Variety (Sep 1942)

nCM BEYIEWS Wednemlaj, September 30, 1942 Nazis Glmify U-Boat m Pkture Anted at Latm-American Neutrals Submarines Rumbo Al Oette CSabBwrines Headlnr Westward') (OEBMAN-MADE) Buenos Aires, Sept 20. 0«rtoan Ufa producUon and ralean star- rinr Ttee Werner, Herbert Wllk and J<nef Rleber. Directed by Guenther Rlltau. Re- leaaed at the San Mnrtln theatre, Buenoa Alien. niiniiInK time, •! MIN8, <In German; with Spanish Titlet) Strongest Nazi propaganda film to be released in the Americas since 'Blitzkrieg' (X,a Guerra Relampago Del Oeste'), 'Subntarinos, Submari- nes Rumbo Al Oeste' is a striking ejcample ot the 1942 style of Berlin film propaganda now being turned out by Herr Doktor Josef Goebbels and stooges. Having a thread of ro- mance, it was undoubtedly designed with an eye on both the German market and South America. Its ef- fort is to convince the folks at home that the swastika sub service is a thrilling, exciting and super patriotic branch of the Vaterland forces, and its message'for Latin America is an effort to convince neutrals ttiat the Nazis never release a torpedo until they have triple checked and given the enemy a twice reasonable break. Film was originally skedded to open on June 24 but was ordered yanked by Argentine authorities be- cause of demonstrations and window smashings resulting from the U- boating of the Argentine merchant mariner 'Rio Tercero.' As approved by the B. A. Municipal Censorship Board for present showing, there are a number of unspecified cuts, most apparently dealing with dialog cracks at the English. Pict is in German with Spanish sub-titles. Generally it's a lot more subtle and well rounded than some of the Nazi propaganda flickers to appear at the beginning of the war. Points emphasized in the film offer a pretty good idea of what sort of stuff Ger- man filmgoers are being offered, par- ticularly such points as attempts to portray the British are double- crossers and the stamp of approval given to soldier-and-sailor iUegit- unaey. In some ways influence of Holly- wood war Alms is apparent, partic- ularly manner in which romantic in- terest has been developed as a basic part of tbe story. Heavy action really gets going when a sub is shown haltiiig a Dutch vessel, described as neutral, which sets the time of the film as early in the war. A party goes out from the U-boat to check on the ship's mani- fest and discovers that instead of carrying machinery the vessel is loaded to the hatches with airplane propellers. Of course, there's noth- mg else to do but to give the captain 10 minutes to get off before the ship Is sent skyward. A British tor- pedo boat sights the Dutchman and starts hot and heavy for the rescue, with swastika-style, marines- are-coming scenes. The U-boat finally has to blow up the Duteh vessel even though the boarding party has not had time to be rescued Then follows what the Nazis con- sider a really ironic finish. The boarding party is picked up by the British boat and given a push-around while the English drop off a set of depth charges in an effort to blow up the U-boat This only lasts long enough to give the Nazis a chance to pull themselves together. In less than Ave minutes, despite the fact that one of their torpedo shafts has been knocked out, they let go and smack the Britisher square amid- ships. Of course, the English rush all over themselves, trample their officers out of the way and gener- ally act like dopes trying to escape, while the poor Nazi lies on the deck, his bleeding head in the arms of his comrades. Audience reaction to this was terrific and gave some idea of what the original version'as shown in Berlin must have been like. The brave Nazis are, of course, picked up later and all but one get home safely, the missing guy being dec- orated by proxy. In between all of this there are a