Variety (Jul 1945)

Wednesday, July 4, 194 5 Film Reviews You Came Along (SONGS) rofniiioiiiit vPlcaso »i;M«l Wiiilia ihtoIiiv tioi). JPeiitiiif" l.i'iilM'lli f-K.ir, Kolieit *'umVl>lnKs. Don DdiMf, I'hiilis l>ral>P; DireP.ter, Jolin Fiinow. Scivein'IdV. I\ni)Pit Smilh nnrt Ai'i Unm'. fnini Smitli » oi Irv iiioli .■aiiwiH. Pi'Mlcl I,.. K'Hiip. >aivc()t Kiloimi't; iWiisio, Vli'Viir V'uunK; <hIiIih;, ,h!\a JuW 4/ 4ri. ButiiUi* 1)1111'.; I«S MINW. ■lUol) Collins..... Ivy ' HolclikiKB;..... 'Khakcspf'itie. ifandJiome..... .... ■ Jovve Ht'»l.h....i.. ■ Fi'fni'fs iliiti'liKisB'J Bill A Ufn; v. Helen l:Vii.'i"Pst.'x-. • CciM SI11I1.I1S r; , ,'1)111.1 no l<\ive ,1'tutlipa Dl-nkft ■.'....tiiiie . Bishop . V.' Ivjiir- Hmit H ...;Hi)l>prt Sully , . .Kfvstlt .lihjrs \Villlp.ms HiilVl flork....... ■:. .■.. Ki'lillltlin J'!(.iIKl)ol'ri jaHidle-aifPii Alaii. SPt'onil Mini.,.... <:iiRil:m>in fl<lll!>«y ♦M, Ai m«U'ullK. ■ ■A3ertru<le..,.. .,... • 'iiiol • IjlDi'lii Rf'UM-e, C'rtpt. Tiiyloi';'. ■ Mliio.v Wlilsiin .:. i luii'tM'*! Ki-eeiiiii n . '. ■. .ik iiilVew 'romUeH .; il.t'wrji Ij. KussfU ; '.:.: I^Viink KiuvlPu .. Will . wi'islit ;. .. .ciniiv. Gfi'iiK^i'. i\lnriui'f# Wiioiisvfii Hi ....Ruiii; Bfiown .. ,0-:i lie;: WhlUey Hal Wallis, in his .second indie re- lease lor Paramount, ha.s a winner in "You Came Along." Also a pos- sible new star in Lizabeth ScotI, who is appropriately introduced as a new screen per.sonalit.y. She make.s the grade. Film, in loto, combined with the glamour ballyhoo attendant ■to the new femme, is destined lor solid boxoffice return.s. Story is out oC current events. IVs authentic, rings true, is nicely pliiyed, never • maudlin and -sound all the way. The three flyers are shown for what they are—women-chasing, fast- drinldng,. realiiiti^ guys but -with: a strong bond among them; especially as concerns Bobert Cummings, a vicr tim of leukemia. Don DeFore- is Shalccspeare, the academic one, and Charles Drake is Handsome, the gentle ex-pug. They're on a bond barnstorming tour and I. V. (nee Ivy) Hotchkis.s (Miss Scott) has. been designated by the Treasury Dept. as their guide. She's efficient and slightly mannish at first but the boys soon sen.se her personable femininity and love develops according to plan. The devil-may-care Cummings, de- spite his baffling disease which has numbered his days, takes his fun where he can find it, This is sharply contra.sted to the real love when he falls for Mi.ss Scott; The title song strain, "You Came Along tFrom Out of Nowhere)"'is well integrated into the plot progressioTi in the sundry cafe and oub scenes, and nicely em- . phasizes tlie romantic mood through- ■ «ut. Realistic impatience with stuffy committees, bond spiels, autograph- hounds and the like all ring true .The three wolves give'out with a huba-huba-huba at the drop of a ;,dirndl, but in bet.ween Shake.speare and Handsome keep tender watch on their Major (.Cummings) and his •mysterious ailment. The scenes with Helen Forrest chirping "Kiss the Boys Goodbye '; the historic Mission Inn at Riverside, Cal., a favorite Gretna Green for flyers and their brides; the serious fliglit surgeon who orders Cummings into the. Walter Reed hospital while he frames a series of letters from a London, "drop," in order not -to worry his bride—all these jell in this bri.sk, well-directed and well-serinted ro- mance. Even the finale is realistic, with the major-hero's inevitable death, while hi.s. two buddies con- sole the young widow. Mi.ss Scott, who understudied Tal- lulah. Bankhead in legit, will suffer comparison to Lauren Bacall because of her per.sonality, but she suggests more the young Gaibo. She has a sonorous speaking voice and an in- triguing manner. She i.s given ex- cellent histrionic buoyancy by Cum- mings, DeFore and Drake "a.s the omnipotent three musketeers ot the skyways. The re.st of the cast is com- petent