Variety (Oct 1942)

8 FILM BEVIEW8 Wednesday, October 7, 1942 ROAD TO MOROCCO (WITH SONGS) fit ..SI- .if Jonr>9 prti- - IliDK Croiiliy. llijl) Hope, ii . ii-.iMiiPK Anthony Quinn, li.K'vit.l l.y Dnvlil Duller; >iiiiii iln^clor. .^creenplHV. .-.n-l )>i^n lliirMn;tn: muRlc • >; cilititi'. Irene I. \\ iiliHnl Mfllitr; sonctt. .litiiifjt Viin Ih'un-n. N. Y. iK-i I. "J-. UuniilnK )\ii:inii<lll>l <]ti< iti>n. D.i-lliv I..II1... l>..n>i l>i..ki }hil «'..ll.r. .!« Flank Ituilir il'i—I'.i. v.. 1 1 ;.nii-i J. linnv 11.11. . ■tr. .1. - h. " n in liniF H3 .\IINM. Jlin Ivifi'K Tim ki->■ .Iiii-k>i>it. . PlIIK-efll* Stialniar Miillay KaMin. . .. Miliiiin.'ih H-.l." Kli.n Ahntml Fav Allien 1. Mii;l:iy .lai'iii] ll;-vsnn. ,Monl(i I4Iue Hiinilniaiilen* I.iiut]«f I-;t I'laiii',- TIh'o lie Vne. Flroiiho KvanH. Suziiniiii R;t)»:\vay. PalHy .Mnce, Yvnnnf lie I'lHlit. I'tippy Wllile. Aralilan \Va \ri Hiiliih Penney Ariihlan lliixi-r . Ditn Seymour Uinp Crohby Biili Unix .. Doriiihy I.Amnur ... .\nihonv (Juinn nnnii Dinke A'liiillmir Soki»lofr ..MIkuil Ritnumny You Were Never Lovelier (WITH SONGS) Columbia relCMhti of Loihh K. K.ii-lniAn |irtiilU(.-[lun. Slarii J*>eJ .Xi^lulru. Kita IIh)- worlh; fealurVH .Xavler I'UKHt unil lilx or- itie^lru. Adolpiie Menjuu. l^xliv UruuKK. .\dele Mara, laoltel Klaoin. Uu^ Si-liilllnR, lliirbiira Tlrown. l><iu>:liiM l.cuvlit. Illri'ited by Wllliain A. Si-iler. S-Tocniiliiy by Allcliael Keaaier. Krneal PjiKano and Uel- inar lJiivi->. :i|nry li> i.'.iibii. ohvrtii, .-^ixio Pundul Jtlnw. Muiil'- by Jet-iiiie K-in, lyrk-H by Johnny .Mener. Camera. I'ld Teilnlt; i.lllnr. Willi.im I.yim: ilam-eM. Val Hanel. ;'ri.\ ifweil In .\' V. »». I L'. Itunnini: llint-. OH MINS. Hoberl D.ivlit .Maria Acuna Kihviirdo Cccy Ai-una I.lln Aruna il . Fi una ll.i>\M lb Atbilphf .MenjMU . . UrnokH tarn Crofby. Hope and Lamour have done it again. Their click in 'Road to Singapore' and 'Road to Zanzi- bar' is eclipsed by "Road to Mor- occo.' 'Morocco' is a bubbling, spontan- eous entertainment without a sem- blance of sanity: an uproarious patchquilt of gagSi old situations and a blitz-like laugh pace that never lets up for a moment. It's Crosby and Hope at their best, with Doro- thy Lamour, as usual, the pivotal point for their romantic pitch. The story's absurdities, all of which are predicated on Crosby and Hope as shipwrecked stowaways cast ashore on the coast of North Africa, at no time weave a pattern of re- straint. It's just a madcap holiday for the fun-makers. The scripters, along with everyone else associated with the production, must surely have realized, of course, that the yarn couldn't be played straight. The result is some unor- thodox film-making that flnds both male stars making dialogistic asides that kid, for instance, some of the film's 'weaknesses' or, in other cases, poke fun at various objects that aren't even remotely associated with the picture. The payoff is when one of fhe camels 'talks.' admitting that 'this is the craziest picture I've ever been in.' Hope makes note of his five-year contract with Paramount—just in case Par's execs disapprove of the picture and feel like doing some- ( thing about it. There is the deceased aunt of Hope and Crosby (a be- wigged, spinster-frocked dame with Hope's puss) who bobs up in spirit to plague first one, then the other for 'misdeeds' each has' committed against the other. One of the film's subtler laughs occurs during one such sequence, when the aunt chaS' Uses Crosby for selling his cousin to a Moroccan slave-dealer. Fur< lively looking around her, as if she's heard approaching footsteps, she hurriedly begs leave of Crosby, 'I can't talk any more,' she says. 