Variety (Dec 1942)

16 FILM REVIEWS Wednesday. December 16, 1942 TENNESSEE JOHNSON Hollywood, Dec. 15. Metin rrliMKC of J. Wnllor Rubfn pi.xlMi- tloii. I'VnlureH Viin Hoflln. Monol Harry- more, Itulh HuKhoy. Dlrfcleil by Wlllliiin Dloierli". Stiri'npluy by John lliiM.'rH4Hi an<l W'cllfi Ittul. ItiiKeil on orlclnnl )iy Mii- inn :in,l Alvin .Meyer.i. i:imer:i. ]liir<>ltl Ho^N■Jn: apcrlul i-rrectf. Wiir^'n .SenriiMil*; filltur. noliorl J. Kern. Sh'iAii In BtU'llci innjfillon m:m. T>ti-. lU. ri. Runnhii; lliiic. 100 .MI.NS. AnilK-vi- .iMhiif-iiii Viin lU'llin Th.Kl.N u.s Sii-vt'n» I#lonol H:ir iyin<tro Eliza MiCiirillc Hulh Huiwey .MrB. rirtwr Maijorle Main McDanlel R«l» Toomey ('(ihe J. Edward Brombern Mordecal MllllKHn Orent Wllhrra Andraws Alec Oalit .<;<inttor Jim Watem Charles Dlnicle (■ongre««m«n Harnrave.. .Carl Ronton Ili-ld Lloeoln'a Emluary RuaiioM HIrka .<;herlir Can Noab Deeo'. l^r- Major CnwkH Robert Warwick Chler Jiuilce Chaw Montasu Love Mr. SecreUry I.loyd Ciirrl»nn Senator Muyler William Fnmum Lanabury Charlea Trowbrldire Martha Lynne Carver KIrby Hu»»ell Slrapaon Jerterson Davla Morrla Ankrum ^T'ennessee Johnson' combines facts and fancy in presenting the cinematic biography of Andrew Johnson, who succeeded Abraham Lincoln to the presidency. It's a ponderous and overfooteged affair, despite careful production, and rates as dubious box office. Despite provocative performances by Van Heflin and Lionel Barrymore, and a long parade of character studies of the times, picture is too draggy to catch audience attention. Historians, also, who are familiar with the presi- dential career of Johnson, will not be satisfied with the switch in facts necessary in the film biography to get It past audiences in the South, when It's all over, basic Idea seems to be that nnity must prevail in the entire United States, free speech is paramount, and the Bill of Rights is an important document to the free- dom of Americans. But it takes too long in an unimpressive telling. Decidedly episodic script unfolds the life story of Johnson in not too colorful fashion. He arrives in a Tennessee town as fugitive from ap- prenticeship; sticks around to learn reading and writing from Ruth Hus- sey; leads non-landowners on cam- paign for voting privileges, and winds up as Senator in Washington. In the secession movement, he remains loyal to the country, and is nominated end elected vice-president in 1864. Lincoln is his guiding spirit, but on the President's death, he gets jammed with Congress In endeavor to carry out Lincoln's policies with regard to the conquered South. Picture then goes into len^hy footage on his im- peachment trial and final victory. Heflin displays an impressive oer- formance as Johnson, with Barry- fnore the Irrascible and gruff politico bent on getting Johnson out of office. Miss Hussey does well as the wife who steers and' controls her hus- band's stubbornness and temper throughout his political career. Good f)port Is provided by Marjorie in, Regis Toomey, J. Edward smberg. Grant Withers, Alec Craig, arles Dingle and Montagu Love. 5t are brief bits in the kaleido- scopic and episodic proceedings. Script by John Balderstcm and -Wells Root Is studiously contrived, but too slowly developed for enter- tainment purposes. Director William Dieterle uosuccessfuUy concentrates tfti characterizations to add to the madequacies of the piece for gen- eral audiences. Watt. The Commandos Strike at Dawn Columbia release of Lester Cownn nro' Auction. Stara Paul Muni: features Anna tee, Lillian Glah. Sir Cedric Hanlwlcke. Robert Coote. Riv Colllna. Directed by John Farrow Screenplay. Irwin Shaw, from atory by C. S. Forester: camera. Wil- liam C. Mellor: editor, Anne Bauchans: music. I^uls QruenberK: music director, M. W. Stoloff. Previewed In N. T. Dec. '42. Running time, 100 MIN8. Eric Toreaen Paul Muni Juillth Bowen Anna Lee Mrs. BerKesen Lillian Olsh Ailmlral Rowcn Sir Cedric Hanlwlcke Robert Rowen Robert Coote BcrKcsen Ray Collins Hllma Arnesen Rosemarv PecnTtm Anhn Koraind , blllsabatb Fraaar Gunner Koratad Richard Derr Johan Oarmo Ervllle