Variety (May 1943)

PILMBEyiEWB WedncBilay, May 5, 1913 MISSION .TO MOSCOW Washinijton, April 28. A\'u;niT Drci*. i-o'.i-.iiii* i<f Jiulii-ii Bui:kiior Bu.>iu< I'lwivl Mk-tiufrl Ciiriiz. {iiiiK Wulivr Hii'iun land Ann tlui'-liiii: Iviiiurcs OHcar Hmnolka, Ucorge Toblus, Kit he l.ot-kluii't, Hcliiiui Dunlliit. ikroifn- liliiy, Hou'iiril Kut-h: biiBed on bunk by Jii»>i'(*lt K. Imiii-k: iMincrii, Bvn Uleiiiuin: lll(•llt.•K>■^. L>4>n Sii'Ki;). Jaiiien LeIcMter, •illK'i-, uurii Mbrku; HMt. dlni-tur. Frank Heuili; dani'M, Lfitiy Prins. Pnvlawad al Ihr Kiii'li-, WaahlnKiun. D. C April 38. '4S, Itiriiiliii: ilni*. I«i MtS». Ji'M'Cli K. Duvica 'Walter Hualon Mth. Uii\I» Ado Harding J.iirliii-v ,.Uacar Honiulka Krfl'lle Qeorge Toblaa .Mnliiiov Qen* bockhart .\iiiiiHine Miiloiov Frieda Ineacort Kiiil**n Lidvie* Kleanor Parker I'HUl Hlrhard Tmvia M<)Ji*i' Kiinienev Helmut Dantlne ItiHliinsky ...Victor Francen Minlxirr vun Hibb>>nin>p.... Henry Panlell Mr*. I.Iivliiov. .Ilarbar& Evereal Cliuri'lilll Dudley Field Mulone KreNtlnaky nnman IVihnen THnn l.ltvlnov Mnrin Palmer t^ilnnfl t'ayinonville Mortml <jlaen ].ny Henriervin ....MIniir Wuliion Kullnln Vladlrair Sukoloff ]ir. Ikiikln .Maurice Kcbwarti Spoiiiller lenuiie Cowun Knkhiirin Knnntantln Shane Siulln Munnorl Kl|i|»'n Ijidy Chl'mnn Kiiltileen IjH-kb|iri TImoehrnku < Kurt Kairh lir. Iljalniar l<>'ha>'t..,. i Felix linw-h Jurtce Cli-lrh >'riihk Pniclln Oi'Ink .Inhn Abbott Kei'retiiry I'ordell tiuli.-Charlea lYowbrlriire Hnlle Selnaale I.elich M'hlpper Paul Van Zeeland Oeorice Renevnnt Anthony Rden Cllv* Morinn I'lerre Lavnl Alex Chlrvn Mr*. Chun^hlll Porla I.l»y<l Alao Olat Hyiien. Art Ollmore. nnn riaylon, Georxe Sorel. Diim-an Henaldn. Minn nelllnl. FenI Sihiinnin-llelnck, nuir I.lndan. Peter MUhael. neome Dnvla. Jean Uel Viil. Emury I'lirnell. I*«t O'.MMlley. Murk .sironK. Allien D'Amo, nu<n>l|4i Sflnherk, OIno C<irmdn, Olen Stranxe, «>llver Oronii. Ray Walker. I'aplain Jack YiiunK. Rrnat HnuHrrman, Frank Faylen, JoM>ph Crehan. Rom FotA, Warren noun* Ian. Barbani Brown. Imhel Wlihera. fleome LuMey. Wallla i'lurk. Hana Schumm. Dr. Ernent Qolm, I.lm tiolm, Henry Victor, Ia>uIb Arco. Alfred Zlealer. Richard Ryes. Ernin Kalaer, Pierre Wntkln. Edward Van Esinnn. Eather Zeltlln. Nlnn BIOKOI, Tanya Bomova. Nikolai Cellkhovahy. Michael Vl*> aruir. Nick Kobllannky. aabrlel Lanoff. Alex Akimnir, Ram Savltaky. Oeorge Ole- befr. Mike Tulllian, Adia KuineintS. ni' lultria Aleala, Henry Outtman. Robert Dal< linfr. Mlacha W'eatrnll. Elizabeth Archer (Scherbachova), Roaa Mnntnt. Valya Terry. Kandnr Siabo. Vlrvlnla <:hrlitlnt. Ivan 'Trea-nult. Daniel «)<ko. David Ttotrman. I.uniaden Hare. Pelar Ooi) Chonf, Robait C. PladMr. Charlea La Torr*. Alex Cat* (Rene Plalaaetty), Fmnk Relcher. Leonid BneROlt. Edkar Lli-ho, Marl* Meleacb, Michael Mark. Martin Noblo, Lm Tun* Foo. Victor Wong, Ltik* Chan. Allen June, John Dllaon. Jean de Rrlac. Qeoni* 8or«l, Ted E. Jacquea, Bllll* IjOUle. Loulett* Rat- Inn, Marian l,«a«lnR. Joan WInfleld. Tina Menord, Penny Watt*. Iran* Pedrint,-Ixiul* Jean Heydl. John Hamilton, Frank Fenni> pon. Bill Kennedy. William Forrert. Alex Meleach, Vank WIndhelm. iTsn Labedeff, OregoiT Qolubett, Jack Gardner. Bam Gold' enlierc, Egon Brecher. ZIna Torc.blna. Vem Rlchkova, Jean Wong. Irlna Ramnchenke, t'hrlatln* Ooidon, Alexander OranacD, Mlirha Waatttll, Joaeph Kamtrj-I. Bar- onea* Tvonn* Hendrieka. Ttmara Miayne, Olga Ullanenkaja, Patricia Fung, Igord* Navrotaky, - Dorta UOT'. Jam** Flavin, William R. Davldaon, Herbert Hayea. n< iiree rarlton, Charlea Trowbridge, Fran' rlH Plerlot, Fnrbea Murray, Edward Keane. William fleuld, Harry Cording, Zola Kant' ' bannva, Retly Roadman. Hooper Atchl«y. Eucene Eberly. Arthur Loft. Al*e Camp- liell. MIk* Mnaurhl. NIccn Romoff, Noel CravAI. Tnpi Tully. Uonel Royce. Emila Ramenu. Euirene Borden. Feodor Challapin Jnhn Maxwell. Jacqueline Datva, Herbert Aahley, nilrer Pricketl, Monte BID*, Frank Penny. Ernie Adam*. Eddie Kan*. KddIc Cnhh. Hnward Mltrhell, Frank Wayne, .Tack Kenny. Ben Erway. Maarllx Hum. Oen* Oary. Franir .lamuel. Fred Eealer. .Tnim Wenrlnf. Tlohert flhavne. Michel Pnniileff. I.lly Nnrwnml. Sid Chnrleae. 