Variety (Aug 1942)

8 FILM REVIEWS Wednesday, August 5, 1942 Tales of Manhattan Twentlcih C«n(urT-Fox nleaM ot Boris Morro»-S. P. EaKlo prodaetlon. SUni ChorleB Boyer. Bltii Hoyworth, Ginger BoKers, Henry Fonda, Charles lAUChlon, Rdwanl O. Robinson, Paul Robeson, Ethel Waters an* Bddle (Rochester) Anderson; features Thomaa Mitchell, Eugena PallaUe, Cesar Romei'O, Gall Patrick, Roland xou^K, lilsa Lanchester, George Sanders, James Gleason, Hall Johnson Choir. Directed by Jullen Duvlvler. Original stories and screenplay by Ben Hecht, Fertno Molnar, Donald Ogden Stewart. Samuel Hoffon- sieln, Alan Campbell, Lndlslas Fodor, L. Vadnal, I.. Gorog, Lamar Irotll, Henry Blanktorl: original music by Sol Knplnn; •Glory DaV by Leo Robin and Ralph Ralnger; camera, Joseph Walker; editor, Robert Bischolt. Tradesbown In N T., Aug. 3, '42. Running time. 117 MiNa. Orman Charles Boyer Ethel RI«« nay worth Diane G'nKer Rogers George CharTea Smith Charlea Laughton Browne Edward Q. Robinson Lulto Paul Robeson Esther Ethel Waters Rev. Lazarus. .Eddie (Rochester) Anderson Halloway Thomas Mitchell Luther Eugene Pallette Harry >..Cesar Romero Ellen , ....Gall Patrick Sdgar Roland Young Squirrel ;..Marlon Martin Mrs. .Smith ElM Lanchester Arturn Bellini Victor Fronjen Williams George .Sanders 'Father' Joe James Glenson Pro'elisor Lyons Harry Davenport Hank Bronson Jamea Rennic Costello J. Carrol Kalsh The Hall Johnson Choir Themselves Secondhand Clothes Dealer Prank Orthi Wilson Christian Rub Piccolo Player Slg Arno David Harry Hayden Judge ' Morrla Anknim Henderson Don Douglas jtfolly . Mae Marsh Grantlpa Clarence Muse Christopher George Reed Nlca<lemus .'Cordell Hickman •Spud' Johnson Paul Rcnay Mary Barbara Lynn Grandmother Adeline UeWalt Reynolds Actress Helena Reynolds In cajt and writing credits, this Is probably the most ambitious picture ever to come out of Hollywood. Several million dollars worth of stars and featured players stumble or waltz through the episodic story and their names on the marquee should mean exceptional grosses. But the highly-touted film will win no great critical acclaim. Actually, with all the acting, writ- ing and production talent, this 1942 fantasy about a dress coat is remi- niscent in basic format of Marshall Neilan's 'Bits of Life,' circa 1921, as was Faramount's 'If I Had a Million,N of 1932, which likewise had multiple star acting, and writing credits. Tales,' like 'Million,' is spotty and the weaker portions of the long film can only be acknowledged to the . actors and director Jullen Duvivier, inasmuch as the writing credits do not specify who wrote what The hero is an expensive dress coat, which bears a curse, and Uie film recounts the fortunes and mis- -fortunes of those who wear or come in possession of it. It was originally made for Charles Boyer, playing a Broadway matinee idol; and winds up as a scarecrow on; a {ioor old Negro's farm. Unfortunately for the Boris Mcrros-S. P. ^gle production, the picture's weakest moments. are at th'3 very beginning and the very end. The poorest actmg and direction are also at the very beginning, with Boyer, Rita Hayworth and 'Thomas Mitchell struggling and failing to keep alive a terribly trite situation. Boyer, wearing the tails for tiie first time, goes from a triumphant open- ing night directly to the sumptuous home of his former mistress. Miss Hayworth. who has since married Mitchell. The latter shoots Boyer, but the actor feigns that it.was a complete miss and thus brings out Miss Hayworth's true emotions, ie., that shell doublecross anybody for. her orm security. It's a badly over> acted episode and' doubly unflatter- ing for Miss Hayworth because of th; poor camera job. Marred by the bullet hole, the dress coat is then palmed oS by Beyer's valet-chauffeur, Eugene Pal- lette, on Roland Young as security for a $10 'loan. Young is valet .fpr Cesar Romero, who is on the verge of marrying Ginger Rogers. She comes calling on Romero