Variety (May 1946)

FILM REVIEWS Wednesday, May 1, 1946 Clany Brown itlili-Kdx retcnao of Krnst lAibilnch pro- duction, directed by Lublineb. Hlnta Charles Doyer nml Jennifer Jones; features Peter I.Awfonl, Helen Wttlkor, llcjln.lld (lardlner. lU'KlimW Owen. Wcliard Uuydn. Sir C, Ani-rry Smith. MerKurct Damwrinm. Sara AllKOod. Krncst Consnrt. Una O'Connor. Sireenplny. Snniucl Hoftcnstcln and EII*n> brili llolnlwrdt, /rom novel by Margery Sharp: camera. JOKeph Lii. Sheltj; editor. Dorothy Sliencer; special effects. V red Scr- sen. Trodesbown. N. -. Y.. April 13. Running time. 100 MINS, Adam Hellnskl...... C'luny Brown Andrew Gunnel........ Unity Cream. .....v. Iiilury Amen.^ Kir Homy Cnrinol.. C"l. Duff.Graham.. Wilson. * i .... l.a.ly Alice Carmel. Mis. Mnlle Svnllc iMWIIgCl* Mrs. Wilson.....;.. W idler., Vnele Am Jidin Frtwen Master Snnffle..... linen Flnno riayer Mrs. Tupham.....: Mr. Snaffle Men. Snaffle nolllmi.... Walter rnntiliiblc Dlrklns.. Latham Dnwnger'B Son Cllrl at l'arly. Author's Wife pidlreman Woman In Chcmlet'a Sinn Mr. Tuphnm.... U6. .Oha lies' Boyer , Jennifer Jones : I'i'I'. 1 !- J.nwfiird .. Helen Walker .. .ReK^nald tlnrdluer ll.-Kiunld Owen .Sir <". Aubrey .Sriiilll Ui.ll.lnl llnjdn .Meiy .r- l Itahni't'iuan ., .sui-a' All^iod ....-... 1-vne -i ru*-4in . I-M..I-'ii'-> lams ....... . l'ii:< OVuliliur . ... .i,>ii"..|do l.e .niM .I I'.'lly luair M l.-liuel Dv lit' ..-.i-hri»iM|.<i' r K' V.-rii .: It* s Kvans tiiti.l-i N'.sntiili Ilaii.1.1 lie H -.-liVi- I ...Ml I'll won ........... M Wiiiiei'ii. ... ...... .i.'liw M'H-iran .......("li:n I >• • '.iliMlllin '.ir-.-iv- - Ivlrliy Wh!:... Uisscll .... .lit li • l-'iv" Uli'Wn Mlra Mcl<limey riillin Murrla .'.Jtcliy Kaii-i'iix Norman Aiiif-iey Apart from its wharamo ontertain- ment and boxoffice aspect* "Cluny Brown" can be recorded as ;:lamoriz- ing the first of a clan. A lady pliiin- ber. And a looker, no less. The kind for whom stopped-up pipes arc a pleasure. ' Jennifer Jones is the -girl.. Charles Boyer her anti-Nazi refugee vis-a- vis, Ernst Lubltsch produced and di- rected. With that combo, plus the fact that Margery Sharp's oestselling novel is the basis for this' picture, '•Cluny" is a comedy with unlimited b.o. appeal, let alone an interest for the ladles auxiliary of the United Assn. of Plumbers. ~ •/ "Cluny" is in the best Lubitsch tradition of subtle, punchy comedy., and his two . stars make the most of it. It is a satire on British manners, with bite and relish. The insipidity of a specific family is the mirror through which, is reflected Miss Sharp s tale of British prc-\var : aris- tocracy and the middlcclnss. None of it is treated seriously, of course, "Cluny" dealing particularly with a cockney. gal who. on occasion, can wield a wrench, and does. When Cluny isn't cleaning stopped^ tip pipes, she's a maid in the home of the aforementioned aristocrats. The family's, bowing acquaintance with world events -is confined, for example; to. the knowledge that an Austrian named Hitler had written a book, or something. Rcginild Owen is the aristocratic, squire. Margaret Bannerman his wife, and Peter Law- ford their son. Boyer plays a writer fleeing' the Nazis from his,.native Czechoslovakia. "Cluny" is replete with typical Lubitschian double entendre, along with other bits of business that have long since become associated with his technique in direction. Never, how- ever, arc the comedic aspects allowed to get out of hand into outright trav- esty. Notable, too,- is the projection of even lesser characters to points where their performances can be in- delibly recalled even lona after the pic's fadeout. And speaking of that fadeout, it's a.clincher that will not only get sock laughs but is something that will draw plenty of comment for its artful contrivance and imag- ination. Eoyer and Miss Jones are excel- lent. Their performances arc notable because comedy to fhem has been something foreign in view of their association with straight drama. The long list of supporting players is like- wise strong, and outstanding of these are Lawford, Helen Walker. Reginald Gardiner. Owen, Sir C. Aubrey Smith, Richard Haydn, Miss Banricr- m.