'Mission to Moscow' Is a powerful lilstorlcal tlocument. It la also strong b.o. entry for the flrst-runs. It's a picture tied to the heatHlnes, which will guarantee continued inter' C!:t in it as Nazi and Russian troops thunder at each other this summer, What will assure neavy trade In the earlier runs Is the exceedingly controversial nature of the subject matter. Former Ambassador to Rus- sia Joseph E. Davles, author of the best-seller which the picture faith- fully follows, presents a strong case for the Soviet and fires heavy guns at U. S. isolationists. Resultant talk and controversy are bound to bring lucre to the till. Film, however, Is of a highly In' tellectual nature, requiring constant attention and thouahi'if it is to be fully appreciated. It l.i pretty much In the nature of a lengthy monolog. with little action. Rcsultantly, femme end kid trade as the film moves into subsequents and hinterland towns cannot be expected to hold up. The picture represents such a dar- ingly different approach to the screen medium-^n odventure tor which Warner Bros, deserves the ut- most, commendation—that it can't possibly be reviewed as an ordinary film. It is truly a documentary; Hollywood's initial effort at living history. Every character is the coun- terpart of an actual person. Real name.<! are Used throughout—Roose- velt. Churchill, Stalin. Davics. Lit- vinov, et al.—and the casting is aimed for physical llkenras to the Jierson portrayed. The lolting real- sm of tne likenesses h; far from the least of the picture's Interesting* as- pects. Actors in the film are entirely sec- «ndary to the parts they play and must so be Judged. Rather than fturely histrionic ability, determin- iig factors in the success of their p6rtrayals are frequently physical characteristics and makeup. Out- standing In the tremendous cast are Walter Hu5;ton as Davie.':. Ann Hard- >ni< as Mrs. Davies. Cscar H'omolkn et Lilvinov, Gene Lockhart as Mdlo- tov, Barbara Everest as Mrs. Llt- vinov, Vladimir Sokulofl as Kalinin, Dudley Field Malone as the British Prime Minister, Kriccia Inescort as Mrs. Molotov. George Tobias as the Davies chaulTeur, Helmut Dantlne as yuung Soviet officer (in striking contrast to his usual Nazi parts), Victor Francon nii ihc Russian state irosecutor during ine purge trials, ifaurice Schwartz as Dr. Botkin, Romvn Bohnen and Kurt Katch as Timoshenko. Approach in the picture Is very similar to that used by Daviet: in his book, which was made up of a diary and Journal which he himself kept, plus portions of numerous official reports he sent to the Department of State. Film follows pretty much in chronological order from the time of Roosevelt's appointment of. the progressively-minded, capital- ist-corporation lawyer to the M.us- cow post. It Is Davies' biu buslne.