'HTe comes Mr. Jordan.' Film-goers will never get a chance to determine, at least during the pic- ture's unspooling, how realU' incred ulous this comedy is. It moves that fast. They will see only the rollick' ing humor of Hope reclining luxuri- ously in the palace of an Arabian princess who has acquired him via the slave price. They will guffaw at the Keystone Koppish complications that arise when a coon of the desert, played by Anthony Quinn, learns that both Crosby and Hope are try- ing to muscle into the affections of Princess Lamour. They will roar at the misfiring of the patty-cake rou- tine which they've done in their other pix but which this time finds Quinn. the intended butt for the con- cluding whammo. whacking their heads together instead. Whereupon Crosby pipes, 'That gag sure got around.' The entire production represents a hefty budget. David Butler's direc- tion has kept it all moving at a fast pace, and it's to his credit, plus the frolicsome performances of the two male stars, that many of the silua- ■ tiofts- are the . sources of amuseipent that they are. Four tunes punctuate the proceedings, with 'Aint Got a Dime to My Name (Ho Hum),' warbled by Crosby, showing the most commercial possibilities. The others, however, are consistent for the pro- duction's needs. Crosby, of course, is still more or less straighting for Hope's inces- santly streaming gags. The two have never teamed better, nor have they, seemingly, romped with such aban- don. Miss Lamour is decorative, as usual, and perhaps even more so garbed in the HoUywqcd interpreta tion of Arabian flimsy, Quinn is a convincing sheik of the desert, while Dona Drake al.'^o acquits herself well in the supplementary romance with Hope. All the lesser characterizations are Grade A. Kahn Mrs. Miirln (.aMln. In-bi-l KlHoin Fcrnamlo .■^ibilllnR Mrs. Deltlnii Aiun.i Il.ubaia llrown .luan CaJilin limicLiH I.*»iivlll Julln Aruna I'nlhertne t'rait Urandmiilher Ai-una Kaihleon Ilnwanl I.nulse .Mary Fb :d Tnnx- I.atrx I»HrkH ItOildy .^Jlnnby Hrnun Xavier CuRal iinti MIh (>ii-bi-filrH ED KELLY'S SHOBTS Edward Kelly, unlil recently as- sisiant to Steve Filzgibbon, manager of the Fox Movietone studios in New York, ha.s been oppointed produc- tion and .studio chief of the Caraval studios at Hempstead, L. I. Carnval. formerly making com- mi-rcial pictures, is now making shorts of various kinds for Govern mental departments. A Jerome Kern-Johnny Mercer score, Fred Astaire and Rita Hay- worth on the dancing and singinT end. and Xavier Cugafs crack rhumba band for the musical didoes are certainly an excellent combina- tion of entertainment vitamins. All this and a pleasantly comedic .-story besides augur well for 'You Were Never Lovelier' at the boxofTices everywhere. This is purely escapist screen fare —a song here, a dance, (here and Buenos Aires for a background. There isn't even a hint of the war, and that is some compensation for the few slow spots in the .story's un- folding. That there can be some tightening is obvious in the 98-min- ute running time, but the few halt- ing moments detract only slightly from the picture as a whole. Rita Hayworth has never been por- trayed lovelier or more talented than she is here. It appears almost as if cameraman Ted TetzlafT lavished most of his attention cn making her as attractive as possible. A natural beaut, the extra lens care makes her a physical standout. She herself amply takes care of the rest with a nice acting and singing job. plus her usually fine hoofology with As- taire. Nor does Astaire take a back seat in any department. The mistaken- identity story takes good care of his insouciant personality, while the Kern-Mercer score and Cugat's mu- sic furnish a fine springboard for his vocals and extraordinary danc- ing. One hoofing bit is in itself a gem; that's when Astaire takes off on flying feet in the office of Adolphe Menjou, playing the role of a grouch hotel operator in B.A. The routine, including dancing on various pieces of furniture, is reminiscent of a number Astaire did in 'Gay Di- vorcee,' but it well stands repeating. The story of 'Lovelier' in itself is not entirely original, but Michael Fessier, Ernest Pagano and Delmar Daves delivered some sparkling dia- log in their screenplay. There's an abundance of laughs and at least a couple of bluish lines that should get howls from the more sophisticated audiences. In a nutshell, the yarn concerns