Variety (Oct 1942)

8 FILM REVIEWS Wednefiday, October 14, 1942 SEVEN DAYS LEAVE <Mt'SICALt l:l<t» •*^i«l*v 'l'.:u U"hrlaii in-mlui-l^m. ill- At-liiii. t^ai-H V^i t-r MiittHf. I.ui^lc M:\\\: I. • f .'ir IT (i:;W<-;.-l"i'v-1. !■. ---H, <;:..n^ Si: *. Ki-«><Iy .\Unln'* !in«I I. - Km*. :i * i.n-b< -in:«. Prt4-i- l.intl Hnv .\: <;«.Ii*. Am-ild sufie. nn. * VatiMi. Hullih Bdwurds stid liiH I or ('.ill* ■;t...ni'i».''' rft'lld ^h'n^■. il.lKy. WillKii.i'lliitt-n-. ICiill'li Hi" i> ■■. KiDM-n. K-nnfth Knil. t<.iM-:.s. ; I..-. .^iiln-s .XL HUL'i: IlUli'ii- ..1. I'. )V.r.: Ir.inl.nrr; i iiiii'l.i. Bi.l-t:! ■u-^. JjiTi. . -. ("hiiiitK \Vnh4-r».; ••hm. (11 3:i:irj;T': idiltjr. R<«!t-n \Vi^.\ Nil V. n in N. Y. ii.-t. S. ti. ywm:n;: K7 VIN>. I .l<.!il.. •I . ITV .Mi: IV l:i ]|.b I: II (.": ■. 1' . . >J .Mii. Hie iliil H itM l'<tir> MkPV <"<»t«^ r:;rTi\ Snrv.i" . . ' M. liMll- .l>.-i.i l.iii.l H:iy.K Willi, r )X>'rA «■»!!-•.<■ F.-rtl Milt.II >V"nc Ilii.l.'v flTk . i*h;-r;t Viilor . .. .K.n.. i<.-i.;i.-.ly ....I'vir'.' An'ln- . . . . Hhtti- "o!lil:in . \ddi*»on R '■li;ir.2H This V cior »'i vre-Lucill« Ball slTTer i« .T fl'Tijv enterlainme-' whose jnorquM; names, some of ■Vkijom hare' been borrowed from other show bi^ fields, indicate potcn- Producer-director Tim Wnelan seems to have been embarrasjied by latent richef wherein the cast is con- cerned, but the conglomerate of film, radio and \-ar:ety name.* in this army-theme comedy has resulted in a loose-ends pic that superlative editing couldn't clarify. There is Harold Peary. 'The Great Gilderslecve' of radio, contributing the equine latiph that has made him rotable on the airlanes. Ginny Simms enhances her looks with a oommendsWe Frank Loesser Jimmy McHugh tune in a specialty. Thei>c is not one. but two. n«une orchestras, those of Freddy Martin and Les Brown. Vatide-nitery has contrib- uted Peter Lind Hayes, wTittien into the libreOo for some of his clev,-er mimicries, and Lynn, Royce . 4: Vanya. riotous comedy ballroom trio. Latin American singer Mapy Cortes; Ralph Edwards' radio show. Truth or Conseouencef," and The Court of Missing Heirs.' also from radio, are other embellishments. Weaving all this together was too much to ask for, though all of the above are ex- cellent in their individual metiers. ?cf iplitis is too evidenOy the film's maior fault Four writers are cred- ited with the yarn, and some of the dialog is pretty awful. Of the tunes, •A Touch of Texas," a rhythm number, and "Soft Hearted,' ballad, indicate the best commercial possibilities. Mature plays a buck private who, bv the nature of his grandfather's will, must .wed a certain heiress to inherit $10e.«00. The gal is Miss Ball. The Hunk of Man has the titular 'seven days leave' in which to make the gaL The complications and the film's by-products that bring In some of the remote aforemen tioned personalities, are too trans- parent. Mature is still knocking the dames dead (that's what the script scz) and he's over-acting (which the script doesnt say) with his utter ances of the inane dialog. Miss Ball is el50 out of s(Jrts via the poor script, and Uie camera hasn't flat tered her, either. Marcy McGuire, a newcomer, looks like a And. having plenty of pcD as one half of a puerile romance with Arnold Stang. She also can jive a tune for sock results. The lat to-'s tliarseterization is that of a stereotyred Henry AJdrich in khaki Kalm JackeL<i. who have been a.^signed to a merchant vessel in convoy service. The CPO, a, chief gunner's mate, nas among those on board a former com- missioned officer who. much to hi-s dis^easure. i.