Variety (Sep 1942)

8 FILM REVIEWS Wednesday, September 23, 1942 George Washington Slept Here Winner BroH. r«lca»e ot Jerry Wftid pro- duv'lloii. SlBrh Jink Bviiny. Ann Sherlilon; fi'oiuii'b ChnrlCK A'oburn. Pert-y Ktlbrido, Ihittle MiUniiifl. Wllliiim Trncy. Joyce Ki'\'noMn. Hiiricy Slppheiis. IJirecttd by WiJIInni Kelclilcy. From play of some nninc hy Mo'n Unrt onO OcorKe S. Knuf- liiiii): .lil;i|itnllon. Everett Froemnn: editor, Kiiluli Dntvson: phmoKraphy, Ernie Hallcr. •J'r;'.l. <h..«n in X. Y.. Sept. 17. 'Vl. Hun- iiiiiE time. 93 .MINS. Hill Fuller J»clt Benny f.nnie Fuller Ann Sheridan I ncle Stanley Chnrles Coburn Mr. Klinber ffrcy Kilbride Hciler Hflttle MrDnnlel ,«teve Eldrldge William Trncy Madge iJoyce Reynolds Renn Leslie Lee I>Btrlck >lr. Preseolt Chnrles Dingle riiivtnn livans John Emery llaymund DoUBl»« Croft Jelt nouglsn Harvey Stephens Mr. Olbney Franklin Pnngborn The Moss Hart-George S. Kaufman play, moiicrate legit hit of two sea- sons back, becomes a sock comedy on the screen under astute handling and with Jack Benny in the prin- cipal laugh role. Ernest Truex had it on the stage. Fact that 'George Washington Slept Here' has played strawhats and toured throughout the country since leaving Broadway bolsters its film boxolTice value. Strong grosses and extended dating are certain. For Benny, himself of no mean b. . importance, the part of the city fellow, who unwillmgly struggles through trying to make a home out of an old abandoned country house, is rich in the sort of thing he does best. With others in the picture as vital cogs. Benny is in there pitch- ing in nearly every scene. He hardly has time to get his breath, since much of the dialog is allocated to him. Whei he isn't using his voice, he's falling into wells, stumbling against things, rolling downstairs or, in other ways, con- 1 -ibut:ng to the fun. A lot of the ..ction is modified slapstick, while for relief there are many sequences of a highly amus- ing domestic character. Majority of ti.e action takes place in and around the battered ulti house of Colonial days which Benny's wife (Ann Sheridan) buy: without his knowl- edge. Smitten by back-to-the-land rn-liitions. Miss Sheridan buys the ramshackle joint in the belief George Washington once slept there. This turns out to be true, discovery of an old lette.> written by Gen. Washington coming at a time when it looks like Benny and Miss Sheri- dan are going tc lose their little estate by foreclosure. What the^r and others go through in getting it into shape, making it livable, has in the interim provided a flock of laughs. Everything hap- pens to Benny particularly, includ- ing even a suspicion that his wife has gone loco Tor an antique dealer. Because of the scope of the camera, as against the limitations of the stwEe, it has been possible for Jerry Wald, producer, and William Keigh- ley, who directed, to go afield for added settings and situations. Lending terrific comical impact Is Percy Kilbride, sour-faced care- taker, who harries Benny and Miss Sheridan at every turn about im- proving the household facilities, sue".) as trying to get a well that will yield water, etc. Kilbride, perfect for the part, plays it excellently, and in. tht cider-drinking sequence is a near-panic, especially when he starts to sing Til Never Smile Again,' without warning. Charles Coburn, as a nuisance relative, and Hattie McDaniel. the miid. both lend valuable aid in sti.Ting the risibilities. Lesser as signments are carried out efficiently by William Tracy. Joyce Reynolds, Lee Patrick, and others. Miss Sheridan performs nicely as Benny's wife, evoKing sympathy now and then because of her intense de- sir for things rustic and antique, a desire that almost meets with com plete frustration. In the direction, Kelghley has very cor.ipetently timed • the laughs. Among other things- the script of Everett Freeman keeps the laughs coming in an unusually steady flow, Char. GIRL TROUBLE Hollywood, Sept. 18, l«eni.<ih-Kox rcleuw! of IIoIh-h li„«„|er pr...lu.llon. .