Alderson Mrs. Olav Barham Everest Pnaior Rod Cameron Karl Amesen Louis Jean Heydt Bchoolteorhcr Geonre MacCrea'ly Qerman Colonel Arthur Marsetson Solvent Toreaen Ann Carter Wr«. Koralail Elsa Janraen Mr. Knrstad Ferdinand Munler Alfred Kornslad John Arthur Stockton taken by the pic, since It deals with the British Commandos only in a final episode that finds Ihem carry- ing out a task operation in Norway. And it is an episode that vividly re- veals why the Commandos will be among history's great warriors. This is really a story of the Nor- wegian people, a people linked by principles to the democracies biil ground under the heels of fifth cal- umny and Nazi idealOKies. It is a talc of fiction laid against a canvas of truth. It is when "The Commandos' at- tempts to assume a 'popular' appeal, as such, that it slithers into the com- monplace. It injects romance at an inopportune moment. There is no gainsaying that acquiescence to par- ental moods is a vital part of mod- ern-day existences, but when a father, fearful for her safety, takes time out to see his young daughter while leading a Commando expedi- tion, that's stretching credulity a bit too much. But then, again, if Muni hadn't done that, the film would not have ended on its present note. It was a scenario task operation tliat failed to do credit to the reputation of the famed fighters. However, those are comparatively minor re- flections. Much of "The Commandos' setting Is in a little Norwegian flshing vil- lage, and early 1939 finds its indus- trious people apparently uncon- cerned about world events. They are peaceful folk, like Eric Toresen, for instance, who had never raised his hand but once in his life, at 17. and then only to strike another boy whom he had found kissing his qlrl. But the Nazi scorpion changed ull that The Nazis set up a local gov- ernment that soon turns the peaceful vlllageTB to an underground n.nve- ments Muni portrays the Nordic fisher- man who leadis the movement and ultimately the Commando expedi- tion. His Is a forthright perform- ance, occasionally underplayed, but always ringing true. Anna Lee is his romantic counterpart, a part that doesn't afford her much of an op- portunity. Her few scenes, however, are acted well, though it's a role that's out of place. Commandos iind romance don't strike a favorable note. There are a host of lesser players, all of whom perform excellently, even to the most insignificant char- acter part. Sir Cedric Hardwicke, Lillian Gish (her comeback in films), Robert Coote and Ray Collins con- tribute notable characterizations. The writing credits are distinctive, Irwin Shaw having adapted the scenario from an original by C. S. Forester. John Farrow—Lieutenant- Commander John Farrow of the Royal Canadian Navy—has handled the direction. He maneuvered the Commando raid at a thrilling pace, and that portion Is the film's out- stander. Kahn. Keeper of the Flame Hollywood, Dec. 9. Metro release of Victor Bavllle (Leon Qor- don) producUon. Stara Spencer Tracy. Katharine HBpburn. Directed bv Geo rite Cnkor. Screenplay by Donald Onden .Stew- art, based on novel by L A. R. Wylle: ram- era, wllllain Daniels: special efTects. NVar- ren Newcombe; editor. Jnmcs E. Ncwcom. RunnInK time, 100 MIN8. Steven O'Malley Spencer Tracy Christine Forrest Katharine Hepburn Cllve Kerndon Richard Whorf Mrs. Forrest Mantaret Wycherly Geoffrey MIOford Forreat Tucker Dr. FleldInK Frank Craven Freddie RldKCs Horace MoNally Orion Peabody Percy Kllhrlde Jane Hardlnx Audrey Christie Jeb RIckards Darryl Hkkmnn Mr. Arbuthnot Donald .Meek Jnson RIckards How.ir<1 <ln sllva PlKKOt WIllliiA Newell Miniature Reviews 'Teunesisee Johnson' (M-G) Carefully produced biographic drama developed in low gear, ■The Commandos Strike At Dawn' (Col). Big boxoflice looms for Paul Muni starrer. ■Keeper of the Flame' (M-G). Needs all the b.o. heft of Spen- cer Tracy and Katharine Hep- burn. ■Quiet Fleuc, Harder' (20th). Whodunit thriller likely to be strong entry on dual setups. ■Ice-Capades Bevoc' (Rep). Lively ice musical geared for okay grosses. The Great Impersonation' (U). Okay spy meller for bookings in supporting dual spots. 