<; in iRvc with the CPO's si, ,er. a nur.^e. Kesi.-ning his commission due to ill' :nv.'*s;i>:ation in which he can't p. ivc his iiinnrc:i;-c. Cc.irgc Mur- phy ic-cnii.-'.s a.; ;in ordinary .■^cr.inaii an-t i:l;im3'.cly win' O'Brien's ad- miral on tt<'ll Ei; til.-; of his fellow seamen, who oripin;-.!!.v th Jik h-,'s yellow. As a result he is rcinstslcd as a lieutenant lor the desired fin- The fiirl. O'Brien Msijr. in ii:ve with Murphy before he lost his com- mission, is Jane Wy2.;. whD. lh:'oii ;h unu.'.ua] (■ir?iim«l:-.nc: ?. is on the same boat with her b.oUiOr and ,swee'-c for most of the lreachcr;lu^ vov - -e. :':r^e Miss Wyatt faiU to -cnd'/r a performance of iirilliiincc. msny in the cast, in addition 1o C'Brien -nd Murphy, do so. OutsLanriin.g is Carl EsTDOivl. playing a German-.Amcri- c.Tn pr'r'ot who in s no'.ite w?v re- sents bcint! called 'Dii'ch ' Othoi-s doins excclb'itlv include Jackie Cooper, "'ax Br.er and Dc<i Arnaz. Eaer. in" dentnllv. Rets flcored early by an enemy shell. The musical .score, by Ro>- Webb, with C. Bakale.'nikoff as cirector. zdds to the peneral production i^'iie. while the pbotn-n-aohv of Nicholas Musuraca rate? loos. battle se- quences are esnerially efTcctive. Char. The Boogie Man Will Get You Colu:i»l»ln n-lM;.»<* trf C .ilM-i l chirk l>ri,- (luclii.n. S'..im lI:i!iN Kiirlnlf. l'i.i,.| {..ni-; rt-Mtui-i s .M: xli.. I'..si.|iMi".ni. l,;-irv r.n kH, .tcIT 1) 'liiP'.! n .riKil l.y l.>" l^ir.hi,. Sf-rorniih'.'.- by IWu-ln HIuiii. ; fl^lMrd liy Tjiul Uui4;*.lin Jtnil li..4..«.J im I>v JJ;il Vlmbr|.F jin^l Hnltfil It. Hum: linii-r.;. HM1T7. Vrcullih: (alitor. Ttli-hnKl F-hhU W Hljilto. .V. v.. HUinliH: On. IJ. 42. Kuii- linc IliiM'. CO Miiatare Renews •Seven Days Leave' (RKO) (Musical). Victor Mature and Lucille Ball in off-key musicaL Ifee Navy Coaei n^Mgh' (RKO). Action-romance will do well at the b.o. The BMcie Man WUI Get To' <Col). Boris Karloff, Peter Lorre, Maxie Rosenbloom in whacky whodunit comedy. Ibe Great Mr. Hanier (GFD- British), Fine biography of the composer, but needs a title ch.iii^'e fvir b.o. '.Mounlighl in Havana' (U) iS.ingff*. Minor league filmusical fails to reach first base. Filler for family duals. "Scaiterfcod Sarvives a Mar- arr' (RKO). Latest adventures of small town philasopher-indus- frialist, okay support in duals, ■Blondie (er Victory' (Col). Latest of the series, a crackcr- jEck .supporting film for the bet- ter duals. 'Ike Manmrs Tomb' (U). Fair chiller for duals. "Texas t« Bataaa' (Mono). Gosd western in Range Busters series. Moonlight in Havana (SONGS) Hollywooii Oct 9, Vnlvrmul relcoaa o( Ocfuard W. Barton pnKlui.iliin. RiHra Alliin Jancx, Jane FViize«. Uiracica by Aiilbosy Mima. OrlK'niil ■cxeen- plBV liy OwBr Brodm-y: camera, taurles Vu Knger: editor. RuittirU Hclioencsrth: aaet. illriM uir, Cberle* UoaM: iIudocs, Kd- wiird I'rlnif; inuulf direitor, ('harle* Pr«- vln; wiiiKi'. Uiive |.'iunkllii. Al IllUjl.. A., on. H, '42. RilnnlTut time. MINS. .Iiilinny Normn Alliin Jone« illiiilii JmkKon i»ne Ptmece I'Bliiy <.1jn-k MarJoiJ* Lord lliiriMT Cmoe WUH«m Frawh^J- Kdilk DanlTta l'"n Terrj- .Miirllnej! .•'(■rk-lo llrin Joe Cliijk Bolder rhiii'lle Mmrti O'Conmll Otuye* Sorlon lli.non HatK* OroBJ" Jn-ln' .lof^kH iind M\\k <:i:|.i. S IVof^w^r !;:il:ni:s. Dr. Lon-riA WnxlP ^\'lnnte l.;',|.n ni L»ji;<Ti mrllR Juni^ . c.ilbett r.r.iiniitdii. nii.-n."3ter Sllvin Mii<icjilupl .1< hnsnii (.iJTtft-r <3ulTX-y jMinMi M^ti'.on . n-ri" Ki.i li.ll l*i.