<:s background that primarily mokes 'Mission to Mo-scow' so convincing a pro-Soviet document. In addition, of course, is the fact that this is the ftrst film to really humanize the Rus- sian rulers, who seem to Americans always to have lived in a world apart. The Executive Mansion and a rear view of President Roosevelt's film counterpart—but in good simulation of P.D.R's voice—telling Davies what he wants is followed by the new Ambassador's departure With his wife and daughter for Germany and then Moscow. In Russia he pre- sents his credentials' and meets the top officialdom. That's followed by numeirous tours of the country, its war plants, an exhibition of its armed strength, a sequence featur- ing Mrs. Davies to show what Rus- sian women are doing in business and Industry, and a scene of Davies' daughter at play with her,Russian friends, which does much to human- ize the people. There are many other sequences to bring out particular points, but by far the most Interesting—and controversial—Is a lengthy reaction of the famed purge tnals of 19S7. By using what Davies claims to be an actual transcript of the trial, ex- act words of the confessions of guilt made by the leaders later executed are given by the actors playing the parts. These confessions reveal that with the aid of Tfotzky, the men on trial conspired . with G^ermany and Japan to sabotsige Russia's prepara- tions for defense and otherwise weaken the country so that the con- spirators could oust the regime and take over. I It's espoused that the purge of the traitors in 1937 Is glv Ing the United Nations such a strong ally on the eastern front In 1043. Treatment of the purge trial Is one of the picture's most controversial scenes. Davies" last act before departure from Russia is • talk with Premier Stalin, which provides a much- needed and highly-important eX' Slanation of how Chamberlain and le other British Toir leaders were staUing him, driving him into an al- liance with Germany so that he might have time to build up his arms. On his way back to Washington, Davies stops to see Churchill, warn- ing him of the catastrophe to come. Hu arrival bAck in the United States is marked by an Impassioned speak- ing tour, in which he predicu in- evitable U. S. embroilment in the war and fights Isolationism. This is one of the most significant portions of the film, for in making clear the fallacious thinking of the isolation Ists, it is bound to have a stroni: effect on the post-war thinking o:! the people of this country. Manner of presentation of the film is the use of Huston's voice off- screen, employing the first person, to describe his tours and many of the events. Then, where the action permits, the film lapses into regular direct dialog among the characters on the screen. Top credit must lie given Howard Koch, who wrote the screenplay, and Michael Curtiz, who directed, for making something so exciting out of a script that must necessarily be talky. As might be expected in any pic- ture so unusual, it has some minor Refects. A notable point in the film that may annoy the more hep audi- ences is the terrific, buildup it gives Davies. It makes of him a veritabli: oracle who foresaw everything and knew Just what to do about it His talk with Churchill Is a prime ex- ample. Naturall:^ enough, too, in a film of this type, it is episodic. The qpick flashes are not really objectionable, however, seeming to lend realism and give pace to the unfolding. But rather than hunt for deflects, the overall effect of the film must be considered. It Is a story vitally needed at this time, when the home- spun patriots are .sniping at our great ally and isolationists are again rearing their heads. Those who object to the broad in- ternationalism of Davies' views must also object to President Roosevelt and Vice-President Wallace. The cry has already gone up of 'fourth term propaganda.' That it is. Just as mu.st be any document which goes beyond narrow, nationalistic, anti-anything- New Deal lines. To the exhibitor it must be obvi- ous from the foregoing that 'Mission to Moscow' offers a challenge. It has every clement a film needs for exploitation, with page one head- lines providing new selling points c\'ery edition. The amount of busi- MimatDre Reviews 'Mlulon to Moscow' (WB). Strong grosser based on excit'- ing report by former Ambassa* dor Joiieph E. Davies. 