'Dawn on the Great Divide' (Mono). Last of the Buck Jones westerns and one of the best. ■City of Silent Men' (PRC). Good meller about ex-cons who make good. Slated for the better duals. ■Lb Gncrra Gaaoha' (Arg- made). Possibly best Argen- tine-made, an historical epic. Richard Whorf, Darryl Hickman, Audrey Christie, Howard da Silva, Forrest Tucker, Frank Craven and Margaret Wycherly. Latter has one standout scene that Is expertly han- dled. Direction by Xleorge.Culwt.r.ccen- tuates characterizations ait the sacri- fice of movement and pace. Script by Donald Ogden Stewart is heavy on the dialog side. Production is elaborate in sets and mounting, with photography by William Daniels add- ing much to values. Walt. Quiet Please, Murder 2liih-Fox release of Ralph Dietrich pro- duciloii. Feuiurcs Ueonee Sanders. Gall Piilrlt-k. Directed by John Liirkln. Screen- iiIhv liy l^i'kln from story by Lawrence G. Bloi-4Hiian: camera. Joseph UacDonald: e<*l- tor. LoulN T.oeftler. Tradeithown In X. Y.. Dec. lo. -I'.-, nunnlnic time. 70 MINS. FIOK Geoi-Re Sanders Myra llljindy Gall Patrick McUyinc lllchard Dennlnv Kiiy I.ynne Rulii>rls Miirlin L'lonvor SIdnev nlacknio-r I'iihsen Kurt Kntch Miss Ctv.il Maixarel lliayton llollls Charles Tannen Mr. Walpulo Byron FouUer Vance Arthur Smce Benson Qeorire Wolcolt Wehley Chick Collins stork Hoy Bud McCalllster Gannett Bud Ocart Stover Harold K. Goodwin Detective James Farley Policeman Jack Cheatham Muuf'ewlfe Minerva ITrvcal Hushard Hcrt Roach nebe.ocu Paul Purcnsl Lui-as Theo<lore von f?ltz Out of the welter of headlines has emerged the first major American film exploiting the deeds of those heroes of World War 11, the Briti-sh Commandos. "The Commandos Strike at Dawn,' as produced by Lester Cowan, with Paul Muni starred, is an unbeatable boxoflice combination of fine talents. This production has been endowed 'With all the facilities required to emerge as an exciting tale of the bloodless Nazi subjugation of a peaceful people—the people of Nor- way—ancl the spirit that prompts a group of Nordics to break the grip of Hitlerian despotism. It Is a film that Is frequently slow, sometimes belabored, and occasionally un- believable In its sentimental dra- matics, but, withal, one that Is a must-see because of its impending— and frequently realized—sense of ex- citement. The story's 'titl«\vvauld'> suggest., a different course tbail that'Actually 'Keeper of the Flame' will need all of the marquee brilliance and pull- ing power of the Spencer Tracy- Katharine Hepburn starring duo to carry it through the regular runs for varying degrees of profitable biz. Holdovers in the key spots are dubi- ous. Novel by I. A. R. Wylie might read better than its' transference to film form. It's a inplodrama <vlib volved fashion, revolving around the death of a national hero of World War I. Hero Is killed at picture open- ing when his car catapults over washed out bridge on his estate. Tracy, just back from war corre- sponding assignment overseas, watches the funeral services and in- tuitively figures there's something strange about the hero's accident. Gaining access to the estate, reporter becomes confused with the various discrepencies, but falls in love with widow. Miss Hepburn. After reeling oflf extended footage, yarn exposes the deceased hero as major factor and leader in setting up a Fascist organization to take over. Miss Hep- bum dies conveniently at the finish, with Tracy writing his expose for syndication. Audiences might well question the picturicatlon of the final destrjc- tion of a widely-heialded national hero, especially at this time. Al- though character is synthetic, that's what "Keeper of the Flame' does, even though unconsciously. Tracy delivers a top performance as the war correspondent, being ma- jor factor in keeping the picture from falling apart during its extend- ed and sometimes contusing unfold- ing. Miss Hepburn is Hepburn, with .usual mtanevisms and studied de- livery of lines. Best in support are First-rate whodunit thriller has been