|<.i. ]»ri* .iKii. Uii,u.nl.l-tf>;n .li^ r>.nn..ll .... UinT rinlc ..Mi:ilile Kliui'in.. Pun n<Hl.l.ie . .t>,.«»rce MrKiiy . ..KV.ink PokIIh .Kildir l.aii|:btun .Tr.mk jsnlly The Navy Comes Through KKO rflt-... .. .v..r. .^U/<u,.' i-riidiu-L.nn. FriiLuic*. CI". li'.i. l>oi-ee -Muilihy. Jum- ^*vnn. jHi-ki- t^,..i,^r. Cnrl Kumond. Max Bmi-. Pml Am:;/, Hnd Onlllnn. Dl- rerH'.l by .X. C(u*iird Sulherl.nnil. Ra^t^d 0:1 M'.rr; . "V'^v io I/^um.' Iiy l<«rflcn ChBw; AdtiiKHiinn. Ko;.- i'*hnTwlrtr. Aenenn Mac- Kenzle, Uiu-I TtuMwIn find .fnbn Tu'lut; fUm edflor. .Shnultl K. Beftlej-; rHmcriv, Nichnlns )8inui-ii(Mi. S4.v>en<ed In iit.o}walifn Tfmni. N. Y., O.i. !i. •4-J. Huiinlns ihiie. 81 HUNH, M.illory Put riniien ,S;in»lB OeorKe Minlihy .Myi.i luno Wyiitl Juchte ("ufipor Kioii:!- Curl Dftmrnin 1! r::ii..-n' Miiv Baer T;-t-li,.i llpsl Arnuz (• 1-1. .VI, iiH Riiy. rollliw liet. Ilnnnnll S .:■ . I I Viiink .letikfl .liihn M:uulre .1 Kriiiik Fi'iil'in >■ 3"'y »"> I>'..-:.'i Miirlfn i.timi>nl I- Cyril Hmc II :■ II.-.I:: )i nil orii '■ Reminiscent of 'Arsenic and Old Lace.' the legit show.-and with Boris KarlolT, of latler's original stage pro- duction, heading the cast, this .screw- ball comedy generates hearty laughs from the same premise as the legiter. Inane title is no help but cast names definitely are. 'Boogie Man' is a scTondar.v screen vehicle shaping up as a strong entry to bolster dual combos. Elongated title is film's biggest handicap but may be partly overcome by selling as a wacky comedy, which it is. The Hal Fimberg-Robert Hunt story has been defUy transferred to the screen by Paul Gangelin and Edwin Blum. Plot concerns an old Colonial Inn; a group of obviously mitty characters residin.g there: a demented professor who would cre- ate a 'superman,' and a string of corpses kept in cold storage in a wine cellar, "niere are the ustial secret doors, knives in tbe back and an escaped Fascist who threatens to bomb the place. In less skillful himds. this would be merely a string of implausible events testing audience credulity. But with Boris RartofT. Peter Lorre and Maxie Rosenbloom playing the principal charac*':jrs with tongue-in- cheek fashion, it becones a crazy farce. Rosenbloom is tlie final ped- dler victim to be placed in the pro- fessor''s electrical cabinet in an ef- fect to create a Superman. KarlofT is the half-crazed profes- sor, portrsj-ed for lau^ and sly humor, while Lorre is tbe imscru- pulous sheriff-doctor who joins hands in the superman experiment in hopes of realizing a handiiBme profit. En- tirely different from most Lorre characterizations, but solid. Rosen- b}oom is again tbe typical 'Slapsie Maxie' who wants to become a smart door-to-door peddler. Miss Jeff OonQell and Larry Parks are the couple wtio buy the Inn, doing the best they can with flighty roles. Support is headed by Maude Ebume, as the rrary housekeeper; George McKay, another out inmate, and Don Beddoe, all excellent. * Lew Landeru' expert dii-ection maintains the farcical pace through- out. Wear. This is an ao'.ionful, exciting naval adventure with .strong romantic in- terest, plus £.11 the in,?redieiJts that .stir war-minded emotions such as marching mpn. fU.l-wavin.P,, battles, sweat, blood and tears. Every In- dication is that it will not only do veil at the boxofficc. but abo .sei ve as a .still bol.<1e-er of patriotism. The .story, originally published In the Saturday Evening Post under (he title of "Pay to Learn.' is the sa.sa of a merchant marine .ship with a naval crew abotrd which achieves uniisunl sucr-e.