couple of other sequences which highlight Nazi film technique. There Is the incident of a sailor who moans about having been called away be- fore he had time to get married. Herr Kommandant, who is played as a sympathetic lead, tells the crew man it isn't so bad. but in perfectly straight style the guy explains that he wanted to be married because he was going to have a son in a couple of days. Everything is solved when the commander .sends off a radio message and has the couple married via long distance, gal taking her pledge in front of a judge, as is com- mon in Nsziland. When the baby is born, it's beer on the house in the sub, with lots of soggy German hu- mor from the comic-i-elief bit play- ers who insist they are going to have kids to get another glass of suds. Press comment, aside from the pro-Nazi dailies, has been limited. most papers explaining that tech nical portions of the film have been well done but holding off comment on anything else. Ray. The Forest Rangers (Songs) (COLOB) Paramount relenne of Rolwrt Slsk pio- duvtlon. .Stars Fred .MucMurray, Pnulelte Qoddard, Susan Hay ward: featuren I.ynne Overman, Alliert Dekker, RcRla Toomey. Eugene Pallelle. Directed by Geome .Miir- shalL Screenplay by Harold Sbumate. from alory by Theimn Stniliel: r.nmern. <?harl*'« Ijtnd: editor, Paul Wonlhorwjix; >*onKH, Krank Loeaser, Joseph l.llley. Fredrrlc Hollander. Tmdeshown In Y.. Sept. ■42. Runnlnc time, M MIN.S. Don Stuart Fred MarMurray Cella Huatun..... Paulelte Goddnrd Tana Mason Susan Uaywurd T»-l« Dawson Albert Dekker Jammer Lynne Overman Mr. Huston Bugene Pallette Trunk Hatfleld Refc-ls Toomey George Tracy Jumes Brown Charlie MaeOregor Clem Bevans Jim Reld Rod Cameron Mrs. Hansen Sanita Edwanis Judge Chester Clute (Kenneth Grlirilb Rangers < Keith RldmrdM I William Cat<anne Hollywood isn't missing a trick in glorifying the various Government services. Now it's the forest rangers, but unfortunately there isn't enough sustained drama in their work to keep a picture story moving for 85 minutes. The trio of stars will have to provide most of this slow film's fair b.o. Chasing tree fires, pyromaniacs and at the same time keep a wife (Paulette Goddard) and unsuspected sweetheart (Susan Hayward) at arms' length is the multiple chore of Fred MacMurray. That MacMurray can carry through the roles of so- ciety playboys, male secretaries and big, woodsy outdoorsmen with the same facial expressions and vocal nuances is perhaps one of the par- ticular delights of the casting direc- tors, but it's about time he gave his public a little more dramatic vari- ance. Miss Goddard is the pretty city gal who hooks MacMurray, the head ranger, after a whirlwind 24-hour courtship. Miss Hayward is the head of a logging company, who, un- known to MacMurray, has been in love with the big lug and is severely jolted when he returns from town with a bride. She spends most of the footage trying to break up the marriage, by trying to prove the bride a silly slicker unable to take the rough stuff, but in the end, amidst a raging forest inferno, Miss Goddard proves more he-woman than Miss Hayward and she holds her man. Meanwhile. Regis Toomey, a plane pilot in the forest service, is uncovered as the pyromaniac, but he's killed when he parachutes into a woodland blaze. Albert Dekker, the suspected villain, is thu? cleared, but he doesn't live to enjoy that honor, because Toomey had previ- ously shot him in the back. There are some other detotirs in the very Involved screenplay, but they aren't important to the paucity of action on the whole. Miss Goddard and Miss Hayward are both decorative, especially in Technicolor. Their best bit is when Miss Hayward frames an accident to her car and the three have to camp out overnight Miss Hayward's ef- forts to "bundle' alongside MacMur- ray, and Miss Goddard's maneuvers