made of this unusual detective yarn with George Sanders, as the super-crook, picking up about where he left off in 'Moon and Sixpence.' Yam gets out of hand towards the end—otherwise it would not fall back into 'B' classification. Handicap of this screwball title and lack of b.o. names will hold it in this groove, where the film will prove a strong entry mainly on twin bills. Looks a sure moneymaker because of appar- ent limited budget. Typical sleuth-crook yarn Is given an entirely different twist as it fol- lows the carefully plotted schemes of the well-dressed crook, Sanders. He is a student of rare editions and manuscripts but generally is forced to kill a library guard in order to gain possession of these priceless works. His racket Is to make perfect copies of the original and then sell them for fees the original might command. Plot pits him against Sidney Black- mer, German art collector, who is shipping the works back to Berlin, anti an aspiring private sleuth, Rich- ard Denning. His accomplice, Gail Patrick, wl io 'ifFetWI T jJIM I f W. W' . ' OFJ, ICE-CAPADES REVUE (MUSICAL) Republic release of Robert North produc- Uon. Stars Kllon Drew, Richard DennInK: features Jerry Colonna, Bnrbai-rt Jo Allen (Vero VuBue). llaiold llulier and Icc-Ca- imiles Comiainy Includnx Vora llruba. .Mc- Kan Taylor. UiIh DK"r»hak. Donna At- wond. 'Red' McCarlhy. I'hll Taylor. Joe Jackson. Jr.. Jackson A Lyman. Robin Li>o. llenih & SU-warl. llie ItcnollM. Idle Wiille. Dabs Snvaae. Dliccteil liv llernard Vnr- hnus. Hcrecnplay. Ilrailfniil Rones and Ocr- Irude Purcell: orlKlnal. Hubert T. Shannon. Mauri Oraahln: cament. John Alton: editor. Thomua Rlchords: musical dliector. Walter Scharf: skating seguencra suwed by Harn' 1.0SSM: sonfts. Charles King. Walter flcharf. Sol M«yer & Drown: arraniera. Ken Darby. Marlln Sklles. Previewed In New„York, Dec. IS. '42. Running time. M M1N9. Ann Ellen Drew j,(f Richard Denning Theophllus Jerry Colonna Aunt Nellie Barbara Jo Allen Duke Baldwin Harold Huhcr Rubbles Marilyn Har« Denny Hill Shirley Wiley Stone Pletre Watkin Homer «' J'""" Snako Byes Sain Bernard Master of Ceremonies George Ilyron Republic's second venture into Ice extravaganzas looks like a sturdy grosser. It's short on story values but strong on music and in spec- tacular production numbers. Ellen Drew and Richard Denning do not impress as big marquee lure yet when combined with Jerry Co- lonna and Barbara Jo Allen (Vera Vague) they add up to substantial exploiUtlon .possibilities. ImporUnt, also, is the 'Ice-Capades' title which ties in with the John H. Harris arena show of the same name. Production will cash In perhaps more heavily In the hinterland, wherever blade spectacles are known or have been heard of, and their following is by no means inconsiderable judging from the terrrfte-gri/sses t>^inn gar- nered by the live skating musicals. In all. it's a lively musical entry, retaining much of the speed and rest of the rink shows, neatly megaphoned with a minimum of waste footage. It is lacking only in vocal soloists, though chorus numbers are okay with such tune.s as -Tequila,' 'Song of the Islands' and 'Guy with the Polka Dot Tie.' The finale, a military production number with the 'Ice-Capades* en- semble In a V-for-Victory formation is a rousing thriller with musical accompaniment such as 'Anchors AweiRh.' 'Caissons Go Rolling Along' and the Marine hymn packing a ter- rific wallop. Other standout produc- tion routines are the hula number, which features Vera Hruba. Czech figure-skating champ, the Ice Car- nival staged against an outdoor New England farm setting, the bustle number and the nitery revue which leads into the finale. Joe Jackson, Jr., is In for a brief but socko bit from his standard rou- tine, Jackson & Lynam, comics In rookie uniforms, click, and Lois Dworshak dittos with her rhythm dance. Virtually all the specialists from the Ice-Capades score handily, these including Megan Taylor, Phil Taylor, Dench & Stewart, Donna At- wood and others. Ellen Drew fills the bill nicely as the New England farm girl who in- herits a bankrupt