-^sea rgainst the enemy in the face of tcrril^c handicaps. Battle scenes, downing enemy sues and planes, are exceptionally well staged and, due to their realism, arc intensely stirring even though news- reel .shots are interlaced. Pat O'Brien, idea) for the part he i essays, i.s a chief petty officer in . charge o( 'a small crew of 'ilue-1 Hie Great Mr. Handel iTechnipolor) (Birnsa-MADC) London, Sept. 23. C-ii..|;il I'llm L>istril,u(,,in ii-lr::Mi. of (MI.W. rr.iiliii Hull. SI.11!, |.'.li7.iil.,.|li Alliiil. Uiirii.l l..iwM>ii. Iiiiii'lfd l.y .\'iirili:in \\'.ilki*r. Si-r.-iTl'liiv. I-. du Ciirdi- I'cii li; .i iniirii.. tli-riilil r.IliiMl: ii'lOIItiiiinl >. f iief ;ili(l dlliliii:. \'ii.|<ir M;i.'<*luii-: riiiil«-i:i. I'll,lull. Fi n-KO Cn'm'.. .l;i. Ic rmdifr. At Ijrircpier Si|iiiir'» Ilii-iil|.**, iiiii'. KIR .MINS. .Ml. lr;iiiil,'l Mr> Cllil.i-r I.itnl I'lirsti.rlifltl .'■"ir (■|iuile> .Miii-nIiiiiii .. . Pn-iKiik. I'liii.i. ,.r WiL l'liiii<^ii>i Mi-..!,'i:l-|.| I'lii.vlcH .lonn'.ny I- ..1-y I';'p;i.in rnilLlii l.iiiidi.li. XuniiiiiK . .W'ilfi iil I.iiwi.nn .. I':M:'.iiI.i III Alliin .. . .\li.l iiliii Kwn . .Ml. hue 1 Sli.-i'l'.y MiiN Kliliy H:iy I'..i: i|. . ..Miiii'i.' Hi.ri"\ . .A. I>: .\l.ill(ii-v\ii . l-'i i.ili.i i, k '•in.poi .. . . Aii'i|.-w I.'-iKli To stultify the genius responsible for the incomparable 'Largo' and Messiah' with such a billing as 'Tbe Great Mr. Handel' is as ridiculous as citing 'Romeo and Juliet' by 'the Great Mr, Shakeq>eare.' In short, this title is bad boxoiTicc, Whether, re-titlcd. The Great Mr, Handel' will do business in Ameri- can picture bouses dt^ends on a factor whiclf to date has never, seemingly, been satisfactorily settled. But there will never be a more con- clusive test of public taste than this one affords. For here is the glori- fication of music without (he trick cmbellishtnents of Disney's 'Fan- tasia.' Ilie only point open to ques- tion is the p^entage of film fans to whom classical music appeals. It is certain, wherever the Tflessiah' is sung, this reverent screen treatment of Handel's life story will be ac claimed entfausiastieally. Obviously and inevitably music is the keynote of (and triumphantly dominates) the film. As played by the London Philharmonic Orchestra it is a feast of tonal beauty. Tbe production, sedulously correct and true to the period, mirrors the Lon don of 200 years ago in a series of Hogarth-like paintings come to life. Costumes and sets sumptuously col- orful and, in. these days of clothes coupcm, surprisingly extravagant. An exceptionally subdued use of Technicolor tends to make for a feeling of mellow attractive age in the case of exteriors, as it also en hances the richness of the silks and satins worn by both sexes. WiUrid Lawson in the title role speaks with a pronounced German accent but is virile enough to make his defiance of tbe Prince of Wales and a bishop of the Church of Eng land ring true. He tells the latter <in Westminster Abbey where he is about to rehearse the choir in the four anthems he has been com- manded to write for the King's coro- nation) he is "a better Englishman' than the church dignitary. He is an Englishman by choice 'and by an Act of Parliament' ^vbereas the bishop is an Eoglislunan by an acci- dent of birth. Tbe incident of his outraging the sasceptibilities of His Royal Highness is historically au- thentic. When the prince makes audible remarks about Mrs. Cft^er's