-iiiiin I)„n Anie.he. JiMin Hcn- neit: renlun., Hllllo Burke. Frunk Craven. Alun Blnehart. Helena Keynolds. Dln-iied by ll.ii.il.l .-vhusler. .Screenidiiy l,y Lndls- Irni [-..dor nnd nrilii>rt Kllev Crutcher- orli!- Iniil by Fodiir. Vlikl lliium nnd Guy Troii. l"-r: .niiierii. Kilniird CronjBger; editor )(..!-ri Frlii«i. Triiileahown In U A. li. 41'. Jtunnini; time. 81 SIINH. I'.dn. Sulllviin Don Am.'che June Doli.ncy Joan m-nnett .AlK Ki.wlaiid Bllllo Hurke Aiil.n.'i. .Muiiliiik Flint Frank Criiven AInn Dln-^hiirt Ilolene Reynnlda l-'uii un lo Bonn nova '■• iK>- Ti-d .North Diirlc Mi-rrlck '""h Dnlc Evana )'-'"Ini" ItiiaeHime Murray '^""'"1" t.TiilB cnner Vivian lllalne MI m K<'nnr>iy Trudy Mar.ihnll 1 ld^ Holtri't CiclC ly ^1" J»»Keph Cn^hnn I'"''*'i"'*' Mnnton .\h»rclani l'"i-<'>» Arthur Loft J''"- r John Kelly I' IvT Mntt MrlluRh M'liKan Gcorfte T^enBey I-'l>'i"iiii Ud Stanley Ilul.la IMlth Kvnnacm voltage of Don Ameche and Joan Bennett will have to carry it through the regular bookings for nominal biz. -Story follows too-familiar route but, although bumpy in spots, man- ages to generate a few laughs and just as many silly situations. Ameche. playboy son of a Venezuela rubber planter, arrives in New York to negotiate a huge loan to expand the outfit due to rubber shortage. Miss Bennett is a rich American whose coin is frozen in England and hence penniless. She rents her apartment to Ameche. and stays on, through circumstance, as the maid. After rounds of mild farcical situa- tions in the layout, pair fall in love; there's the momentary split; and final clinch when the girl helps Ameche redeem himself by clinching the loan. Ameche is grooved in a familiar role, while Miss Bennett is not quite up to requirements to convincingly put over farce. Billie Burke is a flustering socialite; Frank Craven a crusty -tire manufacturer; Helene Reynolds a typical catty girl-friend; and Alan Dinehart attorney for Miss Bennett. Rest of cast is minor ."sup- port. Original tale hews closely to the familiar pattern with no deviation, and script's few bright moments are overshailowed by the bumpy «nd ridiculous situations that only most partial customers will countenance. Director Harold Schuster does the best he can with the material pro- vided. Production mounting is elaborate for the virtually one-apartment set- ting, and photogi'aphy is standard throughout. Further editing would assist to give the picture a lift. Wolf. opl fl;.ir>.! Itiirrfu. Helm .Mil I In... Slninn t'lii'dulia. THE HARD WAY (WITH SONGS) Hollywood. Sept. 19. Woiner Bros, release of Jerry \VaI»l pro- duction. StufH Idd Uupino, Dennis MorKun, Joan Leslie. Dlre<.'tC(l by Vlnt-eiit Shernmn. Screenplay l>y Diiniel FuchH and Peier Vleriel: r;iinci-ji. Janiea WonK Howe; edi- tor, Thomas PraU: (tperlnl effeits. Wll- lard \'nn Enger: montaRrs, Don Sie^el; llrtloB dircclor. Ifnrold Wlnsion; dnncea, LeKoy Prinz: snnK-n by M. K. Jerome and Jnck Sctiol): asst. direolor. Blmer Decker. Trndeahnwn In \.. A. Sepl. I». Run- nlnR time. 108 MINS. Helen Chernen Ida Luplno Paul Colllna Dennis Morgan Katherlne Chernen Jonn I..eRUe Albert Runkel Jack Carson T.Dy Rmery Oladyit Gcorfte Wnltreiifl Fave Emerson John ShaRFUO Paul Cavanagh Laura Hit horn Leona Marlcle Sam Chernen Roman Bohnen Johnny Qllpin Ray Monlfcomery Chorine Julie Bishop Max Wade Nestor Palva Mnria Joan Wowlbury Dorshka Ann Doran Motion Picture Kxrcuiive.. .Thurston Hall Plorep Charles Judels Frenctty I^u Lubin Anderson JoUy Gilbert Miniature Reviews 'George Washington Slept Here' (WB). Smash b.o. comedy based on stage play; Jack Benny and Ann Sheridan starred. •Girl Troilble' (20th). Roman- tic farce of familiar trend. Mild entertainment of B-plus calibre for nominal biz in regular runs. The Hard Way' (WB) (Songs). Good drama, despite overlength, will hit profiUble biz in regular runs. 'Springtime In the Rockies' (20th) (Songs) (Color). Breezy fllmusical for general audiences. Hefty grosser. 'You Cant Escape Forever' (WB). Newspaper-gangster mel- ler, remake of 'Hi, Nellie.' Pass- able program support in duals. 