'Five Graves t« Cairo' (Par). Melodrama of Rommel's North African campaign a strong b.o. potential. ■Da Barry Was • Lady' (Color; Songsi. <M-G>. Beautiful pro- diiction, but stage musical too sapolioed fur pix; will do biz. ■I.ady of Borlciqae' (Songs). (UAV Hunt Strumberg's back-- si.iee whodunit meller for profit- ubW bl/. as solo ur billtopper. 'Dr. GHictple's Criminal Case* ■ M-Oi. .Nut up x6 standard of the series. -.Mr. Lucky' (RKO). Cary Grant in refreshing drama of the gambler and the rich girL Solid biz, with key holdovers. •Swing Shift Malsle' (M-G). Ann Sothern in a weak comedy concerning Maisie's adventures in a war plant; dualer. 'Glldertleeve'a Bad Day* <RKO). Harold Peary In the title role; dualer. The Le«par« Man' (RKO). Standard chill melodrama of whodunit texture for .dual filler datings.. 'SwiBf Tear Partner* (Songs), (Rep). Corny comedy drama with music. Aimed entirely at rural audiences. 'CUiiey Street Beys' (Mono). Programmer with Dead End Kids and others fairly entertain- ing. 'West •( Texas^ (PRC). Pretty good western. ness the picture does wtU depend almoist entirely on the imagination. Ingenuity and effort put in the sales campaign. Every exnlb will be do- ing •both himseu and his country a tavor by devising and executing the greatest exploitation campaign he has ever staged. Warners' own eX' ploiteers already have laid a' mag' nificent groundwork. Its National Press Club premiere In Washington should snowball Into • wealth of controversial pros and cons; all for benefit of b.o. trying to spring her brother from prison. Rommel's brushoff to her when she substitutes for the spy. working as waiter at the hotel, to serve coffee to him in bed, is a mas- terpiece of sarcasm. His reprimand is that he does not like women In the morning.- . . Crackling dialog and fine scripting bv director Wilder and Charles Brackctt enhance the Biro original. Camera work of John Seltz is out- standing, as is the film editing by Doane Harri.<ion. Use of sound ef- fects. Indicating superb recording, especially during the running gun fight, also is topflight. All the key actors turn in trim performances. Anne Baxter's French maid bespeaks a bright future for this comely miss. - Franchot Tone does one of his. most polished Jobs as the corporal who impersonates the Nazi spy-advance agent Peter Van Eyck is the stern but youthful aspiring staff officer who falls for Mouche. Akim Tamlroff is the nerv- ous, worried African hotelkeeper, also a standout portrayal. Bona- nova, as the singing Italian general being pushed about by Rommel, has several of the barbed,, humorous passages besides several Impromptu bathroom ballads. One crack to the effect, 'How can a nation that belch' es tinderstand a nation that sings?' obviously refers to Germany as con- trasted to his native Italy. Wcor. Du Barry Was a Lady (Mulcal) (COLOB) Metro releae* nt Arthur Freeil prvdui'- lion. Fea'.urea Red Bkeltnn, l.ucllle Ball, Oene Kelly, VIrKlnIa O'Brien. |»re<-ted by Roy Del Ruth, tirrecniilny. Irving Rrecher: adaptation. Nancy Hamlllon; nddltlonal dialog, wnkle Maboney; baaed on tlie'play by Herbert Plelda and II. O. DeSylva: ■onga. Col* Porter; additional aong*. Lew Bmwn, Ralph