to stay in the middle of the pine needle bed, must have passed the Hays office by no more than the width of a pine needle. Aside from a couple of fires, and, Miss Goddard's logrolling Mack Sen- nett comedy bit with the other two stars, the film is mostly talk and beautiful scenery. The color, natu- rally, highlights the latter. Lynne Overman, as MacMurray's old-maidish 'housekeeper'; Eugene Pallette, as Miss Goddard's burn-up father, and Albert Dekker, as the non-menacing menace, are in for good characterizations. Toomey is in a standard role and acquits him- self nicely, but the rest of the cast chiefly have, bit parts. Two songs are included, the now dated 'Jingle Jangle,' by Joseph Lll- ley and Frank Loesser. used in an off-hand manner (but since a big click on the Hit Parade), and Tail Grows the Timber,' a nice ballad by Loesser atid Frederic Hollander, which MacMurray sings to Miss Goddard in their brief courtship. Considering the story, George Marshall's direction is adequate; ditto Robert Sisk's production chore —he mostly had to provide trees and flames. Scho. STREET OF CHANCE I'aramount roleoae of Sol C. Slegel iBurl Skelly) production. Stan Burgesa Mere diih. Claire Trevor: features Louise Plait, .Sheldon LMnard, Frieda Inescort, Jerome Cowan. Directed by Jack Hlvely. Screen- play, Oarreit Fort, based on story by Cor- nell Woolrlcta: camera, Tbeodor Bparkuhl: editor. Arthur Schmidt. Reviewed in projection room, N. T., Sept. 28, 'ii. RunnInK time, 74 MINS. Frank Thompson DurlEcaa Meredith Ruth Dillon rioire Trevor Joe .Marucci Sheldon Irfonard mil Diedrlch Jerome Cowan Alma Diedrlch Frieda Inescort Grandma Diedrlch Adeline Reynolds Virginia Thompson Louise Piatt Sherltt Lew Stebblns Arthur Loft Kohlmar's Frenchie Hollywood, Sept. 29. Fred Kohlmar draws the associate producer job on 'The Man Who Seeks the Truth,' slated for Decem- ber production at Paramount. Karl Tunberg and Darrell Ware are doing the screenplay, based on a French picture recently bought by the studio for American re-lllming. The fairly commonplace idea of an amnesia case provides the basis for a taut, compelling picture in 'Street of Chance." It's obviously a modest- budget effort, yet so adroitly written and deftly presented that it grips attention and concern throughout It should get excellent reviews, and with Burgess Meredith and Claire Trevor in the cast, it will draw prof- itable business. Wrinkle that makes 'Street of Chance' such an enthralling pictur* is that the story is told entirely through the eyes of the central char- acter, the amnesia victim played by Meredith. Thus, the spectator is never tipped off, but finds the slowly unfolding story as baffling and as terrifying as it is to the hero. In this way, when a sinister-look- ing stranger begins shadowing him, the hero is mystified and frightened, and the spectator is just as much in the dark. Same is true of the hero's midnight flight from his apartment, with his wife, and of his bewildering reception by a strange girl in a dingy boarding house. In the latter in- cident there is a notably effective touch characteristic of the whole picture. The as-yet-unidentifled girl says something al>out 'Just as sure as ycur name's Nearing.' That's the first clue about his amnesia-identity and the camera catches the momen- tary flicker of Meredith's eyes as he notes it. As the. various new characters enter the yarn everyone greets them naturally, yet to both the hero and the spectator, each is a new puzzle and added source of peril The hero's sudden, horrifying knowledge that hi is wanted for a revolting murder of which he recalls nothing is a chilling moment and there is an in- genious twist as the desperate man finds a means of communicating with a paralyzed old woman, the only witness of the crime. Garrett Fort's screenplay provides artful opportunities