but relatively unobtrusive. Robert Smith's original plays well, especially as he and Ayn Rand have screenplayed it. .lohn Farrow has directed with authority. Abe!. the scatterbrained extravagance of the financier's wife. Their only liope is in the death of the tycoon's uncle, currently taking the count ;n Den- ver. Latter outfoxes them by lea\- ing his coin to an actre.ss whom he liad seen, as a boy, as Little Eva in a rep ti-oupe production of "Uncle Tom's Cabin." There had been .some correspondence through ensuing triple decade but never a meeting. Incidental to learning the bad news, the Pidgeons acquiesce to plea of their daughter to invite a "charity case" to spend Xmas with them. . IJ arrives in the person of Mr. M.,, * fallen star ot the theatre; who im- poses him.self and hammy machina- tions upon the screwy househpldei's; He, however, agrees to assist in lo- cating the missing actress and posr sibly make a deal with her to every- body's mutual advantage, '.rhey lo- cate the gal, add her to the meriy a.tsemblage through selling her the idea that she is related to them. Romantic attachment sprinRS up .be- tween actress and Mr. M , ,> iiom -she: recognizes. She attempts lo \\eai« him away from booze tor a cpine- back. He gets drunker and when all are gathered around the Xmas tree he contribs enough of Dickens "Christmas Carol" to penetrate the consciences of the cheaters, who ap- prise the act?ess of their attempt to cop her rightful inheiitance. The gal takes it all standing up and, agrees. to split the' $5,000,000 inheritance with the Pidgeons and everybody s, happy at fadeout. . , ,, Schildkraut gives one of the best performances of his career as the maghiflcent refugee from Thespis. He brings artistry,, poise and tongue- in-cheek sense ot humor throughout. Miss Munson, as the slangy,, good- natured gal who inherits the pot of gold; Pallette. as the near financially embarrassed tycoon, and Miss Brnke, as -the giddy, extravagant spouse, all contribute splendid . performances, Walburn also does nicely^ as the- ne'er-do-well brother-in-law, Ruth Terry and Robert Living.ston are likeable as the younger romantics, with other good performances by Ann GilUs. David Holt and Bobert Creig. St. Luke's Choristers warble Xmas Carols incidental to the holi- day setting.,. Kane has turned out a production warranting the free rein given 'um on budget. He also directed in good tempo, for top results. Edba. Miniature Reviews '■Yon Came Alone" (Songs) (Wallis-Par). OK b.o. romance, with Lizabeth Scott, an arresting new personality. ••The Cheaters" (Rep). Joseph Schildkraut starrer should plca.se in air situations. ••WaKc Time" (Anglo-Am.). Elaborate but faulty British- made musical; stlns players known to U. S. patrons lessons chances. "El Canto Del CIsne" (Lu- miton). Argentine-made meller is distinct disappointmeijt: thin entry for American market. '•La Cabalgata Del CIrco" (San Miguel). Argentine-made showr boat, musical, looks mild for,. U. S. Laories Notebook "Hamlet". Lately the British film in- du.stry has produced some really great pictures. But when it comes to musicals, well, this is an example of whnt can happen, and usually does. To(b. Kl <'aiilo Del Cisne (••SWAN SONG") Buenos Aires, April 30, : T.umiUMl unKliiction r\}*\ releiiwe. OU'ect- f(i ' liv i:\U'l(k.i HUKo. ChiLslMiseit, SmiH .Mi^cha Oi tla.allil.. Roliierto. KKi'iihiila fealiiVes .Nt'llv Diiveii, ■ .XicoliiR I'^reviriiPs. MlKuel t.i(nnp2 .Bao.' 01ref.'L*;il .iiy. t'arlos Huko ('I)i'isVetis*n.' .Story ■ by . Cesar '' Tl^iiipo/ .smriniK April,27, .M.I.'.Ht'.(iii'aii. fine .Pa^l^c^e, Bu«nu» Ati'«s,' KunnInK tiini!; The t'lieaters Beplllijlo releii.KW of .Toseljli ICnne^.pt-oauo,,: tlon; . dirwiMl lis:. : K'ii.ne. StHi's .rdseph . B(!ll|l<l)ii'a,lil; f(0(iii-F.>< HiUi'e KuH<>. iiuseiin "ieirll!5tre7njna-^l-nii.i(iii, Rnyriitm!) Wiilljui'ii.