Freed. Ilurton Lane, Roger Bdena, E. T; Hurburc: camera. Karl Freund: editor, Blanch* Bewell. Prevleweil at Lo*w'a Lexington. N. Y., April il. '45. Running time, M JUKK Loul* Binre) King Lnulaf Red Rkelinn May Daly I Mm*. Du Barry)..... T.uclll* Hall 5 GRAVES TO CAIRO Paramount releaae ot Cbarlaa Braekelt pi^ucllon. Star* Francbot Tone, Anne Baxter. Akini TamlroR. Erich von StiO' helm. Peter Van Eyck, Fortunio Bonanova Directed by Hilly Wilder. BcrcenpUy by Charlea Uruckett and Billy Wilder based OD play by Lajo* Bin; camera, John 8«ll(: *dltor, Doan* Harrlaon. Tredaahown In N. T.. May 3. Running time. tS MIMS. Jnhn J. Bramble Franchot Ten* Mouch* Ann* Baxter Knrhl t Akiro Tamlrell Plelil MiirxlHil Honimel. .Erjch von Btrobelm Lleul. Hi-hwegler. Qeneriil Sebastlnno.. Major Viin lluelow.. Major Lnmiirecht ... Brltlnh Colonel Brtll'b CaptHln ..... BrItiKh (.'aplnin ... ...Peter Van Eyck .Fortunio BonanoTa .Konaiantki Bhayn* Fred Numty Mile* Mander Lealle Denlaen Ian Kellb As timely as today's headlines from North Africa, 'Five Graves to Cairo,' with fairly sturdy b.o. names to bally, shapes up as a stroni; grosser. Fictionlzed version of wha ; enabled the British to halt Rommel before Cairo backgrounds, it's an espionage thriller of the North Afri- can campaign. Film has story, cast, direction and swift movement, each done respectively with polish and deftness. Franchot Tone, Erich von Stro- heim. Anne Baxter, Aklm Tamlroff and Peter Van Eyck give the ex- hibitor plenty to work on, coupled with current interest in the Allies' victorious ilrive against Rommel and his cohorts. Besides abundance of exploitation possibilities. It is the sort of picture that will build on word-of-mouth. Idea of making Field Marshal Rommel cumpaign into an exciting fable Is by -LaJosi Biro. Htmgarian writer, who did so many successful Ernst Lubltsch screen hits. It af- fords a vivid picture of Rommel, Stroheim doing a capital job. The characterization is tailor-made for him. Surprisingly for such a dynamic, moving vehicle, there Is a minimum of actual battle stuff. Director Billy Wilder has handled the varied story elements, countless suspenseful mO' nienfs and vivid portrfiyals in excel lent fashion. In some instances the absence ot spoken word or mufTled sentences have been pointed up through skillful pantomime and ac' tlon. BaslonlV- Tlve Graves' Is the story of a British corporal, Franchot Tone, who impersonates a Nazi spy to gain military information from the Germans as they sweep towards Cairo. Sole survivor of a tank'crew, he stumbles into a deserted village hotel only a few moments before the Germans arrive. Akim Tamlroff hotel proprietor, hides him. He anc the hostelry's maid (Anne Baxter) agree to keep his identity - secret though she believes the British gave the French short shrift at Dunkirk (.<!he's originally from France) While he's working to wangle In formation from Rommel, she In trigues first with Rommel, unsuc- cessfullv and then with a German staff officer (Peter Van Eyck) In <lenc Kelly .Virginia O'nrlen ... 'Ruga' Ragliind Zero MoKtel Donald Meek .Douglaea Dunilirlll* Alec How* ) Black Arrow | OInny rhnrlle > Dauphin^ ( Rami, the Swaml ] Talloatra I.... Mr. Jonea ) Due Do Choleeul) Willi* ) Due D* Rigor) (Aeexy ) Count D* Roquefort) .rienrne Q ivut Niagara Lnuiae Reavere l^ommy Dnrvey and Ml* Orrhealra. There's nothing for Hollywood in 'Du Barry,' except possibly an idea: any film adaptation would require practically a complete rewrite for a Hays olTice nod.' That was the opin- ion expressed by'Variety's'reviewer the night the B. G. DeSylva musical opened in New Haven, Nov. 9. 