for the camera and the story as a whole steadily increases suspense. Jack Hively's direction has pace and creates a helpful sense of atmosphere, though some of the scenes of imperfectly recorded on the sound track. Meredith gives a shrewdly con- ceived and admirably varied per- formance as Uie harried man with the unremembered past, and Miss Trevor gives sympathy to the strange girl who helps save him. Sheldon Leonard, Jerome Cowan and Frieda Inescort are acceptable in supporting part^ and Louise Piatt is appealing as the hero's steadfast wife. Hobe. GET HEP TO LOVE (WITH SONGS) Universal release of Bernard W. Burton production. Stars Gloria Jean. Donald O'Connor: features Jane Frasce, Robert Paige, Peggy Ryan. Cora Sue C^olllns, the Jlvln* Jacks and Jilts. Directed by Charles Lament. Screenplay by Jav Dratler from original by M. M. Muaselman: camera, L. w. O'Connell: songs, Al Hoffman, Mann Curtlfl, Jerry Uvlngston: mualcal director, Charles Pievln. Previewed In N. T. Sept. 23, '42. Running time. 79 MINB. Doris Stanley Gloria Jean Jimmy Arnold Donald O'Connor Ann Winters Jane Fracce Stephen Winters Robert Paige Betty Blake Peggy Ryan Miss Rolwrts Edith Bamtt BInlne Sterling Cora Sue Collins Aunt Addle Nana Brrant Mr. Hardnlcke Irving Bacon Prof. Radowsky John Abbott McCarthy Millard MItctiell Detective Tim Ryan Ronald Stacey Douglas Scott The Jlvln' Jacks and Jills # Universal has been grooming Gloria Jean, to follow in the foot- steps of Deanna Durbin, for some time. And like her predecessor, when she started, Gloria Jean lias the voice, the appearance, the per- sonality. But she hasn't the fine hand of a Svengali, as Deanna Dur- bin had Joe Pasternak. Consequent- ly what might have been as success- ful a film as the early Durbin films winds up an innocuous picture that will fit nicely into the duals. And for lack of a pop tune in moppet's repertoire audiences will remember Peggy Ryan, a pleasing juve, who does a smart job of selling 'Let's Hiteh a Horsie to the Automobile.' 'Get Hep to Love' is about a child prodigy of the concert stage, Gloria Jean, who is overworked by a money-hungry aunt, Nana Bryant. After repeated promises of a vaca- tion never come true, Gloria packs her bag and lams to get herself a vacation. The aunt doesn't call the cops for fear ot the story getting out about how she overworked the kid. Instead she hires a private detective, Tim Ryan. Gloria makes her way to a small country town where, to slay out of the orphanage, she cons Miniatire Reviews The Forett BMgers' (Par) (Color) (Songs). The stars ciin- gtltute chief selling points of this fair b.o. film. ■Street •! Chanee' (Par). Un- usually engrossing mystery. <G«t Hep t* Lore' (U) (Songs). Gloria Jean sings like a Junior Deanna Durbin in an innocuous film. 'The Faleon'i Brother* (RKO). Final entry to the series not up to standard. ■Henry Aldrich, Editor* (Par). Thin 'B' Juvenile entry for lower rung twinners. 'Counter-Espionage' (Col). Oi e of best in Lone Wolf detective series, with Warren William, Strong dual entry. 'Sin Town' (U). Action meller of frontier oil-boom town, will provide strong program support in the regular runs. •BIders of tke Wert' (Mono). Run - of - the - mill western for dualers. •Prison Girl' (PRC). A low budgeted meller, strictly for the lesser duals. her way into being adopted-on-ap- proval by a childless young couple, Jane Frazee and Robert Paige. Then Gloria goes to high school, meets Donald O'Connor, feuds with Cora Sue Collins and pals out with Peggy Ryan. The plot thickens a wee bit, naturally, before everything comes out in the wash, but what had all the elements for some swell comedy foimders on corny dialog and direc- tion. Likewise the song situation could have been manipulated to provide better dividends. Gloria Jean does well with the standard classics and semi-pops 