- JViiit .GiUis,, <{ul h 'IVn y, Kiilfcrl, tlvihBStnn. ^Scvtpnjila.v',. I''t!iii('(i» . HylHiul frtidi ■.xirlSlnitl liy her anil Alliert liny.; musli', Waller Mfliaif; cdilor. kii'tiiirfl t/: Van .Bnii-er; iianifra. ItrKf^ip l.a.np.liiK. Preview;^!! N. r.. ■ Riiniiiiif; tdne., «1 MINS.; .—..:,...rosei)ji ,'<i-lillAl(rinil. .■v..,i\...;....,..:.;.:....i)iiMe liiirke ...-.. Kuet'iie ' PwljpUe, ........,;.... .■. .Onii .VUinnon' . ...,...>... K!I,\'.|1101U1 WsilHihi ........-... . ■.... jVhiiii .(Jillia ,.. ..Rulli .Terry ."llobfi'l: 'l^lvlnpiiinn i^ . ,.,;. ,T1n.v'in Holt ;E«l>oit cireiji: Waltx Time (BRinSH-MADE) (With Songs) . : London; June 20. Anglo-American 'Pilm •Corp. releiiMe of( 'British N«.tlonaI Film procluelioii. Feature!. I'ai-ol Raye, Pafricia. Medina. Pelel-Graves. RIohartl Tanber. Directed bv ('mil .•stem. Screenplay by illon.tKomery *rull.y. Henry C. .Tames from Idea by KaiT Rossler.. Mui-it' by IJans May. SlartlnK at Pala<.'e, T.ondoii. .I.urie ai, '45.-, Running time, »« MINK. 'Empre^^!l■ Maria........... .l-^arol ■ Ka.ve Count Franz Von ^o.fer. ,.... Peter, .GraveK CTenci Prohaska ...... . ...:. Pu l rii'ia Miedina Count Protia»ka ,...J(ifin Ruddork Count .RodzankH...... . .. Harry WelohniKn Stefan Ravenne. /rhorlev Wallers VoKel .... v. . .-.. .(Seovjie Robe.v .losor,...: ..:.. ,. ;.\Vvlle WalBiin C'VPsy .Troubadouf'fi., .\nil - /.ieplpr 'rroubadoii.r,..........: WcbHter . Boolli Orchestra Leader........... . Albei't. Sandler Sllepberd... . .. .......,,;.. Richard 'ranber A.UKuntlne..... .Txini Kdgar Bruce .Minister of War... May .Petrle Carlos Christensen, one of youngest Argentine film directors who showed real promi.se in his first productions. \s di.sappointmg with this melo- drama.: Technique often dates back to Uhe old silent days, and action crawls. " It lo'oks very thin tor U.S. market. Story concerns the last lave of an older woman, -for a man much younger than herself, a young com* poser whom she steals from her younger si,ster. Haunted by the pros- pect of fading beauty, and tormented by jealous suspicions, she grows exacting and mprbi^, hating even his woik, which she had first inspired. Eventually sbe suicides while he is conducting his symphonic , work, '•The Swan Song," at the Colon Opera, Buenos Aires., Photography i-eveals poor quality of celluoid. But the early scenes show the beauties of the Argentine, southern: lake region and are the best part of picture, with the excep- tion of the music. MeCha Ortiz photographs unflat- teringly and struggles hard against the limitations of the story. Roberto E.scalada. is wooden but shows signs of improvement. Miguel Gomez Bao, as tlie fatherly «ld Colon Opera director,'steals the picture, iVfd. By Joe Laurie, Jr. 1 ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ »4-*-»-»^>4-»> 4 ♦ » ♦ ♦♦♦♦♦♦♦ ♦ ♦♦♦♦♦♦»♦♦♦♦♦♦♦♦ ♦■f^ The pa.<!shig of the Old Saratoga hotel in Chieaf(o, after 72 years ot catering lo the sleeping, eating and fun habits of thousands ot travelers who, ill the past .30 years, were mostly theatrical people, brings to mind other theatrical hotels. I mean the robust, rugged, rude, crude, vigorous, coarse, rowdy places—with no fear of Mrs. Grundy, Hotels where they had house dicks ,iust as a symbol of respectability. ■ Usually, theatrical hotels, of the old Saratoga type (there were many others that were strictly flr>!t class—well, maybe not exactly first class, but at least flr.'st cla.<is-minus) were, hotels that were once topnotch cater- ing to the best people. .They got a little run down and careless and could afford to give a good rate to theatrical peoples who were pretty permanent guests and didn't ask or expect first class service. As long as you let 'em make a little coffee in ihe room, let them gather in each other's rooms and gal) until all hour.s in Ihe morning, play a- little card^i sing, do a littje nose-painting, plav a like, practice some turnovers and keep the chamber- : maid from bothering them until late in the afternoon, they were satisfied with elevators that developed paral.vsis, bellhops that got fresh and clerks that kept a.sking for room rent,' The management of these hotels under- stood actors and entered into the .