with Gail Patrick, who is in the dumps because of evidence that her husband is cheating. Miss Patrick, seeking com- pany In misery, persuades Miss Rog- ers to look through Romero's dress coat, draped on a chair after a hec- tic bachelor party the night before. The bride-to-be fishes out a torrid love letter from another girL Ro- mero, emerging from his bedroom, fets the drift and phones pal Henry onda to come over and pretend the dress coat is his. Young slips Fonda the actor's tails and Fonda slips Miss Sogers the phoney stoiy. Miss Rog- ers, in view of the love letter, now sees the mild, shy Fonda in a new light and in a few moments they are in love with one another, Romero, meanwhile, falling back into the clutches of his blonde mistress, Ma- rion Martin, who barges in to foil the Wedding. Tkis scene is about the only comedy moment in the fl^m, but the laughs are labored except in that one spot where Fonda gives his Interpretation of a boudoir-lion's roar. The two valets then pawn the dress suit and it winds up on the back of Charles Laughton, a barroom pianist who finally' gets an oppor- tunity to conduct his own symphonic composition in Carnegie HaU. En route to the hall he is reminded by a sidekick that he must have white tie and tails, so Laughton's wife (on Miniatare Reviews Tales of ManhatUn' (20th). Multiple star credits insure big b.o. fpr this episodic story about a dress suit. 'Somewhere I'll Find You' (M-G). Gable and Lana Turner —dynamite at the b.o. Tardon My SaroDgV (U) (Songs). Abbott & Costello in another with laughs aplenty. Will get top A & C biz. The War Asalnst Mrs. Hadlcy' (M-G). Impressive ana at times poignant drama should - draw satisfactory, if unspectacular grosses. "The Big Street' (RKO). Henry. Fonda and Lucille Ball in Damon Runyon coinedy-romance, geared for sturdy b.o. returns. 'Jonmey Into Fear' (RKO). Orson Welles displays a spy meller on a slow freighter, Pic- ture at same pace. Dualer. 'Invisible Agent* (U). Invisible Man ' idea utilized for fanciful war meller. Good family and nabe bookings. 'Flight Lieutenant' (Col). An* other airplane, meller, about training youngsters, but only mild b.o. results. 'Mexican Spitfire's Elephant' (RKO) (Songs). Best of series, solid laugh entertainment for general audiences. •The Silver Bullet' (U) (Songs).' Neat western with log- ical action and incidental songs.. 'Sabotage Squad' (Col). Fam- iliar Nazi saboteur meller, filler for the dual grinds. < 'Danger in the Faclflc' (U). Leo Carrillo and Andy Devine in an obvious B actioner for the lesser duals. and oft the screen), Elsa Lanchester, hurries off to the pawnbroker. The dress suit is too tight and it splits while Laughton is on the podium, sending the chichi audience into hys- terics. Laughton tears off the coat antl collapses in tears, but maestro Victor Francen, who sponsored Laughton and is sitting in a box, saves the day for the composer by stripping off his own dress coat and waving the concert on. Shame- facedly, the rest of the men in the audience also peel down to their shirtsleeves and Laughton goes on to a musical triumph.. This scene ranks apiong the two best in the picture and, like in Paramount's 'Million' of 10 years ago. Laughton just about carries off all the acting honors. Close behind him in the acting score is Edward G. Robinson, who, as a disbarred Chicago attorney,, is humming it on N. Y.'s Bowery. By a devious route he gets an invite to the 25th anniversary reunion of his Chicago university classmates. Laugh- ton has slipped Uie dress coat to the Salvation Army and James Gleason, head ot the Bowery mission, pur- suades Robinson to wear it antl at- tend the class reunion, thus^''pos- sibly, effecting a reformation. Every-, thinjLgoes smoothly at the party ui>' til Rpblnson's 'former'Taw partner" and enemy, Cieorge Sanders, wrong- fully acbuses him of picking another classmate's pocket. Robinson then confesses the fact that he's downr and-out and