the efforts of hotel magnate Menjou to get his daughter. Rita Hayworth. interested in romance. His eldest daughter has already been married and imtil the next in line. Miss Hay- worth, takes the plunge, his two lovesick youngest girls must wait. Menjou resorts to sending anony mous love letters and orchids to his daughter and she tumbles, for the anonymous caballero. Astaire. who has dropped his bankroll at the lo- cal racetrack, is meanwhile trying to get a hoofing job at Menjou's ho tel. but neither he nor friend Cugat can break down the hotel owner's animosity. When Astaire, by acci- dent, delivers one"of Menjou's love notes to Miss Hayworth, she thinks he's the unknown romanticist. Men- jou can't very well crack, so he gives Astaire a job on the promi.se that the hoofer will convince the girl he's a heel and thus disillusion her. Per Hollywood license. Astaire almost succeeds in that, but in the end gets tKe"gTHs" antf" i.er ■ fmriCT's affection as well. Kern and Mercer have given the film five good songs, with 'You Were Never Lovelier' the best of the bal lads. 'Shorty George,' which fur- nishes Miss Hayworth and Astaire a good jive hoofing session, should make its mark as a dance band plug. 'You Were Meant for Me.' 'I'm Old Fashioned' and 'Ding Dong Bell' are the remaining three Kern-Mercer songs and also okay. A sixth num^ ber Is 'Chiu Chiu.' by Niranor Moli nare. and this server, as a fine band specially by CviKat's crew, with pretty brunct Linay Romay (un- billed) doing the vocal. Cugat isn't merely a bandleader in this picture, naving also been .ns- signed quite a comedy role. He acauits him.foU surprisinnly well and Hollywood should find frequent use for him. both musically and as an actor. He has one especial ly funnv line when, after a verbal tussle with Menjou. he savs. '1 wish I was back at the Waldorf.' Meniou docs a fine characteriza- tion of the ira.scible hotel man. Also nlcnt.v okav are Gus Schilling, as Mcn.iou's hokoy ^ocrctary: Le.<lie Brooks and Adcle Mara, as ihe vounpc.st daup.hteis. and Baibarn Brown, who wocks romrwhat along the lines of Billie - Burke, as Men- Miniature Reviews 'Read to Morocco' (Par) (Songs). Hope-Crosby-Lamour in a smash boxoffice comedy. Ton Were Never Lovelier* (Col) (Songs). Plenty okay b o. for Astaire - Hayworth starrer with Jerome Kern score. ■Mrs. WIks of the Cabbafc Patch' (Par). Well - produced remake of American classic. 'DesUnatlOD Unknown' (U)'. Trile dualer with no boxoffice value. 'Talk Abool Jacqueline' (Metro- British). Trite, improbable yarn. 'Eyes of the iJnderworld' (U). Very weak programmer. 'Spirit of SUnford' (Col). Dull gridiron comedy-drama. Filler in the less important dunl.s. 'A Yank In Libya' (PRC). Un- distinguished meller about a Yank correspondent and a N%zi plot in Libya. Strictly grinds. ■In Which We Serve'—(British Lion). Noel Coward starred in excellent propaganda dealing with story of a British destroyer. ■The Sombrero Kid' (Rep). Don 'Red' Barry in a quality western that will please all hoss opera fans. sentimental aspects of the Alice He- gan Rice classic, accentuating his work on exposition of characters and events. Production mounting pro- vides excellent background tot the tale, with Leo Tovers photography top grade. Walt. Destination Unknown Unlvervul releuH« of Marshall Gram pro- duction. Directed by Ray Taylor. Fea- urea Edward GarKun, Irene Hervey. .Sntii l.eveiie. Turhan Bay. Keyo Uuke. Willie Funir. Srr«enplay, l.ynn HlKsa and John Heehan. Jr.. adapted from nrlKlnal by Law- rence Hazard and John Kafka; cam-Ta. John W. Boyle: munic director, H. J. .Sal- ter. Previewed In projection room. N. Y.. Oct. 1, '4L>. Running time. 63 .MIN«. Drlgga Hannon William GnrKan Elena Irene Hervey Victor Sam I.evi>ne Muto Turhan Dry Secretary Kcye Luke Kiirl itenner Felix Itanch Wellinielon Donald Stuart Winn Fu Olaf Hyiten l.leut. Kawalie Edward rolebroitk Kaiiner Willie Kunc Col. Suyukawa Ctiai-tea I.unfc DanlelB Herbert Heyea lou's skittish wife. Isobel Elsom de- livers a neat portrayal as a friend