-ipfrit of their fun. Some of them wouldn't rent a room to an "outsider" meaning a"towner" or a "salesman"' who tried to get in so they could get into parties with "actors.'^ The clerks, m^^nagement, bellhop.s, chambermaids, porters all knew and spoke "show- busiiiew," arid many of them helped with money when some of the protesh' were going over the rough spots between engagements. In later years the Saratoga was just that kind of a spot, . You could, buy altvltiiil^ >ffWh a double-routine, parody,-a tip on a horse and even some "nose-candy" in the lobby. The. Only rule strictly enforced in this type hotel was "No smoking ot opium in the elevators." The Rextord hotel, Boston, was to New England what the Saratoga was to Chicago. 'The Rexfordwas a mas.sive building in the heart of the ten- derloin ot Boston, ft had bars on the windows, like a jail. It saved many a guy and gal from falling or being thrown out of the window. The sheets and pillowcases, and even the blankets, were stenciled in large black ]fet» ters—Property of Re.xford Hotel At 3 aim, a big bell would ring through- ; but the hotel; it meant it was time for everybody to go to his own room. , The fun was Over. Or was it? On summer nights some of the actors Would sit on the roof and rush lhe_ can. They'd chip in a .dime, put it in the can, lower it to the street by a long piece of string. A stooge-on the- sidewalk would take the money and can, have it filled and send it up to the roof via the rope. It was so homey and nice, but kinda rough, .■ Daire and Hurley^s La Cabalgata Del rireo ("The Circus Parade") (ARGENTINE-MADE) Buenos Aires, May 30. sill 11.Miguel studios Tcleas^. Stars lilbev- tad l,amarque, Hugo del Oarril, Feattirea .luRB Cllarra. Orestes Cavlglla, ,Tilan Jose MiBue-/,, Bvita. Duorle, tide Piravano, Ai- inandii. Bo. .Screenplay by I'^.ranciaco .Madrid,. iVlario Solflci; BJrected bv Mario .softicr. At tlran.Cme ralace: Mac 30. ■l.',. Runiiln((..llme, 90 M1M8. - June 20, '4.1, Mr. 'M. Mrs, Pld(;c(in,'v •Mr. !,-'idKC(iit... Plorle...,,;.... • WlVlle.,.. AiiKcla......... ThcrcKe,......, Stephen :Bntca.' RfKRi" MacFii rj;) lid. ■Hi; l.riK-e%s >:'lioViwlei'S' Republic should hit the jackpot with this one.. Aside from: .staridbut ■ pertormsnces of Joseph Schiltlkraut and .suppDi ting casit. its story content and nifty direction by .Toseph Kane, dualling a.s producer-director, and with such iianio.s as Billie Burke. Ona Mmi.son, Ray Walburn and Eugene Pallette for additional cast hypo, it should bring many happy ieturn.s at the b.o. Yarn is woven around the wacky Pidgeon family who. although of the U||>per strata for years, are abbut to crash upon rocks of reverses cfue to This is a big disappointment. But it goes further than that. This film is proof of British picture maker.s' ignorance of fundamentals thi.i make a film musical. Produotion-wise. "Waltz Time'' is terrific. The tunes are okay and mainly adequately sung. Orchestration is top-notch and effectively handled both by visual bands and also background music. But it is no go, mainly becaii.se of faulty scripting and direction. Can you picture a booking agent back in the days of the:Keith. Cir- cuit teaming Up Pat Rooney and Caruso—with the hoofer half of the act singing Pagliacci and the tentn- trying to tap? It's a fair comparison with what happens-in this very»Eng- lish attempt to go gay Viennese. Alter almost an hour oi warbling by Webster Booth and Ann .Zieglcr. Carol Raye, Patricia Medina and Peter Graves, suddenly for no rea- son, there's a cut to a hill-top cabin in which