'Villanelle,' 'Semper Libre' from 'La Traviata,' 'Siboney,' and 'Drink to Me Only With Thine Eyes,' with the plot tying them into the music appreciation class. The one song and dance routine in tne soda parlor, with the jukebox bouncing, goes to the aforementioned Peggy Ryan, who scores with a neat eccen- tric dance and a comedy delivery of a tune cleffM by Al Hoffman, Mann Curtis and Jerry Livingston. Cora Sue Collins is perfect as a q>oiled brat who drives the girls daffy by capitalizing the boys. Edith Barrett does 9 good chore as the high school music teacher. Donald O'Connor shares billing with Gloria Jean, which is quite a reward for a straight acting stint even though he does a topnoteh job. The one best bet is Peggy Ryan, who rates as a Juve Joan Davis. Fran. FALCON'S BROTHER Hollywood, Sept. 29. RKO release or. Maurice Oeraghty pro- duction. Stars George Sanders. Tom Con- way: features Jan Randolph. Directed by Stanley I.OKun. Oilglnal screenplay *by .Stuart Palmer and Crnlg RIm based on character n-euled by Mli hnel Arlen: uim- era. Russell Mflly: editor. Mark Robsnn. Tradesliown In L. A. Sept. 28, '42. Run- ning time, es MINH. Gay I.awrence George Banders Tom Lawrence Tom Conway .Marcla Brooks Jana Randolph I'Cfty Don Barclay Donovan CUtf Clark Bates Edward Qargan Grimes Rddie Dunn Arlette Charlotte Wyniers Paul Harrington James Newlll Jerry Keye Luke Carmela Amanda Varela Valdex George Lewis Diane Medford Gwlll Andre SavltskI Andre Chnrlot Miss Ross Marv Halsey Pat Mollett (diaries Ami In order to get replacement for Cj^rge Sanders, who winds up title role of series with this picture, RKO tossed out this wild concoction of melodramatics that combines famil- iar gentleman-sleuthing with espi- onage activities. Decidedly hazy and jumbled, picture is below standard and must depend on series rating for support bookings in subsequent houses. Sanders, leaving the studio con- tract list has his real-life brother, Tom Conway, enter the picture to toke over. With that situation, script naturally followed the line of least resistance in having the brother in- troduced to take over, with the Fal- con killed at the end. Story is confusing, but out of the welter it appears Conway had been the target of enemy agents en route to this country, A girl's murder in a dress shop brings the Falcon to unravel, but latter is knocked out to allow Conway to take over and un- ravel the mystery, which eventually leads to (l^rman spy ring bent on murdering a Latin-American diplo- mat in attempt to blow up inter- country friendship. Conway takes most of the play away from Sanders, and does okay with material provided. Jane Ran- dolph is a girl reporter dashing through footage, while Cliff Clark is the familiar police inspector, with Edward Gargan his dumb assistant Director Stanley Logan tries hard to make something of the jumbled script Walt. Henry Aldrich, Editor Paramount release of Sol C. bickoI ui.« duciloD. Features Jimmy Lydon, fhnri« Smtb, John Lllel. Directed b» Hugh Ben nett. Original screenplay by Muriel n.,,] Bolton and V.l Burton, taaed on the ci5>r* acter created by CUfford Goldsmith's •ai,i. rich Family: camera. Henry Shnin- e.i tor. Everett Douglas. Tradeahoun In '\ v Running time, 7t MINB. • ' ^ ^'^.^^::::::::::::: ■ ^.'Orch •."•.•.