costumes in her role as prima donaa of a new Handel opera, tbe com- poser crashes discords on bis spin- net and brings down the curtain in the middle of her aria. As Mrs. Cibber, the diva. Elizabeth Allan is a radiant beauty with a niagly endless wardrobe of entrancing crinoline gowns. Also (if it is, in fact, ber own voice) here is one of the finds of tbe year. If her upper register is inclined to be a trifle thin, the cello-like timbre of her iBiddle and lower notes has the ricfanes and warmth of Madame Sembrich's. If it is a case ^ dub- bing, the nameless possessor of this voice must inevitably come into her own in the near future. In a long list of distinguished per- formanoes there is room for mention only of a fine characterization by Hay Petrie as Handel's Scottish man- servant, and of Morris Harvey as Heidegger, a Swiss imnresario wbo goes broke by staging Handel's operas. Performances aside, it is es.sen- tlally the music and atmosphere of early 18th century London that makes this a welcome relief from a screen saturated with shots of war in the air. on the land, on sea and under the sea. If American cash customers are not to be taken for a ride, however, 'The Great' and "Mr must be lifted out of the title. For that prince of ilhi.sinnists of the '90s. Hermann the Groat, was both fitting and good boxofTicc. For Handel it is the last word in banality. 'Moonlight in Havana" is a decid- edly lightweight picture that is only saved from loUl eclipse by its brev- ity and a group of above-average tunes delivered in solo and duet by Allan Jones and Jane Frazee. It's dual supporter for the secondary houses. Story IS a fragile excu.se on which to hang the display of song and dance specialties. Jones is a big league catcher whose eccentricities generate antagonism from fellow players. Club is in Havana for spring training, and Jones—who can sing terrifically only when he has a cold—is tabbed by William Frawley for his nitery unit, with Frawley conveniently getting a Havana book- ing so Jones can make a pitch to re- join the team. lunocuous horseplay is provided in the form' of periodic contraction and recovery of Jones from colds as he switches decision from the ball club to night spot, with Miss Frazee and Marjorie Lord tangled on the romance end. Picture drags in the script line, and gets no assistance from director Anthony Mann. I^attcr fails to point up comeiiy angles attempted along the way. and misses entirely with drunk antics of Hugh O'Cijnnell r.nd Jack Norton, who wander in and out of the script aunlessly. Grace & Nicco pi-ovide the higlispot of (lie picture with a burlesque koockabou'i. ballroom dance while Horton Dance Group and the Jivin' Jacks & Jills are spotted for several song-and- dance ensembles- Dave Franklin provides six songs for delivery by Jones and Miss Frazee. Tunes are far alMve aver- age, with duel arrangements par- ticularly catchy. 'Got Music' is a lively number for attention of the dance bands, while 'Isn't It Lovely?' is best of the others. Jones and Miss Frazee are neatly recorded on the musical side, but are handicapped by both material and direction on the .straight narrative. Balance of cast—also under wraps— includes Frawley, Miss Lord, Don T€ri7 and Wade Boteler. Walt. Bkmdie for Victory Columbia releaa* at Robert Simrk* pro- duction, Stara Penny Slnsleiun. Artbur Ldlca, Lany Slamu: featniva tiiuuri ISrwin Jonutliaa Hula, Danny Mnminert. ward Oarvan. Dtrevted br Kmnk it SIrnyer. Bcroonplay by Karao DeWnlr anii Conole Lm from alory by Fay Kanln- baited oa comic atrip created by C^lck YooBc: eaincra. Henry Freullcb: nlltor Al ClBrit. At foa. Brooltlyn, N. v.. dual' week Oct. 0, '42. RunnlnK time, H .MIMi' niondle Dll£\VOMl Ilaby Duniidlni. Daluy Cookie Keni.hel Smllta.. .1. (\ UlllierB Alvin Fuddle .serfjeanl Ulaa CTalilier Ur. Cmnib Mr. Oreon Iloiiiiler Penny SlnKleion ■ Arthur L^ke I.iiiry Slmma Dubiy Ulalillr Wbiie Stuan Krvkln imiinhiin lluie D.iiiiiy MiiniMiert lidwjird i::irkiin Henle Ukmo Irvlni; iLn-on »Urii;,.,ii <:r,-i>ne .