Richard Tauber, all by himself, gives out with a .song wel- coming . the dawn. This sort ot stuff does much to knife the whole flicker; . ' ■ ■ To make it worse, Tauber is back a second time near the end. and again The Voice (no resemblance to Sinatra) .spells murder for the other .singers. In this sequence; set In a huge cathedral, Tauber is in the center of a boy choir. He wears a white, robe but still he puts in all the _zi'p- arid gesture.? :.:0f,; a concert soloist's reperUtire. The producers went the limit in giving this great backgrounding and costuming. Coin lor players also looks hetty. For in.stance. George Robey, the, English music hall'.s Prime Minister of Mirth, has only a bit, Albert Sandler, leading-BBC or- chestra 'conductor and violin virtu- oso, leads a gypsy band. But why will Wardour Street try to do what the past has proved can't he done'? After all, Chaplin •Yievei* tried crashing the screen with This picture has all the ingredients tor success. Although it looks strong boxoffice here, it cannot be classed as a .standout because t>f uneven di- rection and faulty photography. Libertad, Lamarque, one of the look- er.s of the Argentine screen, shows to bad advantage at times, although her warbling is always socko. for those who like Argentine tango. Chances in U. S. are obviously mild. It IS the first attempt at telling the Argentine show-folk story, fol- lowing a trend which has been .so popular in Hollywood musicals. Trek of a circus caravan across the va.st Pampa is used to. show the country, its corny towns and its peasantry. Cast was well chosen to give an idea of the development of Argen- tine popular music, Libertad La- marque and Hugo Del Carril are top.s among local tango warblers and acquit themselves well. They would make a romantic team and it seems a pity-to cast .them as brother arid 'Sister. ■ Pel- Carril, u.sually a wooden iftCtor, seems.relaxed and natural- as the .scion of the traveling circus fam- ily who reaches stardom as a tango warbler. Story has some resem- blance to "Show Boat." The Gaucho audiences are entertained by lurid melodrama based on their own folk tales. •''■: Evita-iDuarte, who plays a small supporting role in this her fir.st pic- ture. - does, noti reveal ! much screen talent, but is given small chance, due to poor lighting and unattractive make-up. A'id. Dad's and the Hurley House, Philadelphia, catered' mostly to .burlesque people, and it was also a great hangout for fighters and gamblers. The laughs were plentiful. All the legit and. vaude people would gather at Dad's on Friday nights and drink beer and eat peanuts'while weaving an impromptu show with the greatest talent, of the country. From John Barrymore to some unknown hoofer—singing, dancing, laughs, Tlie floor was covered with peanut shells—true Bohemia. The Alaraac, St. Louis, also catered' to burle.sque people and wa.s the counterpart of the Saratoga. It later became the hangout for bootleggers and gangsters, but thc.v never bothered the. actors, and the actors never, bothered them, except for a few , , bottles. Kecnan's, Baltimore, was owjned by Fred Shanberger, who also owned the Maryland theatre, and nearly all the • acts would stop at ihe hotel as a friendly gesture lo Fred. Racetrack people and gamblers would also frequent this hotel. It was the sporting spot of the town, The greatest of all the old theatrical hotels were the Continentals, in "San Francisco and' Los 'Angeles, run*T)y a couple of fabulous characters, Shanley and Furness—the SiO-.'jO boy.