•.Olive'atk^^e'; ell; Vaughn Claser FlTchTJi Franria Pl^rlot Flro Chief. cilir flnrk Edgar DenilnS Mr. Johnson Waller Fenner 'Henry Aldrich. Editor,' is In the ininus B groove for twinners. Pos- sibly there is a high school and a community in this country today such as shown in this opus. lit so ft Is an exception. CerUinly parents f^fJL* as stuPW.M portrayed in this latest Aldrich flight of imagination. Henry continues to be the whlnlng- voiced Aldrich offspring who's al- ways in hot water. This time he's editor of the high school paper; but not like any one ever seen in any school, excepting as dreamed up here. Closeup of the city room In a anall city newspaper Is pretentious, if highly artificial. Henry gets to covering fires as school paper editor, and gets tb<e police force on his trail as arson suspect The Are sequences are well done. Jimmy Lydon again struggles to make Henry seem real, but it's a los- ing Aght Charles Smith, as Dizzy Stevens, shows possibilities but kept much in the background for Henry's loud and stupid wanderings. John Litel. as Father Aldrich, again is worthwhile though asked to do sev- eral slapstick routines. Rita Quig- ley. Henry's girl friend, U mostly in for decorations. Maude Ebume makes a bit characterization stand out while Francis Pierlot is clever in the Nero Smith role. Hugh Bennett again is director but he can't be blamed too much for the silly story. Wear. COUNTER-ESPIONAGE Columbia release of Wallace MacDoiiald l>r<idiu'lli.n. stars Warren William: fen- lurca Krh: Blore, Hillary Brooke. Dlrrciid l.y I'Jilward Dmytryk. Story and mroi-n- play by Aubrey WIsberg, based on original by Louis Joseph Vanca: rnmcra. Philip Tannura: editor. Gene Havllrk. At Rlalln, N. v.. starting Sept. 20. '42. Running lime. 71 31IN8. Michael Lanyard Wuiren Willi im JnmeiKin Hrlr Blore Pamela Hillary Brooke InsiKi'tor Crane Thurston Hal! Dickens Fred KeVi'y Anton s<«iugB..-. Kntresl Tucker Inspector Stephens Matthew llouiton OuBliivo SoBsel..- Kuit Kalfh Kent WcllH Morton I.owrv Hnr%ey I.eedF Le.^lle Deni.Hon George narrow Billy Bevaii Sir Staffnnl Han Kunley Ixisan Police Constable Hopklna.. .Tom Stevenson One of better Lone Wolf detective stories, this time laid in blitzed London, with the master sleuth out- witting Nazi espionage agents. Will please average audiences; it's espe- cially strong for duals. Operations of the German spy ring In London, at the height of the nightly bombings, have been defUy paced by Edward Dmytryk's direc- tion. He's kept implauslbilities down to a minimum for a Sherlock thril- ler. It's one of those plots in which the Lone Wolf is commissioned to protect military plans. Warren William Ls Michael Lan- yard, the Lone Wolf, making the character outstanding in every se- quence. Esic Blore, still as his able servant has more to do than usual and is very funny with his droll wit- ticisms. Usual smart surrotinding cast is studded with many English players, with Hillary Brooke as the chief femme principal. Wear. SIN TOWN Hollywood, Sept. 25. Universal release of George Waggner production. Features (instance Bennett, Brod Crawford. Anne Owynne. Patric Knowles, Andy Devlne. Ltfo Carrlllo. Ward Bond. Directed by Roy Enright. Original screenplay by W. Scott Darling and Ger- ald Oeraglity: added dialog. Richard Brooks: camera, George Robinson: e<litor, Rdwnrd Curtlss: asst. director. Gil Valle. Previewed In studio projection room Sept. 24, '4:>. Running lime, 7S MINH. Kye Allen Constance Bcnnclt Dude MrNaIr Bmd CrawfonI Lnuia Kirby Anne Gwynne Wade Crowcll Palrli- Knowles Judge Ruetace Vale Andy Devlne Angeio Collna Leo Carrlllo Rock Delaney Ward Bond Sheriff Baghy Arthur Aylmvorth Kentur-ky Jonta Ilair Harolde Dry Hole Ch:iili.n W:ii:onh(lni llnlllsler nillv Wiivnc Huiiiliilnn ll<(l,:iil nosHOTlh Aniletmn Brvnnl Wanh:>um Hony.in j,ick Mulhall Utilizing an oil-boom town of the 1910 era as background—which easily substitutes for any frontier settle- ment where the play is fast and ac- tionful—'Sin Town' proceeds fo pro- vide plenty of adventure entertain- ment for the customers. Picture is a strong B that will garner a goodly share of bookings in the secondary Arst runs for moderate gro.^ses. Best .spotting is in the nabe and action houses where it will click. Story i.<; typically rough and rowdy outdoor drama, unfolded at a quick- ened pace. After being hooked by oil- (Contlnued on page 20)