1939. And there's very little in Metro's current screen version to cause a re- vision of that opinion. While the capital production, the title, some of the names for the marquee and the fact that all musicals are doing well, means at least fair business Is as- sured, no smash can be expected. 'Du Barry's' too much of a lady now. DeSylva-Herbert Fields-Cole Por- ter musical ran for almost a year on Broadway to consistently strong firo'sses. But at least a good part of ts appeal was in the utter ribaldry of Its men's room-attendant plot and the latrine-verse quality of the Por- ter lyrics. Hollywood obviouply had to duck that. Partially accountable for the musical's success, too, was the gagging afforded by putting a bunch of lowdown S2d streeters in the court of Louis XV, and mixing up the Broadway talk with ruffled collars and pantaloons. Irving Brecher's screenplay takes so long getting Red Skelton from 52d street to France that much of the possibll- iTy for fim around tKis~pbint is lost As If to compensate for the story and lack of powerful tunes, Metro has given the picture topnotch prO' ductlon and a Technicolor setting. Sets and costumes are as lavish as a state dinner, and there's enough cheesecake for all the calendars in the world for the next 20 years. From that angle, 'Du Barry' must attract exhib attention. Not to be overlooked, either. Is the current b.o. strength of Skelton. Opposite him la Lucille Ball. They fill the spots held by Bert Lahr and Ethel Merman in the original. Gene Kelly and Virginia O'Brien are the pic replacements for Ronald Graham and Betty Grable. To add b.o. strength for the 'teen-trade. Metro has tossed in Tommv Dorsey's orch and a specialty by the Oxford Boys trio. Comic Zero Mostel also debuts in the film In sapobolns the script fof cellu- loid, the studio has taken Skelton out of the men's room and put him in the coat room. Otherwise it fol lows the general outlines of the original: the olub caddy falls for the top warbler at the spot (Miss Ball). She pays no attention to him, being enamored of a broke songsmith. Gene Kelly, while she plays Douglas Dumbrllle for his chips. Then Skcl ton wins a Derby pot and some at tention from Miss Ball, only to get a Mickey intended for Kelly mixed up with his own drink, which sends hiin into a dream sequence. He llnds him.selt Louis XV and Miss Ball his Du Barry. With the weak plot and weaker dialog, Skelton has a tough time liv- ing up to his rep as a funnyman. M1.SS Ball does a bit better, while Gene Kelly, whose forte is terping, suffers from the histrionic and sing- ing demands of his role and lack of opportunity to make with the feet. Miss O'Brien is disappointing, too, except for the one tune she's given, 'Salome Was the Grandma of Them All. in which she literally sparkles. ' Zero Mostel fails to get the same results in Technicolor that he does in the flesh. As the swami in a night club, he gets achance to do some vari- ations of the numbers which socked him over at Cafe Society. N. Y., but they don't seem to take with the same strength. He requires an in- timacy that the screen does not af- ford. 'Rags' Ifagland, oiit of hurley, is diverting as the check-room un- derstudy who becomes the Dauphin. George. Givot and Donald Meek strain to make funny the roles of waiter and tax-collector. Except for the title tune and 'Friendship,' most of the original Cole Porter lyrics and melodies are missing. In their place is nothing particularly memorable. Among the numbers are 'If Yoii Don't Love an Esquire Girl,' 'Madame, J Came Here for Love.' and 'Fight for the Free- dom of France. Last-named seems to be rather Ill-timed, incidentally, so far as this plot's concerned. LADY OF BURLESQUE (SONGS) Hollywood, April 29. rmtol Artrat* releaa* oC Hum SIruniberg producth>n, Hun Barliarii Stanwyck: fea- ture* MU-bael O'lihCH. DIrectrd by Wllllum Wellman. Screenplay by Jainea U'unn, from novel. 