-;. It was everything a theatrical holel should be. Shanley and Furness loved showpeople and had as their guests the greatest headliners—besides the greatest layoffs. Carrying some of the boys and gals tor months at a time, they'd also stake them to .some- folding money to press the wrinkles outta the stomach. - Many of the great; headliners would register at the big hotel, for the "front," and take rooms at the Continental not only because they liked Shanley and' Furness, but because the Continental was the playground for all the showpeople of the town. Never a dull moment^practical jokes,, laughs," touches, gossip—it was all at the Continental. Those were great days, and nights, too. Per- , formers would Sit around until the wee :hours talking shop; No talk about high finance, politics or world events. They were an ambitious lot, all" climbing the ladder ta tame. Some of them owned' their own litle home, some owned under-water lots, a few owned their Own cars and boats. Moiit of 'em owed more than they owned. But it didn't seem to worry them. 'Jack Benny was trying to get away from straight fiddle playing, so was Ben Bernie, Mill Mahoney put in songs and talk with his dancing, W. C. Fields was sticking in talk among his juggling, Frank Tinney played less bagpipes and did more talk; JoLson was looking for sock numbers. Single women like Tanguay. Irene Franklin^ Nora. Hayes, Belle Baker, Lillian Shaw, Grace LaRue; Velaska Suratt, SophieTuelier, Nan flalperin, Rae Samuels, Rita Gould and Ruth Roye were all trying to get to the top. and stay there. The theatrical hotels were the clearing house. Someone; would tip you oft to a job, a hit .song, a touch or a meal. '' ; Those Hoapilalile Clerks < Considine Back at Metro Hollywood, July 3. John W Considine, Jr,, who left Metro several months ago. intent on producing as an independent, has re- turned to the Culver City lot where he spent 12 year.s. His first production will be "Grip.sholm," a war tale written by Bob Considine, war correspondent I no relation). ...Do you remember tho.se old hotels on the road?' Remember when .you came in you were greeted by a pimply-faced clerk with as much ho.spi- tality in his voice like stepping on a bulldog's tail. He'd .swing the big register to you, take out a pen from a glass of buckshot, dip it in the large : inkwell and hand it to you. While you started writing in your best Spen-. ceriaii; the pen would catch m-the cheap paper—and thrOw a blot on the "and wile" of the guy who registered ahead of you. You'd always put theatre/next to your name, the clerk would look and kinda give you a nod ot non-re.cognition, turn his back, look at the rack for five minutes (all the rooms were empty), then tell you he Was sorry he couldn't give you a better room because they werfe all filled. He'd bang on the big bell on the desk lo call ,lhe bellboy, and while waiting you would take a tooth- pick out.ot. the gla.ss on the counter and start pickins; your teeth to act nonchalantly. No cigaretles then that could make you do it. They had Hassans. American Beauties and Sweet.s those days. The boy would .«how you to a breakaway room, you'd slam the door and the toilet would flush. He'd, ot course, ask you how's the show, etc. That night after the ^hl>\v you'd sit around the lobby with a couple of salesmen—they alwa>s seemed to come in paii'.s—and maybe they'd tell you some jokes, they lusl heard at Hamiiier»teih's before they left town, and the next night you'd fry them out in your act. "Vou'd sit around listening to them lie about IDe big sales fthey made in towm while you countered with how many bovvs you took in the other town. You'd Hiit with the chambermaids .so voli could get extra towels, and flirt with the waitress to get:extraiporlifinS. Night clerks would liisten into the phoiie conversations of the Choni.s ^ii'lsj .and they become adult. Pictures of real bohemians at the Bartholdi Inn, Princeton, Palace hotel in New York—they, too, are all gone with the old Saratoga, Alamac. Dad.s Rexford, Continentals and all the othei's. The actors are kiiida going, loo- It was the.se kincl of theatrical hotels that f,tarted the old saying: "lloint was mttin' like, this! Btil it teas-f UN,'