'Top Sergeant' (U). Leo Car- rillo and Andy Devine in an in- nocuous Army film. Okay for the duals. 'Flying Tigers' (Sep). Familiar aviation motif, located in China, okay for the (luals. Tu Enes La Paz' (Argentine). Well - done Spanish - languager; good for Latin audiences. ■The Hidden Hand' WB). No- name horror dualer; strictly for lesser programmers. 'Secret Mission'(British). Okay for war-minded audiences. 'Sollga Selbcrg' (Swedish). Unlikely, though native-language audiences may go for it "Girl Trouble' tugs and strains to generate sparkle and levity in dis- playing a romantic farce—but suc- reeds nnlv in a mild wav. Marauee The cold calculations of a ruthless and conniving woman form the basis of this dramatic display, which —despite its extended running time —holds sufficient interest for the women customers to make it a prof- itable attraction for the regular runs. Top trio of Ida Lupino, Dennis Mor- gan and Joan Leslie will provide adequate marquee dressing. Story looks like one the studio might have picked up for Bette Da- vis, but Miss Lupino does full jus- tice to the characterization of the calloused and cold-blooded individ- ual devoid of any favorable qual- ities. Miss Lupino lifts herself and in- genue sister-in-law, Joan Leslie, out of the dust of a coal mining town when she marries the girl off to Jack Carson, member of a small- time song-and-dance team, who hits town on a three-day booking. Shrewdly planning. Miss Lupino goes along, but her ideas of shoving Miss Leslie into the act gets stiff opposi- tion from Morgan. But the shrewd moves of Miss Lupino break up the act; splits the married pair; nnd swings the girl into eventual star- dom in a hit musical on Broadway. Snubbed by both his wife and Miss Lupino, when he hops into New York, (iarson commits suicide. Mor- gan, now a successful bandleader, step,S in to get the girl away from her female Svengali, but also finds himself unable to cope with the manipulations of Miss Lupino. Lat- ter then produces a dramatic play with the girl, which busts on open- ing night for move-in of Morgan to take her in his arms. Short prolog has Miss Lupino jumping off a wharf and carted to a hospital for flash- back of the story, and epilog picks her up again for the demise without revealing her identity. Both script and direction devote plenty of footage to display of the varied characters introduced, and the conflict raging continually be tween Miss Lupino and all those who might stand in h<!r way. She brushes aside everyone, but Morgan comes back repeatedly to eventually win out. Pace could be speeded through further editing of excess running time. Miss Lupino turns in a strong por- trayal as the designing woman, while Miss Leslie sparkles through- out as the girl motivating the entire tale. Morgan is fine as the song- and-dance man, while Carson catches attention as the easy-going small- time hoofer. Good support Is pro- vided by Faye Emerson, John Sha- grue, Leona Maricle, Roman Bohnen and Nestor Paiva. Picture carries one big produc- tion number on stage, with Miss Les- lie doing song-an-dance to 'I Love to Dance,' a lively tune. Girl aiso sings 'Was I Blue' Impromptu, and teams with Carson for rendition of 'Latin From Manhattan' in cafe tryout. Morgan croons 'Goodnight My Dar- ling' from bandstand. 'Dance' and 'Darling' both have chance for pop attention. Dance numbers staged by Leroy Prinz are of high standard, though briefly footaged. Production mounting is topgrade. with photography by James Wong Howe of same ^rating. Walt. Springtime in the Rockies (Sonxs) (TECHNICOLOR) Hollywood, Sept. IB. 20th Century-Fux rrleam o( William L«- Bflron production. Features Detty Oroble, John Payno. Carmen >HrRnda. Cesar Ro- mero, Charlotte Greenwood, Edward Ever- ett Horton, Harry James and Music Makerv. Directed by Irving CuminlnKs. Screenplay by Walter Bullock nnd Ken Englund: adapted by Juciiues Tilery.. bused on story by Philip Wylle; camera. Ernest Palmer: editor. Robert Simpson: dances, Hermes Pan; music. Alfred Newman; songs. Mack Gordon nnd Hnrry Warren. Tradeshown In I/. A. Sept. 18, '42. Running time, M MIN'8. Vicky Betty Grable Uiin John Payne Roslln Cnrinen Miranda Harry James & Music Makeni. .Themselves Vctor Cesar Romero Phoebe Gray Charlntte Greenwood M<-TavlRh Edward Everett Horton One of nickel Bros Prank Orlh Conmiiflslnncr Jacklo Gleason BIckel Harry Hnyden This is another in the extended list of 20th-Fox's elaborate filmusicals. Enhanced by Technicolor mounting, and boasting a topline group of major league performers, picture Is a breezy and tuneful bundle of en- tertainment geared for present audi- ence requirements. It's solid enter- tainment, aiming for hefty grosses all along the line. Talent list brings together a slick cast recognized for individual abil- ities in their respective lines. Betty Grable, in addition to providing eye appeal as the femme lead, steps out with .several song and dance num- bers of showmanship calibre. Car- men Miranda develops as a come- dienne to add to her effervescing de- liveries of South American songs. Cesar Romero teams with Miss Grable for two dances of high merit; while Charlotte Greenwood and Ed- ward Everett Horton prominently display their particular brands of comedy. Harry James and his band —currently one of the tops in pop- ularity—round out the entertain- ment factors. John Payne holds his own in the fast company. ^ Story is a light framework on which to hang the various numbers and specialties. Miss Grable and John Payne, co-stars In a Broadway musical, are romantically inclined— but he has a weakness for pretty girls, which keeps them continually battling. When the show closes. Miss Grable joins her former dancing partner, Romero, for a western tour, but Payne follows to Lake Louise to woo her back to a new Broad- way show. En route, the Inebri- ated Payne picks up Horton. as his valet, and Miss Miranda as his secre- tary. At the resort It's the familiar story development until Payne wins back the girl—and then rounds up all the talent for a new Broadway show. Picture opens backstage, with Miss Grable and Payne given production background for duet of 'Run, Little Raindrop, Run* close to the start. Introduction to the Lake Louise re- sort Is accompanied by colorful scenic .thots. with Harrv James and orchestra rendering group of tunes easily Identified with his programs. James ahd his boys are on later for. another round of muaic, with Miss Grable and Romero appearing both times as a dance team. Miss Miranda romps merrily and spontaneously through the proceed- ings In colorful outfits, and also has two specialty sequences for songs with her string sextette. Her typ- ical Mirandan rendition of 'Chat- tanooga Choo Choo' hits a high spot in the proceedings. James and or- chestra plays 'I Had the Craziest Dream,' with band soloist singing the chorus. Finale production number brings all the principals on the stage for brief Individual appearances in song and dance of 'Pan Americana Jubilee.' The three tunes by Mack Gordon and Harry Warren are of usual high standard for the team. Script is studded with laugh lines which are well distributed among the cast Picture sags considerably towards the end, when story has to devote extended amount of footage to the romantic interludes without interruption of an^ song or dance specialties. But this is minor in the overall content of entertainment provided. Director Irving Cummings scofes every opportunity to click with comedy situations and lines, and keeps tempo at a steady pace. Pro- ducer William LeBaron provides rhe picture with expensive and colorful mounting, and deftly dovetailed the excellent group of performers for maximum effect. Technicolor pho- tography by Ernest Palmer adds much to the general merit of the production. Walt. You Can't Escape Forever Hollywood, Sept. 22. Warner Drus. production uihI ide.ist*. Stare George Brent, Brendn MurHhnll; fen- tures Gene Lockhart. itoacoe Knrns. Ed- w.'ird Clnnnelll. Paul Harvey. Kdlth Bar- rett. Directed by Jo Omhain. Screenplay by Fred Niblo. Jr.. and Heclor Chevigny. tnv.