'The U-Blring Munler*.' by tlypay Rua* Lee; camera, Itobert d* (Imam;; eilllor. Jainea Newcom; production manager. Joaepta C. Ullpln; aaat. director, .■•am Neliwii: aonga. Hurry Akat, Hammy 4'Htin; dance*, Danny Dare; Kcure, Arthur ijiuKe. Previewed at Fllmiirie, April 2Sb ■tX lliiiinliig time, St MINN. iMxIe Uiimy Barlinni .><iiinwyck llin llninnlgan MtvKuel u'HIicii S. O. FoM J. I':<lwanl Uromlx'rs tie* Oc« Graham.... Ihilly Haxier. Nillta La Verne.... I'rlni-eaa Nlr%*ena... liiitpevior Hiirrlgaii. AI he Angel iluaaell Roger* Stait-hl Juke .Mnndy twicer Pat Kelly.., Louie tii-lndcro The Hermit SHnilm..' .lanlne Sn niniy Juey Miiey I.ee ■ Ion Wong Pollrewnmnn L'oaaark Iria 'Adrian ....tlloriK bickaon Vlriiirlu Kuuet Stephanie Bachelor ... .(^hurlea Dlngl* ....Uurlon Martin Frank Fenton Frank Conroy .. .tleorge Chnndler I'inky I.e» Mdle OordoB Uerald Mohr Lew Kelly ,.. .t'lairo Carleton Jania Carter Hert Hanlon Sid Marlon Lou Lubln r.e* Trent Don Lynn Ileal Wong Fliirence Auer Duvid Kaehner This is Hunt-Stromberg's initial Independent production for UA re- lease after nearly two decades with Metro as producer of nimierous top money pictures. Despite its groov- ing into regulation backstage who- dunit melodramatics, Stromberg in- vests it with his usual showmanship flare of color and movement to make fllm a jprofitable attractton for top- lining In the keys and regular dat- ings. Although "Lady of Burlesque' is based on Gypsy Rose Lee's novel, 'G-String Murders,' story plows an obvious straight line m generating the whodunit angles, and two gal burlesque performers are knocked jtt in succession before the culprit Is disclosed. But gallant trouping by Barbara Stanwyck, colorful background provided by Stromberg, and speedy direction by William Wellman, carry picture through for good entertainment for general au- diences. Story centers around a burlesque slock company establi.shed in an old opera house. Miss Stanwyck is the strip-tease star in process of buildup by manager J. Edward Bromberg, with Michael O'Shea the lowdown comedian who's continually making rtimaniic pltenes 'to' the girl. Vari- ous backstage characters are Intro- duced, with usual number of jeal- ourier, until sufficient number of siuipects are around to launch the first fhurder. While this Is unsolved, a second killing takes place, and it remains for the stripper and comic to set a trap for Tne killer. O'Shea, fllm newcomer plucked by producer from the stage play, 'Eve of St, Mark,' displays plenty of .screen personality and ability to keep him round Hollywood for a Iqng time. Miss Stanwyck turns in a solid performance in the title .spot, and does much to maintain interest in the proceedings. Bromberg clicks as the burlesque producer, with usual group of girls in various cast categories for gla- mour-dressing and to serve as vic- tims and. suspects. Coterie has been neatly cast for respective assign- ments, and Include/ Iris Adri.m, Gloria Dickson, Marlon Martin, Vic- toria Faust and Stephanie Bachelor. Mi.ss Faust catches attention in her fllm debut as does Miss Bachelor m initial screen appearance, although both are called on for unsympathetic characterizations. Frank Fenton. Chorle-s Dingle, Fronk Conroy. Pinky Lee, Eddie Gordon and Bert Hanlon also are okay in supporting spots. Picture gets off to zestful start (Continued on page 16)