of the family; ditto Douglas Leavitt as her husband. This is the first major part in-a fihn for Leavitt (and Lock- wood), who was a standard comic in the old two-a-day vaude era. William A. Seiter turned in a good directorial job, as did Liouis F, Edel- man on the production end. Perhaps the only exception is early in the film, when Cugat's band appears to be crowded into too small a space for its 'Chiu' specialty. Scno. Mrs. Wiggs of The Cabbage Patch Hollywood, Oct. 2. Paramount release of Ralph Murphy pro- duction, directed by Murphy. Features Fay Balnter. Hugh Herbert. Vent Vague, Carolyn I.ee. Bcreenplay by Doris Ander- son, Wllllnm Slnvena McNutt and Jane .Storm, bnsed on novel by Alice Uegan Rice and play by Anne Crawford Flemer: cam- era, T.ei> Tover; editor, Anne Bauchens. Tradenhown In 1,. A. Oct. 1. •J2. Running lime, HO MINS. Mrs. Elvira Wlgga Pay Balnter Europena Wlggs Carolyn Lee Mra. Marcus Throckmorton. .Hugh Herbert MIsa Tahlltin Hniy Vera Vague Dr. Rot>ert Redmond John Archer MImi I.iicy Olcott Uarbara Brltton Asia WIeps netty Brewer Dr. Olcott Mornnl Olsen Billy WIggs Carl .Switier Australia WIggs Mary Thomas Jimmy Wliige Billy Lee Mrs. Prescntt Beliv Parrlngton Mrs. Oraham Ethel OrlRles Mrs. Olcnit Janet Beecher Mr. WIggs Harry Shannon Postman clem Revnna RoKotflce Man John Sheeban .lacob Dlezal c>lln Howlln Sixty-three minutes of suspense- less 'action'—that's 'Destination Un- known.' It's a ti-ite yarn of familiar genre, and it'll be lucky to survive double bills. Edward Gargan and Irene Hervey are in the lead roles, and the story, which concerns itseU with the pre- Pearl Harbor intrigues of the Far East and some hidden jewels, falls to do justice by either performer, Gargan is an American flyer fight- ing for Chiang Kai-Shek, while Miss Hervey is somewhat nebulously in- -serted for the romantic implications. Dialog, production, story—they're all of the quickie type. Kahn. Talk About Jacqueline (BRITISH-MADE) London, Sept. 25. Metro release of Excelulor Kllin-.Maicel Hellmun prodtirlion, Fcutum Cnrlu ].eh- mann, Hugh WIlllaiDs. Directed by riiul Stein. Screenplay, Roland Pertwre. Mitr- Jorle Deana from novel by Kathrin Hol- land; cainern, liernurd and Cyril Knnwles. At Empire. London. ItunnInK ibne. M MIchnel Thomas Hugh willlnms Jacqueline Marlow Carlu l.ehmunn June Marlow Joyce Howard Leelle Waddlngton Roland Culver Donald Clark John Warwick Aunt Helen Mary- Jert >ld Captain Tony Brook Guy Mlddleton Colonel'a Wife Martlta Hunt Lionel Max Adrian This is the third film version of 'Mrs. Wiggs of the Cabbage Patch' to be turned out by Paramount. It's closeness to the fir.st talker setup of 1934 is seen in retention of script credits to the late William Slavens McNutt and Jane Storm, with cur- rent refurbishing by Doris Ander- son. Well made on the production side, with Fay Bainter, Hugh Her- bert and Vera Vague delivering ex- cellently - etched characterizations. Sentimental drama with plenty of surefire hoke, pictiure will hit mod- erately in the keys, but is a natural for the audiences in the family and back country circuits. Developing at a consistently mod erate pace, picture again displays the experiences of Mrs. Wiggs and her brood of five children living in pov erty on the other side of the tracks. Vera Vague is the neighboring spinster who selects a husband from the matrimonial catalog and draws ■mSfSfy "HUgh-Keroert. Carl Switzer is the oldest boy who peddles kin dling to add a few pennies to the family income, while Carolyn Lee is the youngest of the flock. Story details the dire poverty of the fam- ily—the acquisition of a horse: de- veloped friendship of the young doctor, John Archer, for the family the illness and death of Jimmy: in- trusion of meddling charity agents to take two children for adoption outside: and final return of Wiggs, who's been away to the Klondike seeking gold, to make a happy con elusion. In between, there's the ele- mental but surefire comedy antics and romance of Miss Vague and Herbert. Minor romance between Archer and