\ story by Roy Chanslor; camera, Jnmen Van Trees and Tony Uaudio: editor, David WelnbnrI; dialog director, Frank Fox; asst. director, Wilbur McGnugh; mon- tages, Janies I..elcester. Tradeshown In I... A. Sept. 21. '42. Running time. 17 MINS. Steve '.Mltrh' Mitchell Goiirge llri'nt Laurie Abbott Urendn Marshall Carl Robellnk Gene I.wkhnrt '.Mac' McTurk Rnsco? Karns Bosa Greer Eilwnrd Clannelll Major Turner Paul Harvey Lucille Edith Iliirivtt Judge Ilarilaker Harry Huyilen Charley Gates Charles H:illon Reporter Davis Don Di'l-'oi-e Vnrney Joseph Dow-ntng Cummings George ^Ici'kcr Mr. Crowder Ervllle Alderson KIrsty Lundslrom >tary Field Radclirre Bill KdwnrdK Meeker Dick Elliott Jimmy Kdwnnl McWade Warden Joseph Crehan Moxle Dirk Wessol Louie Paul Newlan "You Can't Escape Forever' is a re- make of "Hi, Nellie.' first unreeled in 1934 without catching attention at the time. New version is a wild melange of a script writer's dream of crazy doings in a metropolitan newspaper office, combined with do- ings of a gang dipping into the rub- ber and sugar bootlegging rackets. Strictly for the duals, where it will pass Qs supporting fare. Latest version has the basic prem- ise of the lovelorn column desk at the newspaper, with any staff mem- ber in the doghouse drawing the as- signment until another victim ar- rives. Racket gang angle has been modernized slightly, but gets no lift in the new treatment. George Brent is managing editor, with a hunch on news stories. Brenda Marshall muffs an electrocu- tion and is doghoused. Brent fol- lows her in after getting the .-iheet in a jam with the underworld boss, but makes the column a hit and gets a clue to an unsolved murder from a correspondent. Trail takes him through the domain of Edward Ci- annelli, racket boss and night spot operator, for the usual dramatics and chase before the paper scores with the complete expose. Brent romps through the role of managing editor and newshound with tongue-in-cheek attitude, with Miss Marshall a fast acting girl re- porter, and Roscoe' Karns tagging along as a candid fotog. Ciannelll is a typical screen gangdom leader with support provided by Gene Lockhart, Paul Harvey, Charles Hal- ton, George Meeker and Edith Bar- rett. Script by Fred Niblo. Jr., and Hec- tor Chevigny lacks lustre, despite attempts to give it plenty of action. Direction by Jo Graham Is handi- capped by material provided. Wolt. TOP SERGEANT t'nlversal release of Ben PIvar produc- tion. Stars Leo Cnrrlllo and Andy Devine; features Don Terry, Elyse Knox, Don Por- ter. Directed by Christy Cobsnne. Scroon- plny. Maxwell Shane nnd GrlTfln Jay from an original by Larry Rhine nnd Ben Chap- man; camera. George Robinson. Reviewed at Now Tork, N. Y.. dual, Sept. 10, '42. Running time, 68 MIN8. Frenchy Devereaux Leo Cnrrlllo Andy Jarrett Andy Devine Dick Manson Don Terry Helen Gray Elyse Knox Al Dennett Don Porter Colonel Gray Addison Richards Tony Orlbaldl Dradley Pago Jack Manson Gene Oarrlrk Cruxlon Alan Hale, Jr. S?}', Boy Harris rnii Richard Dnvloa Prosecuting OfOcer Emmctt Vogan •Top Sergeant' is dedicated to the veteran army men, particularly the non-coms, who are making soldiers out of the rookies. AU of which is too big an order for this 'B' produc- tion. Between inept casting, sub- par scripting and some newsreel dips, howev.T the idea Is still a good one. Tiie picture will make faii^ filler for the duals. Don Terry is a hard-working drill sergeant in the Engineer Corps. Leo Carrillo and Ar y Devine are his corporals with a penchant for get- ting into trouble and losing their stripes. Returning from a detail with a truckload of rookies, they get involved with a trio of escaping bank robbers. The three veteran soldiers help kill two of the heistcrs- the third escapes by knocking off the sarge's brother, who disobeyed or- ders and tried to make the pinch on his Q3IUU The rest deals with thP complications that ensue