ice show and runs Into difficulties with an unscrupulous opposition producer who has tied uo all the arena bookings. She Is not handled too well by the camera, however, and does not register as attractively as In past appearances. Richard Denning, romantic lead, photographs well and- delivers ade- quately as the bad boy turned good in order to help the gal In the clash with his former boss. Jerry Colonna and Barbara Jo Allen are in for a few laugh se- quences, the former as a screwball millionaire backer of the Ice show who turns out to be a phoney wait- ing to win a $50,000 radio jackpot. At one time he's buying the Empire State Building 'because It's a good place to spit down from.' Miss Allen also provides giggles with her stand- ard feather-brain interpolations. Mori. audience In suspense until he's checked by Scotland Yard and proves his British . parentage. Handed phoney plans and assurances from Britishers for German use, he's shipped off to Germamr to deliver the secret documents. In the mean- time, the Nazi agents in England are rounded up, but Bellamy meets the .<;ame fate in Germany. He escapes to get back to England, after send- ing Rudolph Hess on his famed plane trip to Scotland for rendevous with the supposed British Fascists. There's minor note of romance, with Bellamy reuniting with his wUe, Evelyn An- kers, while being pursued by the dead Germiin's girl friend and spy ring operator, Kaaren Verne. Despite the obvious texture of the yarn, picture has been provided with sufficient pace in both script and di- rection to carry It through satisfac- torily for the program houses. Bellamy capably handles his as- signment in the dual role at the start and the double identity later, with adequate support provided by Eve- lyn Ankers, Aubrey Mather, Edward Norrls, Henry Danlell and Kaaren Verne. Walt. Dawn on the Great Divide Monogram release of Scott R. Dunlap pro- duction. Features Buck Jones, Uona J3ar- rle. Raymond Hatton, Rotiert Lowery. Di- rected by Howard Bretherton. Original MTeenplay by Joss Bowers: suggeBte<l by iho James Oliver Curwood story. 'Wheels of Fate': camera. Harry Newman; wlltur, Carl Plerson. At New York. N. T., duaL DoM 0. '42. Running time, 68 MINS. Ilurk Roberts Buck Jones .luck Csrson Rex Bell Sandy Hopkins Raymond Hatton .^adle Rnnd Mona Bsrrle Terry Robert I-owerv Jim Corkle Harry Woods Mary Christine Maclntyre Klmlra Corkle Bstty Blytlie -ludge Corkle Rol>ert Fr.iy.vr Itanil Tristram C'lffln .Martha Jnn V/lley Tony Corkle Dennis Moore l.niler Roy Bancroft Silver Silver falls in love with the detective, but never quite manages to elude the skillful manipulating of Sanders. With much of action laid in a library, director John Larkin has managed to develop a maximum of suspense as first the artful crook, then the Nazi gang or the sleuth gains the upper hand. Rather in- volved moves are cleverly projected so that one thrill after another is In- jected into the story. Sanders, tailor-made for such roles because of hi.<; Falcon portrayals, contributes a bright performance. Miss Patrick is better than usual as his accomplice, while Richard Den- ning shows promise as the relentless McByrne, private detective. Black- mer makes a sufficiently menacing German 'busine.ss-man,' who is aided in his operations by two Nazi killers. Best of these is Kurt Katch, cast as a mute. Lynne Roberts has a lesser role as library assistant. Large sup- porting cast Is headed by Byron Foulger as the excitable librarian. Weor. TITLE CHANGES Hollywood, Dec. 15. "The Crime Smasher' is release title on 'Cosmo Jones' at Monogram. 'Isle of Romance' at Universal he- came 'Rhythm of the Islands.' The Great Impersonation Universal release of Paul Malvern prod lo- tion. Dlrecteil by John Rawlins. Screen- play by W. Scolt Darling, from novel E. 1'hll11t>fl Oppcnlielm: r.miera. Gctrue Robinson: editor. RusRell SchoeOKarlh. Pre- viewed In studio proler-linti room. Dec. 10. •il. Running time. 70 MINN. Sir E<lwaril Domtncy } Baron von Itagenslcln ( Ralph Dellainy Murlol Kvclyn Ankers Sir Ronald .