Barbara Britton is held In minimum footage and means lit tie. . Miss Bainter is excellent as the mother of the Wiggs' grouo, and adds stronnth to the classic. Herbert and Miss Vague team nobly for zany antics throughout. Little Carolvn Lee, Betty Brewer. Carl Switzer. Marv Thomas and Billy Lee are neatly cast as the five youngsters. Archer is okav for his limited op- portunity, while minor support is nrovided bv Miss Britton, Moroni Olsen and Olln Howlin. Ralph Murphy, in dual post as producer-director, kept close to the Not likely this will go far, on either side of the Atlantic. Improb- able story must have lost much in transition from book to screen, with hackneyed 'should a woman tell?' theme that is also reminiscent of Michael Arlen's 'Green Hat.' Girl with a past, yachting and flirting on the Riviera, meets noble, femme-shy young research medico from the Far East and marries him against her better judgment. When he runs across scandalous gossip associated with her name, wife^s kid sister nobly steps in, claiming she is the subject of notoriety. Only when the youngster's budding ro- mance seems jeopardized does the elder one confess the duplicity to her husband. Carla Lehmann doesn't look tem- peramental enough to warrant her implied promiscuity and, being a wealthy girl of good family, no mer- cenary motives could serve as ex- cuse. The fact that she stages a ttimble while horse-back riding to attract the attention of the young doctor (with whom she has had brief encounter on continental train) is merely silly, considering he is of the same hoiise party and she will meet him anyway at breakfast. Production is on a generally mere- torious scale and little fault is to be found with direction. Supporting cast, as frequently happens in Brit- ish pictures, is equal, if not superior, to featured players, Hugh Williams having little to do but yearn and brood over his unsought romance. Roland Culver, as always, gives a polished performance as his friend who tries to save him from getting hurt. Clem. Uce who's hiding a prison record while on the romantic side athwart him is Wendy Barrie, whose per- formance as his secretary rates close to a new low. Dix fails to give a convincing performance as the police officer, while Don Porter, mixed into the romantic side, shows Utile Chaney is Dix's ex-convict pal wh() works for the police chief as chauf- feur. Kid is Billy Lee. He's played down. The veteran Lloyd Corrigan is hardly the type to be associated with gangsters. As occurs frequently, the news- paper headlines and the stories run on page 1 are ridiculous and in this ease they're extreme. Chor. The Spirit of Stanford (WITH SONGS) Columbia releane of Sam While priKlur- llon. Featurea Frunkle All>ert. .MitrKuerlie Chapman. Shirley Pattenuin. Kuv Horrla Robert Stevens. Directed by ("harleii nar- ton. .Vreenplny. Howard J. tlreen. Wil- liam nrent, .VIck Lucnia: story. William Rrent, Nick I.ucnts: cameru. Frnnx F. Hlaner. John Stumer- editor, Jnines Swee- ney. Reviewed at tlie Pariimounl. Ilrnok- lyn. N. r., Oct. I. Running time. 74 MINH. Frankle Albert FYankle Albert Fay Edwards Marguerite Chapman T.lnk Wyman Mntt Willis Juno Rogers y«ilrley Patterson ''*lni> Kay Jlnrrla rilff namard llobert flievens Don Farrell Lloyd Bridges Buzz Coslello Forrest Tucker Bu'eh nilly licchner Skeats Harold I.inilon Mr.H. llliby VoHa Boyer Emio .Nevera Emie Neveis Dreary, uneventful campus comedy drama, with Stanford University's ail-American quarterback Frankie Albert as light marquee bait, meas- ures up strictly as filler material for the duals to coincide with the fall football season. Production is marked by sloppy story treatment, unimaginative di- rection and astonishing disregard for casting requirements. Aside from Marguerite Chapman who registers photogenically for the most part, un- der favorable camera handling, there's a noticeable absence of In- teresting profiles. Action is painfully slow, with ex- ception of a couple of football se- quences, and dialog becomes so in- ane at times that it's