring spot 'Will have to be depended on mostly to carry this one through top- flight bpolcings, but pic should snare fairly good grosses regardless. Pic- ture is one of those fluiTy affairs that in more normal times might not go over, but in these days, where al- most anything is good for a laugh, 'Lady in a Jam' has enough comedy to achieve its elemental purpose. Miss Dunne is cast as a scatter- brain heiress who's a sucker for nU' merology, and dissipates the fortune left by her grandfather to wind up witnessing a sheriff's sale of her re. maining assets. Patric Knowles is a psychiatrist assigned to straighten her out, getting a job as her chauf- feur. Girl goes out to the desert wastes of the west to visit grand' mother Queenie Vassar, with Knowles naturally along for observa- tion purposes. Miss Dunne is the recipient of grandma's help in open- Current Short Releases (PBINTS. IN EXCHANGES) The war and gangland reaches into the bridal chamber to humorously checkmate true love, and thereby hangs a tale of frustrated youth, amusingly and speedily told In this obvious quickie. It has its place among programmers, however. Writer Joseph Hoffman had a glib, if unoriginal, idea here and stretched It right Ma the very end, combining' many corny lines with some' really bri^t nifties, most of which are got- ten off by John Beal. playing the too' innocent spouse who never quite gets to • his spousing. The dialog sparkles in spot^, making.audience, forget for a time the improbable situations. It's equally bad in other spots, however, and Is unconvinclngly mouthed by supporting players. In New York on a 24-hour honey- moon from Connecticut before he is luducted into the Army, Beal and Miss McKay are overrun with gang- sters who seek a cache in the room to which they retire. Cops and rob- bers are In and out of their suite- turnedrterminal; Beal is abducted, returned, recaptured and finally Is up for Army induction before ever getting to the feathers. And Miss McKay sums it up for fadeout by saying 'darn those Japs.' Old mistaken-identity theme is used but on occasion, there is no mistake about the humor. It's do'wn- right funny sometimes and, paced by William Beaudine, there is seldom a flagrantly diill moment, with fight scene climax being particularly good. Beal plays his part to the hilt As much cannot be said for his foil, who Is a little wooden. Tom Neal's hood- lum portrayal is similarly light- weight, and Warren Hymer's dopey house dick is the usual awkwardly funny role. Actually, much of the film is shouldered by Beal, the In- and-out action and the occasional gems of the scripter. Walt. (Compiled by Besa Short) 'Keep 'Em Rolling' (U, 8 mins.). Gratis defense subject with Jan Pearce's voice fea- tured. 'Lake Carrier* (Adams, 9' mins.). Another gratis defense story with Fredric March nar- rating. 'Gandy Goose in the Outpost' (aoth, 7% mins.). Terry-toon cartoon comedy. •Hero Worship' (Par, 10 mIns.). Grantland Rice sports subject India the Golden* (20th, D mins.). Magic Carpet travelogue with LoweU Thomas narrating. 'Qnli Kids No. 6> (Par, 10 mins.). Features Joel Fleck, Dallas quiz kid winner, and Ruth Duskln. •March on Amerlea' (WB, 21 mins.). Richard Whorf narrates story of great U. S.; calctilated to inspire fighting mood. 'Ezotle Mexico' (M-G, 8% mins.). Fitzpatrick traveltalk on southern Mexico. The Incredible Stranger* (M- G, 11 mins.). John Nesbitt dramatic; 'ClndereUa Champions' (RKO, 8 mins.). Alsab and Requested, champ race horses, In back- stable views. 'Piotnre Feople No. 1|' (RKO, 8 mins.). Hollywood stars with Edgar Bergen, Michelle Morgan, Gail Patrick, others. Rubber Racketeer* Hollywood, June 24. Monogram release of King Bros. (Manrlcfs tc Franklin) production. FeAtnres RIcardo Cortez, Roebelle Hudson, Bill Henry. Di- rected by Harold Toung. Original screen- play by Henry Blankfort; c4mera. L. Wil- liam O'Connell; editor, Jack Dennis; pro- duction manager. Mack V, 'WrUfbt; asst. directors, Arthur Gardner, Herman King. Previewed at Fllmarte, June 28, '42. Run- ning time, 6B MINS. Qllln RIcardo Cortez NIkkl i Rochelle Hudeon Bill Barry Bill Henry Mary Dale...