(■<i;irle» W:ii:.Mi!ii.iin The late.st and possibly bust en- trant in the series will wow the Blondie fans. Thanks to a crisp pro- duction job, 'Blondie for Victory' will amuse even those who shudder at obvious comedy and a tran.spar- cnt plot. The script hews to the tried and true formula, only this time it hinges on civilian defense. Penny Single- ton (Blondie) has organized her neighbors into the Housewives of America. They wear uniforms, do all the usual home front stints and, in addition, guard the local dam site at night. Which is okay except the husbands don't like the lack of home cooking, etc. Not until Dagwood (Arthur Lake) fakes an enlistment in the Army does Blondie disband the organiza- tion: then the women return to keep- ing house ond their children under control. Stuart Erwin is in for a very good comedy sequence as the 'lonesomest' soldier in town. He was raised by three maiden aunts, had eight sis- ter.s, and joined the Army to get away from women. So all he gets is kisses from movie stars, cakes from the hou.<iefraus and invites to dinner. The character and situations arc a wrapup for Erwin's delivery. The entire cast, stars, featured and bit players, does a hangup job. They play the lines for all they're worth, give sparkle to many !>n old niece of business. Fran. Scattergood Survives a Murder RKO ri.|ea..ie of .lerv.ild T. Brundt iiniil-ji-- lion. .SliiiB <;uy KIM»+*; fo»ture»s .lohn Archer. M^irunrel Hii}.ef, W«t1:M.r l*N»r<l. S|M'n<-ei' rhiirii'ij*, l.'.lly Mulyiin. .Iiihn ^Ill- Jan. Ulrf,,n*»d Irt- C^rlnly OBlinnne. Rimeil iin "Si-jiUeiiriHiil "PiilneM* stt-i ii'H by Olarmrr lludiiiKtnn KelluDd: Bt-reenjiluy. MU-hueJ I,. ,'!lmTnonH; f-nniern. .iBi-k .Mnrkenrlr; ertllor. Hlrluird f^HlicMin. Ti-adi.ntoo»-n in N. Y. Oci. iX, -U'. K>li,nil« lliiK-. 4W >]|.N.K. .^ciilterci'id niiliiOH <»4jy KiUliec T>iinkrr Gnhmn Jiihn Arrtier Gall Bnri-biT MjnviirM lUiyea W«lly <-.illiiiri WulliK* l-ord Pbi-i-llf Slii.n'f.r rhiirlrm l*rp. Gi-lroen , .Kily Malvnn ]Li,',r« lahn Milian Pitin <*:ilil\vf.ll Cli'iiri:*' r^iiindler Miilhew (Jiii.nllii Pick Rllkni l*h<iel,e Que.nlln J-'lorem e Like S<.|nia Qiienlln Siir:ili KilvviinlR Hipp W4Uie »e»t T^cpiily Giwrve Guhl l.nte Alli-n K6. WnlW Cynlhi.t (Juenlln >liii.f:iir«il Sedilnn <.,ydln (^uonlin Kstvuret Mi-Wade Tbhdilrup Qurnlin Frank ftplrhrr roitiiirr |.;iil'le llfHlBipB :ui'rnt::ile Alfred Hall Though a little slow in unfoldine this latest "Scattergood.' set off against a murder mystery back ground, picks up steam before the first quarter and adds up as okay siqiporting fodd^ for the duals. Small town .locale, with Guy Kibbee in bis usual role of friend, guide and philosopher to those in need of help, is in the groove for hintei-land audi ences in particular. In this Stanza Kibbee bestows kindness upon new.