embarrassing. Albert, playing himself, report- edly autobiographlcally. is totally Inadequate for picture purposes. EUrnie Nevers, another Stanford foot- ball great, is also in, but for a short bit. Story has Albert as a conceited college football hero who decides to quit and turn professional just as Stanford Is up against one of the toughest games of the season. When he learns that his roommate is seri- ously ill, Albert returns to win the game for his school. Romantic in- terludes with Miss Chapman are sub- ordinated to the gridiron theme. The Four Vagabonds, singing and instrumental quartet from the niter- ies. come through nicely with a few unbilled melodies. Mori. Eyes of the Underworld Unlver5Mil release of Uen Plvar produc- tion. Stars Rlcluird Dlx: featurea Lon Chaney, Wendy Barrie. Don Porter, Lloyd Corrlgan, Billy Irfe. Directed by Roy Wil- liam Nelll. Story, Maxwell Shane; adapta- tion, .Michael L. Simmons un<l Arthur Strawn: editor, Frank Grosti: photograjihy. George RoblnKon. At RIolto. N. Y., week Oct. :i, '42. Running time, 61 .MINH. Chief Illchard Uarry Uiihanl DIk Uenny l.on Chanoy llclly Wendy Unrric Ja.son Don Porter .Mickey nilly I.ee Thomas Lloyd Corrlgan 'Eyes of the Underworld' is third- rate program material, poorly pro- duced, tritely written and directed. Lon Chaney has dropped the Jr. on his name and the public may be confused whether or not this is a re- issue. U made a picture in 1929 called 'Eyes of the Underworld.' At the Rialto Sunday afternoon (3), when this was being caught, inquiries were being made as to whether the picture was old or new, especially since Chaney was billed on the marquee without the Jr. appellation. Rickety story deals with car and tire racketeering, a switch from the racketeering angles of 1929, if this is a remake in anything aside from the title. Richard Dix plays a chief of po- A YANK IN LIBYA Producers Itcletislni: Curi>. n lease of George M. Merrick proiluctlon. Features Waller Woolf King. H. B. Warner. Juan Woodbury. Parkyakurkus. L>unriin Renal- do. Directed by Albert Herntan. Original story and screenplay. Art4iur St. rinire and Sherman Lowe: lainerfi. Kilwaiil Linden; edll.ir. L. R. Rrown. At New Vnrk. .N. V.. dual. Sept. ;tO, '42. Running time. 61 .MIN8. llerl>ert Forties II. It. Warner Mike Mklune V.nlier Wtolf King Nancy Brooks Josn WuwMmry Benny Rykes rarhy.-ikailius Sbelk David Paivan llenaldo ."helk Ibrahim tleorge I.cwis Yussof Ptreyer WIIMnm Vaughn I'blllln Graham Howard Hanks Hadlthn Aniiiiillii Morris 'A Yank in Libya' never ap- proaches the action and thrills syn- onomous with the Libyan warfront. It's strictly for the grinds. The story is about a Yank war correspondent (Walter Woolf King) who discovers that the Nazis are smuggling guns to the native tribes- men. When the local British consul (H. B. Warner) doesn't send for (he English equivalent of the marines, the newshawk goes oft to solve 'uhe case on -his-ewit/ - Only performer to benefit is Park- yakarkus, who plays his comedy role to the hilt Frnn. IN WHICH WE SERVE (BRmSH-MADE) London, Sept. 23. British Lion relejine of Two t'llii-.- Pro- duction. Stars Noel Cowurd; fcatun-s John Mllla. Bernard .Miles, Cella Johnson. Di- rected by Coward and David l>"iin. Si rlpt. spofinl music and protlucllon by Oiwaril; camera, Ronald Neanie. At Gaumoni ibo- atre. Ixindon. Running time. IIS MIN". Captain -D' Noel Cnw.trd Shnny niuke John lllil» Waller Hardy Hernar.l >fib'' All! Kinross Cella Jobnsin Mrs. Hardy Jnvco Carey Freda I.ewla Ka.v WaMi Number One t)er,-k KIpbinMlone Flags Michael Wildlni: Guns Hiilteii ..ian-^oin Tnrps Philip Kri-nil Knginecr Commander.... llallard Berk'-l'-v Doctor lame.i* Donalil Snotty '.<*))itnni>> lliaiiunn Mr. Blake c.t-^yff inrniy Mrs. niHkc...- Kiithleeii lliiiripon Maiiivon l-'enwli-k. . .PenrMip» Duilley Ward Pilot Hiihcrt r.irxc Sub. Lieut. R.N.V It Kenni-l»i Carlen Tuung Stoker Ita'i.inl Aiiepli-"<'Ui:i> No less than half a do7.cn crodils for this film go to Noel Coward. And they're well earned. All inni- (Conlinued on page 25)