walks out on the cele- bration. However, three of his pals follow him down to the Bowery mis- sion and i:eclaim him for a good job. The tails then go to a second-hand clothes dealer. They are stolen by J. Carroll Nalsh, who wants to stick up a classy gambling joint He suc- ceeds in that, but the plane in which he's making his escape catehes fire. The coat , starts to bum and Naish peels it off and throws it out of the plane, rot. thinking that it contains nearly $50,000 in cash. It falls at the feet of Paul Robeson and Ethel Waters, working tteir farm. Tliey look at the money as if it were manna from heaven and rush to their preacher, Rochester, who in turn divvies, it among the colored popu- lace according to the extent of their prayers. Robeson wished for a trac- tor, so he gets $700; a little colored boy prayed for shoes and stockings, so he gets $4; an old darky prayed for a coffin, so he,gets $25, antl so on. The dress coat is finally given to a Negro who had prayed for a scare- crow and the film ends on the Hall Johnson Choir singing 'Glory Day,' led by Robeson. A social preachment,* the picture's finale is not entirely satisfactory. The acting here is quite natural, and good, but the entire scene is one of gloom and poverty which even the advent of a bonanza can't dissipate. The photography, in dark and shade, and director Julien Duvivier's trick of heightening misery make the scene all the more .woeful. The expanse of acting and writing talent may have been too much for Duvivier, a fine foreign director, for he comes up with very few original touches in Uiis picture. Some of the sequences he appears to have per- mitted to go along on their momen- tum. , ' The cast credits are altogether too numerous to mention and some very fine players are In some very small bits. Despite the plenitude of- costly stars, featured players -and writers, Morros and Eagle brought the film in for slightly more than $1,000,000, not high considering all the credits. By seUing the idea of maklnt! epi- sodes, instead of an entire film, the producers were able to arrange com- paratively low salary deals with the players. "Ilie same applied to the writers. Balancing the marqueo power again'sf the cost further points up the big profit possibilitie* in 'Tales.' Scho. Somewhere I'll Find You Metro releas« or Pandra S. Berman pro- ducUon. Stars Clark Gable. Lana Turner; features Robert Sterling, Patricia Dane, Reginald Owen, iJM Patrick, Charlea Dingle. Directed by Wesley Ruggles. f^ci-eoniilay by Marguerite Roberts; nddpted by Walter Relscb, based on story by t.'hnt-les Hoffman: camera, Harold Rosson; editor. Frank E. Hull. Tradeshown Ir N.Y., Jul.v m, '42. Running time. lOT MINS. Johnny Davis Clark Oab)o I'nluln Lnnc Lana Turner Kirk Davis Robert Sterling Crvrt.Tl McRengon PntrJcIa Dane Willie Reginald Owen Kvo Lee Patrick George L. Stafford Charlea Dingle ' Metro has again parlayed Clark Gable and Lana Turner, and their magnetism towards the boxoffices should be just as terrific as their explosive 'Honky Tonk.' While some captious critics will tear the story apart it's as torrid a romance as Tonk' and with dialog twice as racy. And that's what makes the wickets whirl. Miss Turner is the modem Jean Harlow of celluloid—a sexy, torchy, clinging blonde who shatters the in- hibitions of the staidest male. Gable has seemingly always made the same impress on the women. Tossing them both together, even if surrounding their clinches with but a specious story, provides an extremely potent antidote for ailing exhibitors.. The fact that this Cosmopolitan magazine serial ot 1940' has been brought up to date (Dec. 7, 1941), and given a rousing patriotic finish, will not once, however, permit the audience to forget that a supposedly irresistible force (Gable) Is in con- tact most of the 107 minutes with a very movable object Miss Turner attracts, she melts, she pouts, she yearns, she weeps—she, in fact, does everything the