\nhrey Matlier Itnrdlnct Kilward NorrlH llnroness Stephanie Kaaren Verne Seaman Henry DnnlcU Dr. Schmidt l.udwlg Slosnel I,ady I,eslle .Mary Forbes Sir Ti-lstram Rex Evans ManKan Charles ' (.'ol'^inan Hofmann Robert O. D.ivls Yordly Charles Irwin Stengel Fred Vngedlng Nazi Soldier Victor Zimmerman Universal modernizes and refur- bishes E. Phillips Oppenhelm's tale in this new film version by switch- ing it into an English-Nazi spy drama from the original. Rating as a stand- ard entry in the programmer class, it will suffice as supporting fare in the duals. Story opens with a German and Englishman meeting in the African jungles to discover they are exact doubles. One emerges to return to England at the outbreak of the war, taking an important confldentiargov- ernment post with the British, while personating as a member at B.Ger- man spy ring. Balancing'the two Identities, Ralph Bellamy has the" 'Dawn on the Great Divide' is the last picture Buck Jones made for Monogram before the Cocoanut Grove fire In Boston snuffed his life. And It's a fitting curtain for this modern William S. Hart since this is one of his best films. While slow in spots, especially when the boy-meets- girl, as are most low-budget west- erns, it's an 'all-around good job. Even the story is a welcome relief from the usual plot of a cattle rustler, crooked sheriff and thieving banker. In this one Jones is a scout guiding a wagon-train to Oregon. The prai- rie schooners are loaded with sup- plies for the railroad, there are a few settlers stringing along for pro- tection, and Jones' problem is to get the supplies through without losing the settlers. Thanks to his side-kicks. Rex Bell and Raymond Hatton, the rampaging redskins prove to be renegade white- men; the trading camp politician and a conniving jurist are put In the clink; and Mona Barrie is running the town and pining for Buck Jones. The location sequences are better than average outdoor stuff. The wa- gon train's progress across the plains is effectively used to build suspense that culminates In the expected at- tack on the train. The performances are capable right through, with Rex Bell stacking up as a good bet for solo western leads. Miss Barrie does well as a gambler's frau and the veteran Betty Blythe scores with a bit as a blue-nosed gossip. Fran. CITY OF SILENT MEN I'roduceiv Releaaing Corp. rcleaso of Dixon R. Hsrwin production. Features Frank Albertson. June Lnng. Jan Wiley. Directed by William Nigh. Screenplay by .loseph Hoffman from original by Robert E. Kent and Joseph Hoffman. Omera, Gil- bert Warrenton; sound. Corson Jowett: edi- tor, Carl Plerson. Reviewed at New York. V. Y.. Dec. 0. '42. Running time. 64 MINS, Gil D.-ivIs Frank Alberlsop Helen Hendricks June Long .Inno Mullcr Jnn Wiley Jerry Hendricks Richard Clarke Mayor Hendricks William Gould Jeb Parker Rmmett Lynn Frank Muller Dick Curtis Frank Rarton Hepburn Judge Frank Ja£au«t Llptlne lllchard Uaiiey Police Chief Jack Iloxley Captain William Kellogg (^tordon Charles Jordon Manners Pat Gleason This one is a sleeper; a good job that came through despite the usual birthpains Inherent to minor-B films and should break into some of the better dual bills. And, had its budget afforded something beyond the usual, and by now familiar, interiors, 'City of Silent Men' might rate top play- ing time. Chief assets that give the film Its luster are the story and scripting and slick performances by Frank Albert- son, Jan Wiley and Emmett Lynn. The story tackles one of the worst, and most overlooked, problems con- fronting our social structure, namely, getting a break for ex-convicts at- tempting to go straight. Film details the experiences of a duo of ex-cons, battered from town to town, who finally come under the wing of a small-town mayor. He puts them to work running a cannery that had been closed for lack of manpower. Other repentants in need of a break are brought in to help run. the plant. The conflict and suspense come from the local newspaper publisher who whips the townspeople into a frenzy of leai. Actuajly.ntvie of the ex-cons faavc stepjied out of line . (Continued on page 23)