in tracking down the killer. Carrillo and Devine are okay but miscast in minor roles. Terry is a swell topkick, a creditable hero, but a wooden romantic. Elyse Knox, the colonel's daughter, as Uie other half of the romance, hasn't much to do. Don Porter, as the killer, does the best Job. Frnn. FLYING TIGERS Republic release of EMmund Gmlnger production. Stars John Wayne; features John Carroll, Anna Lee. Directed by Da- vid Miller. Screenploy. Kenneth Garnet. Barry Trlvers: original ainry. Kenneth Garnet; camera. Jack Marta; editor. Ernest Nims. Previewed at Normnndle. N. T.. Sept. 32, '42. Running time. M MIN8. Jim Goi-don John Wayne Woody Jn.Hon John Carroll Brooke p:illott Anna Lee Hnp Paul Kelly .Mahiunn Oorilnn Jones \'ernn Hales Mae Clarke Col. T,lndsay... Hlackle Bales Ei! Dale Itearilitn Mi-C'urdy Malrnliii tliirton. •■\ Richards MacDonald ■'.Ml .Shirley 'I'om Neul .\hTaKKnrt Hiivld Bruce .Mike Chester Gnn Mcintosh .lames Dodd Tex Cregc Rartnn Selby lohn James Based on exploits'of American fly- ers in China who took up the cudg- els against the Japs long before Pearl Harbor, 'Flying Tigers' emerges as a stereo production which will serve as support in the dualers. Running time, overlong at 98 min- utes, can be cut considerably. Aside from a foreword written by Generalissimo Chiang Kai-Shek, paying tribute to the American Vol- unteer Group who 'have become the symbol of the Invincible strength of the forces now upholding the cause of humanity and justice,' there is nothing to distinguish this fllm from other conventional aviation yarns. Handicapped primarily , by_ a_ threadbare script, production also suffers from slow pacing while John Wayne. John Carroll. Anna Lee and Paul Kelly are barely adequate in the major acting assignments. Some of the scenes look repetitious, the same Jap flyers apparently being shot down and killed three or four times over. Story is about the smart-alec, dare- devil- flyer whose stunting and care- lessness results in loss of lives of two airmen. He redeems his honor in the end by crashing a flaming plane loaded with TNT into a Jap train. Romantic interludes in which Miss Lee and Wayne figure are mild and monotonous. Mori. TU ERES LA PAZ CThoo Art Peace') (ABGENTINE-MADE) (Songs^ E.F.A. release of rnrlns Giillnnt prodnr- tlnn. Features Catallna Dnrcenn. Allria narrle. Ernesto Rnnuen. Floren Delbenc. RIcnrdo Cannles. Maria Santos. 7>omlnj:o >fnr(iuez. IrlH I'orllilo. EiIn.T Non-i'll. Al- berto Contrer.is. anil Rlrardo de Rosas. Story nnd direction. Gregnrlo MortlneX Sierra: adapted by Tito Dnvlsitn. Reviewed 4t f^ulpiicha, ItuenoA Aires. Running time, U MINS. This is an unusual Latin pic by any standard. Most importantly, it's adapted for the screen by its author. Gregorio Martinez Sierra, famed Spanish writer, who has also handled the (iirection. Unlike most Argentine-mades, it also had the benefit of an independent adapter, Tito Davison, and a producer, Carlos Gallart. Result is a retention of the emotion in the original story, with dignity and tenderness even when the situations, strongly melo- dramatic, reach back into history. The theme is slow, and the extensive and sometimes poetic dialog occa- sionally makes the movement drag. Nevertheless, it is above-average for here and should do well throughout Latin America and perhaps several artie theatres in the States. Story deals with a sculptor who tiffs with his sweetie and later has an affair .with a dancer. Latter also leaves him and child, and the lad s grandmother, whose own love af- fairs have never been overly happy- takes it UDon herself to .tee that her grandchildren do not follow her bad example. She manages to unite the sculptor and his original love be- fore she dies, following a series ol .complic^ions. Catalina Barcena Is excellent as the grandmother although she isnt too good in some of the fla.-jhbaeks. Alicia Barrie and Ernesto Raquen. as the sentimental but estranged sweeties, do better work than in anything they've handled up to date. (Continued on page 18) ^