Hays office permits. The scriptwriter went even further; some ot the dialog is the baldest double-entendre. No dgubt is left that here are two very physical hu- mans straining their emotions , to tiie furthest point. Japan's invasion of the Philippines is overshadowed and even at the fin- ish, when Gable is dictating the story of the fall of Bataan i>eninsula, the story seems to merely await the final showdown with Lana. Turner. Thus, Gable could just as well have been a soldier, or a truck tiriver, rather than a go-getting, ruthless foreign correspondent tor an isolationistic N. Y. daily. The newspaper angle actually is silly, pointing up once again Hollywood's failure to capture the true atmosphere ot newspaper- men and news in the gathering.' But that's also incidental to the heat— and. it's not on' a thermometer. The.stoix. is taintw. Gable and_his kid brother^assistant correspondent are ejected from Cjermany. Hie kid, Robert Sterling, is in love with Lana Turner, and Gable resents it. She turns out to be a once-cub reporter whom Gable stood up three years previously. Gable, in order to stop his brother's romance, goes on the make once again and Miss Turner puts up no more resistance than but- ter to ^ hot knife. Once his brother's illusions are blasted. Gable quickly gives her the brush, so she accepts an assignment to Indo-China. TVo months later she is reported missing' and Gable is asked by his editor, with whom he's been feuiling, to go and find her. The two brothers rec- oncile for the job. They turn her up helping refugee Chinese children es- cape bombings by the Japs. That convinces Gable she's regular, but he tries to palm her off on his brother. It doesn't work, even when he skips out to Manila. She flntla him there the night of Dec. 7, chases pretty brunet Patricia Dane out of Current Short Releases (Prlnta in Exchaofe*) (Compiled b|f Besa Short) 'BnUd»c and the Baby* (Col,- 6 mins.)'. Cartoon comedy. 'Screen Snapihoti No. 1' (Col. 11 mlns.). Includes Kay Kyser at U. S. Marine base. 'Gaudy GoMe In Tire Trouble' (20th, 7 mins.). Terry-toon car- . toon comedy. T-Bone far Two' (RKO, 7 mins.). Disney Pluto cartoon comedy. •Tbor Air Bald Warden' (20th, ll mins.). Produced by Signal Corps, explaining air-raid .war- den work. 'Men of the Sky' (WB.. 20 mins). Work of U. S. Air Corps. 'AU Out for V (20t>, 6% mins.). Cartoon. . 'Desert Wonderland' (20th, 9 mins.). Travel subject. . 'Pigeon Patrol' (U, 7 mins.).v Cartoon comedy. Inside Fighting Bussla' (UA, lit mins.). World in Action 'war short. ■ 'Unosoal Occnpatlons No. 6' (Par, 10 mins.)..Includes Hardin- Simmons (Texas) college toot- age. 'Divide Sc Conquer' (WB, 14 mins.).' Stresses how Hitler's propaganda operates, but won't in U. S. his bedroom, but Gable has the im- pression that his brother is now head man. When t]:e Japs strike, instead ot going off Jo Australia, Miss Turner becomes a nurse and the kid brother' becomes a soldier. Latter dies hero- ically at the finish; Miss Turner is found very much alive after Gable presumed her dead, the N. Y, Chron- icle, gets a- stirring story from Gabl^, and thin the romance is left hanging fire until the ' next Turner-Gable starrer.' One of the picture's most ridiculous angles is having. Gable, deep in the jungles of Bataan, dictating a story to a Filipino secretary. That's what makes newspap'er critics burn and scenarist Marguerite Roberts is no extinguisher in several 'other spots as well. That scene showing Gable throttling his editor and, by subter- fuge, having the Chronicle print a strong anti-Axis story, is tripe that will even appall a copy boy. Also that incident of Gable cabling his own scoop to an opposition news- paper under the byline of an old, sick correspondent But; in this instance, that's all box- office license and a means to an end, even if it's a slow, .draggy one for 107 minutes. Gable was either in work in this film, or made it soon after .the c|cath of Carole