% ,. Barbara Read Angel Hfllburn Stone Lackin Dewey Robinson Dumbo Jolin Abbott Cnrley Pat Qleason Male Dick Rich Red Alan Hale, Jr. Freddy Dale Sam Edwards Tom Kam Tong Bert.,, Dick Hogan Iiila Marjorle Manners Butch Ales Callam Current activities of tire bootleg- gers provides a topical basis for this meller of ' gangdom, with defense plant workers in the roles of heroes, Following familiar melodramatic trails, picture is neatly set up to Be cent the adventurous angles, and will provide good dual support in the secondary and family bookings. BiU Henry is cast as the defense factory worker who lines up a gang of fellow employees to dig up the rubber racketeers after a pal has been killed through blowout of a bad tire sold him. Ricardo Cortez Is the former big shot bootlegger who dips into the rubber racket on a grand scale after release from prison for an income tax rap. Climax moves In the defense workers for rousing bat- tle in gang headquarters, with even- tual roundup by the cops. Picture carries a strong warning to e public to steer clear of sup. sedly good tires that might be un> the jioseaiy gooa wea uiai mignt oe un- loaded by UDscnipulous dealers who might easily recap bad carcasses with a moderate amount of rubber —^wlth danger of blowout concealed Ricardo Cortez, BUI Henry and Rochelle Hudson carry the leads along In good style, with Harold Young's direction maintaining a speedy pace throughout Production^ mounting is above par for the mod- erate budget outlay. Walt TOWER OF TERROR Monogmm release of John Argyle produc- tion. Featoiea 'Wlltrid Lawson, Michael Ronnie and Movlto. Directed by Lawrence Huntington. Stoiy by John Relnhardt. At Central, N. T., week June 27, '42. Run- ning time, n UNB. Krlatan Wilfrid Lawson Marie, Durand Movita Anthony Hale Michael Rennle Kleber Morland Ornbam The Conunander John Longden Jurgens George Woodbrldge Capt Borlunann Richard George Fletcher Edward Sinctair Albera Charles Rolte Riemera Brio Claverlng Peter* J. Victor Weeks When the British make a horror picture, it usually Is eittier gosh- awful or excellent This is the for- mer. 'Tower of 'Terror' is a minor 'B' suited only tor secondary. spots on lesser dual bills. Has the added handicap oS. having no players known extensively In this country. Tale of a demented . Ughthouse keeper on an Isolated German Isle brings in dark-haired Movita, an es- caped prisoner'from a concenbation camp; Michael Rennle, a British agent, and a typical (jerman. naval comiAander, John Longden. Keeper has been half-crazy since he killed his wife 16 years before. Movita Is flshed 'out of the water by Wilfrid Lawson, the keeper. He thinks she Is a dead Image of his buried 'wife and dresses her up in his wife's clothes. Plot is on verge of getting naughty when Rennle arrives. He is only waiting a chance to smuggle fortifi- cation plans to London. Consequently, the jealousy of the keeper compli- cates matters, and there's a free-for- all between the madman and Rennle. Ultimately, Lawson digs up his wife's grave and falls Int6 It Acting varies from fair to terribly bad. Direction Is about the same. La'wson as the lighthouse keeper Is outstanding. Picture has so many Implaussibilities that they bring laughs at the wrong time. Wear. DeSylva -Contlnned from page 2s noble to give up even your life for your country if need be,' must form a substantial part of wartime pro- duction. And he 'therefore plans to split his production slate as evenly as possible into three broad cate- gorlesr-eight fllmusJcala.. e)*ht.pic-, tures tmrelated to any phase of the war, and eight topical pictures com- pletely tied in with the war back- grotmd. Example of Coventry Nonetheless, he contends that the greatest gifts of all which film pro- ducers can at. ihe moment be- stow upon harassed humanity are comedy and music. Always Inclined to make fllmuslcals the backbone of his production slate, DeSylva points to an Incident 'i^rhich occurred dur- ing an air raid on much-bombed Coventry as further substantiation of his ideas. Following one of the raids a picture house in Coventry put 'Caught In the^ Draft' on the screen and so many people came iii to see It that it was kept running continuously on a 24-hour grind for days. 'B people in moments of their greatest stress could find relief and forgetfulness and possibly a bit of happiness in a picture of that type, no stronger ar^'ument for their con- tinued production can be presented.' DeSylva does not subscribe to the theory held In some quarters that picture-making Is a rather futile affair at a time when'men are losing their lives on -:* .e battlefield as well as in the vulnerable cities of England, He holds that by the very nature of the effect upon the im- portant civilian home production front, pictures, are of inestimable tliough intangible value in time of- war; that people aro entitled to di- version, in the proper sense of the word, DeSylva said that the grave talent shortage confronting the industry could not be minimized. But he be- lieved that this was a problem that Hollywood would solve. Followbig buddies with Barney Balaban, Irving Borlin and Mark Sandrich on the filming of 'This Is the Army/ deal with Berlin for the rights having nearec. the inking, stage, DeSylva shoved off for Holly- wood Friday (25). S.andrich stays east for a time, being scheduled to consult Army authorities on their further cooperation in fllming the musical. He's also concentrating on a Red Cross theme..