<ipaper reporters as weU as dumb animals, ^ne yam deals with a snail town newspaper publisher and three big town re- portei's. interested in getting the an swer to a series of bomtcides. Touched off by the seemingly acci- dental death of two old spinsters who leave a fortune to their pet cat suspicion swings from the evil-ap- pearing hous^teeper <Eily Malyon) to virtually every member of the cast. 'Scattergood' helps the news- men get an even break on the .story. Willie Be.sl. colored comic, is in for a few laugh bits; Kibbee dom- inates major portions of the footage, and juvenile leads, John Archer and Margaret Haye.i;, fill the bill nicely in the light romantic assignment. Miss Hayes needs constant and care- ful camera attention, as indicated by occasional shots where she doesn't photograph too well, in marked con- trast to okay appearniice in mnst ■scenes. Mori. THE MUMMY'S TOMB Hollywood. Oct. 12. fiilvor^il ri.||.;is,. iiT M..|i .I'ivnr pr<,dar- tiun. Keuluri'M l^iii t'hjiti,.y, liu-k* Kur.in. B!yi» Knox. KIroeletl 1,y Hmwild Yiiuni.-. ■<-n<llploy. OrlBlTi Jsiy. Uvnry .-^iifhiT; irit:Jnul. Nell P. Varolik: 1.11111.1:1. lieorjiii lltihliiMin: editor. Milton t'.imilb. I*rtr- vlrwed ut fludlo, Ocl. l:;. KannioK Uiiir. Dl MINN. Kluul> l.<in <"lLi iey sti'ldien A. Rimntiii: l>iek Ki,r»n Is.lii'l HviiiiK Klyw Knox .li.liii fbinulni; I,t1iii 11iilil,:ii-d Jane Biinnlnf: .\birv t>irilon Mi-y. K\-Mn^ Vin:in,Ji llrijaac .Miheiiii-I lu.y Tiiih.in Bey Hal«. Hiin.wn Wallace Foril .\ndi>lii.| treori(« Zwrti ;.'4niifr tll« Cl.irk IVilii, I'M-jl E. Bamii Universal whips up another hor- ror-chiller picture here, sequel to 'Mummy's Hand' of two years ago. With no deviation from formula, and obviously on low budget picture will get by as secondary dualer with audiences not too particular on cre- dulity. Li early half of picture, .story is unfolded via dialog flashbacks of Dick Foran, now elderly and retired archaeologist In setting up modem adventures of 'Mummy,' Foran's reminiscences are picturizcd from extensive footage from 'Mummy's Hand,* when revitalized creature is dug up in Egypt. Then 'Mummy' is brought to the New England town to revenge disposing of tomb, result- ing in loosened terror, clutching hands and several murders. Natives finally comer the menace but it's a cinch he'll be resurrected when Uni- versal can concoct another yart; of similar vein. Direction grooves to formula of the general layout, and docs not pause to give players more than routine portrayals. Foran .""1 Wal- lace Ford are both in clips i the previous film, and then 4c .1 in new footage as elderly ;■- -Mtists. John Hubbard and Elyse Knox team for decidedly minor romantic intor- est, while Ixm Chaoey is covered with regulation hideous makeup. Story is bumpy aod cannot stand close analysis, but it will pass with audiences to which it Ls aimed. Wfllf. TEXAS TO BATAAN (SONGS) Monomnm peleaBe of George W. Wi-Wb produnlon. Feamres John KInc liBve Sbarpe. Mux Tcrhune. Jlurjnrie Mjniiiiof. nndd BoKler. Km r>iinrim, KK-olnmlfa BaDiin und Frank KlIlB. I)ii.erlei1 by Kolieit Tanney. SInry an.I ndmnK'.loii, Arthur Hoerl: edlliu-. Hay Curili': i-.ai:-, l.ihii KIni:: i.hnliicniphy. K,iliirl ilm.;. At .Mew York, N. Y.. dual. Oil. '>. • Itunnlng time, 6i NIN8, DuBly Davy Alllil Dalian ... Tail r.apl. Andera. (Nnikle Hi.h:iWlil Kneel Mlll.i- .Tidin Kmc Have ....Ii.iriie .Max Ti l liill i' ..Mail'-ii,. Maiiiii'ii.' I'.u'.il lla>iir Ki n inin. :in K...iH>1ii>li|.|i llauriii Pianii C.irl M.itbl«" . . . .i;uy Kintsfi.rJ Another in the Range Busters scries and one that compares favor- ably with predecessors. With Balaan in (he title, some additional boxolTicc (Continued on page 16)