Lombard (Mrs. Gable). It's seemingly evident that he was under strain; he's not quite as dashing a hunk of masculin- ity in this picture as he has been in the past- But he's a'reasonable fac- simile and that should coimt, al- though there are some who may tpiesuon his appearance in this type of torchy film so soon after his wife's tragic end. Miss Turner glove-fits her role. She's not' an actress and probably never will be one, but she's a physi- cal beaut with all the s.a. trim- mings. Sterling does a highly com- mendable - job as Gabled young brother; he should be heard from plenty in (V:e future. Patricia Dane looks very fetehing in the small part ot a Brooklyn girl on the make in Manila—^where the technique evi- dently is no different than in Brook- lyn; Reginald Owen and Lee Patrick catch the profitable biz of prede- cessors in all runs. In addition to the broad horseplay of the two comedians, picture has six song numbers-^three neatly spotteii to highlight deliveries by the Four Ink Spots and one specialty fast- dance of showstopping proportions by Tip, Tap Si Toe, colored artists. (2hase gets away right at the open- ing, with the two comics ,heading west in a Chicago municipal bus bound for the Coast Gags and rou- tines are' dropped plentifully along the route,, \mtil boys ^itch to sail- ing yacht entered in race across the Pacific. This lands them on a Sti'uth Sea isldhd as locale for further horse- play, with native tribe and saronged girls, lions, sharks, a trained seal, and alligators used for laugh-props, Plot of Lionel AtwUl and his gang .to steal the tribe's jewels is foiled by Costello in a continuous and rousing chase at the finish, in which evefy possible laugh-getting prop and situ- ation is utilized. . Despite the fact that niany of the gag sequences have been filmed many times before, the spontaneous and expertly timed deliveries by Abbott & Costello dress' them up in new regalia for cinch laugh reaction. Di- rector Erie Kenton, veteran of Hol- lywood's comedy scene, pulls many an oldie out of the files for the boys to romp around witji merrily. Story is episodic, and not too well knit together, but that's no drawback in this instence. Musical side dis- plays a good assortment ot tuneful numbers. Robert Paige and Virginia Bruce deliver 'Island of the Moon,' while Nan Wynn and chorus are spotlighted for two South Seas songs, 'Lovely Luana' and "Vingb Jingo.' These three were written by Don Raye and Gene de Paul. Pour Ink Spots presentetions inclutle 'Do I Worry,*^ 'Java JIve' and 'Shout, Brother, Shout' Miss Bruce and Paige are strictly in tor the romantic thread with lim- ited footage. Atwlll, Miss Wynn, Leif Erikson, Samuel S. Hinds and Wil- liam Deniarest are most prominent in supporting spots. Production mounting is okay throughout with photography by Milton Krasner of standard calibre. Walt. The War Against Mrs. Hadley Metro release of Irving .^sher pi-oducllon. Features Edward Arnold, Fuy Ri|lnter. Di- rected by Harold S. Bnrquet. Original screenplay, George Oppenhelmer: camera, Karl Frcund; musical score, David Snell; editor. Blmo Veroo. Tradeihonrn In N. Y. July BO. '42. Running time, KB MINN. Elliott Fulton Edward Arnold Stella Hadl«7 Fay Ba Inter Theodore Hadlar Richard Xey Patricia Hadley .Jean Rogera Mrs. Michael FlUpatrlvk Sara Allgood Cecilia Talbot Spring Bylngton Michael Fltnatrlck Van Johnson Mrs. Laura winters Isobel Elaom Sally Francen R'afterly Millie Dorothy Morris Bennett Ilalllirell Hobbcs Cook Connie Gilchrist Peters Horace Mci^ally Dr. Leonard Meec4iam. .Miles Mander Louie . ; Rags Rngland Bob Mark Daniels Measenger Boy.^ Carl Swllzer Mrs. Hadley. A.,.K.ua>u yj„^, <iiiu * Character study of Mrs. Hadley's aW acqSit themselves weU in smaU f?t"bborn refuel to fa<;e unplea^nt 'Wings and the Woman' 'Wings and the Woman,' trade- shown this week by RKO, was reviewed by 'Variety' In Lon- don last April 12 as 'Tliey Flevtr Alone,' title unfler which It was originally released in Great Brit- - ain. At that time, the picture ran 104 minutes. For U.S. dis- tribution, the production has been trimmed to 96 minutes, with the new tiOe for the Anna Neagle aviation; starrer. 'Variety' said: To review this for the States is like an American trying to measure a film biog- raphy of, say Knute Rockne, fpr the British market, only more so. There's no question ot pic's box- office power in the Empire.. ,de- ' spite the attenuated story, the film holds attention.' ' parts, as does Charles Dingle, an ex^ ceptionally capable actor, m the role ot Gable's editor. Pandro S. Berm.an gave the story good production investiture and Har- old Rosson was okay on the camera end, but -director Wesley Ruggles could have considerably speeded uP the story. If not him; certainly the cutter. The dead spots are obvious. Scho. PARDON MY SARONG (WITH SONiaS) Hollywood, July 31. Universal release ot Mayfalr (Jules Levey) Production; produced by Alex Gottlieb. Stars Bud Abbott & Lou Costello. Directed by Brie C. Kenton. Original si:reenplay by True Boardman, Nal Perrln, John Orant; camera, Milton Krasner; editor, Arthur Hilton; asst. director. Honard Christie; dances. Kalb- erlne Dunbani; musical supervisor. Ted Cain; muslcAl director, cntarles Previn; nngs, Don Raye, Oens de Paul, Milton Drake, Ben Oakland, Stanley Cowan. Bobby North. Previewed at Pantagea, July 80, •41. Running tlmt. 88 MIMB. Algey Shaw Bud Abbott Wellington Phlug Lou Costello Joan Marshall Virginia Bruce Tommy Laylon Robert Paige Varnoft Lionel Atwlll Whtt>» ., Leit Erikson iMana >jan Wynn Detective Kendall WUllam JJemarest Chief Kolua Samuel S.-Hlntls Ferna Marie McDonald Amo Elaine Moray The Four Ink Spots. Tip, Tap lb Toe, 'Latest Abbott and Costello starrer is one continual chase, with the boys displaying the^ir familiar routines and antics for plenty of laughs en route. It's a standard A&C comedy that will 'The War.Against Mrs. Hadley' is a propaganda picture and a good one. It's .timely, thoughtful and, though slow, engrossing and oc- casionally affecting. It should draw critical .pcai.se.. favorable . yitjjrd-oi- mouth <comment and profitable grosses. It will be handicapped by its lack of sock marquee names, Tts absence of spectacular action, and its enigtnatic title, but it has enough merit to overcome those shortcom- ings. Contrary to the title, the film isn't about anyone waging war against RaUier, the story is reality, and how her fundamentally sound character ultimately proves equal to the crisis ot war and per- sonal tragedy. In a broad sense, it's a story of the escape urge in every- one. More specifically, it's the story ot the average American and the present war. As propaganda must if ifs to be most effective. The War Against Mrs. Hadley' is based on logic, but its appeal is to the emo- tions. ' The picture is not a profound or probing one. It attempts no analysis of why the pampered Mrs. Hadley attempts to shun the present for her detached .world of a vanished past. It mefely sUtes that she clings to the views of her late husband, the pub- lisher of a' staunchly conservative Republican newspaper in Washing- ton. It shows how she snobbishly refuses to recognize the woman whose husband took over the paper and turned Its policy to Democratic liberalism. It shows how she spoils her only son and, by refusing to ac- cept changing ways, loses contact with her vibrant daughter. 'When'..this resistance to reality has finally exiled her in personal loneli- ness, when her daughter has left her for a socially unacceptable marriage, her son has fone into the Army, her lifelong admirer has been banished and her silly but devoted friend has been alienated, she is at last brought to her senses, but only through the example ot generosity and emotional valor ot those she has snubbed. Learning that her son has been dec- orated for bravery in action, she re« fuses to talk to reporters, until (Continued on page 27)