-in, Sara Allgood and Ernest Cos- sa-'t. The nifty screenplay is by Samuel Hoffenstein and Elizabeth Rcinhardt. Kahn. femme audiences add up to hefty returns. Story unfolds leisurely in telling of a sister who assumes her twins identity in order to find love. Pace is slow because of lengthy establish- ment of character difference ber tween sisters, but there are plenty of moments of high Interest to help overcome this for the women s trade. Miss Davis appears as a sweet, .sin- cere, artistic girl, and as this girls man-crazy sister. When the latter, by trickery, marries man with whom former has fallen in love, and is later drowned in a boating accident, the sweet girl takes on her sister's identity in a try for happi- ness. Fake role doesnU jell but finale clears the way for true love. Script by Catherine Turney, spends a great deal of footage, establishing' life in New England summer re- sorts. Since, it is a woman's story, dialog hands plenty of cliches to male players, particularly lo Glenn Ford as the man in love with both sisters. Curtis Bernhardt's direction gives Miss Davis and others com- petent guidance and gets the feel of the locale. Dane Clark appears brieliy in role of rude artist. Role is difficult and not a fortunate one for Clark in view of his rising popularity. Waller Brennan gives a good chararior reading to his part of a sally old down'easter. Charlie Ruggles. Bruce Bennett. . Peggy Kniidscn, Esther Dale. . Joan Winficld and Clara Blandick round out the cast, all competent. Special photography for dual role played by Miss Davis is the best.yet. At no time is double exposure or other tricks used to bring the char- acters together in scenes apparent. Credit for trick work goes to Wil- lard Van Engcr and.Ruisell Collings,' both lensers. \vhilc other special ef- fects were directed by William Mc- Gartn and E. Roy Davidson. Regular lensing by Sol Polito and Ernest Haller gives a fine display to the physical production properties. • Brofl. Miniature Reviews "Cluny Brown" (Mth). Charles Boyer-Jennifer Jones in smasheroo bio. comedy. "A Stolen Life" (WB). Bette Davis starrer has strong femme appeal and hefty b.o. potenti- ality. "Boys' Hanch" iM-G). Pleas- ant youth drama of rehabilita- tion of juvenile delinquents with exploitation value. "Kendeivous 24" (20th). Mild "B" thriller !on the atom-bomb; for the duals. "Portrait of a Woman" (Fi cuch- made) (Mayer-Burstyn). Excel- lent fllrh for arty houses; pros- pects elsewhere are.questionable; "In Old Sacramento" <Songs) • Rep). Handsomely mounted westerner with, songs. "The Glass Alibi," (Rep). Good murder-meller'of its type. "Days and Nights" (Artkino). Soviet-produced history (fic- tionalized) of the Stalingrad de- fense; strong pull in the foreign houses. ' ■ HendczvonN '24 - idiii-l'ox lelease of sol M. Wuliz-I pro- •liii'ilixl-. l-Viilarea WllliiMii *.;ar>:iin. Pat OWlooiv.. Jlarla I'aliner, lli nnan lUni:. 111- n'l'led by James Tlnllnir.. Story n:ul n-Tron- Iduv liy'Aubrey WIsbeiK; eaiiicra. 1 :rnj:iinln illlnr. William I'. riaxtnn. Trade- April '4iJ. Itiinnlni; lime. i no: liuwn .\. Y. 10 MINS. 1 ari'i' inoiliy.... ...... liMiiluldt ivla... .... . Hi'iker IlKiminn...... tinnfred. .enpolil....'...... lien- SrhniliU. .. :uiu Sehmldt.. i 'ai%1alrs. ni'lolr lark Mil Boys' Hunch Hollywood, April 26. Metro" release if Itiihei-i SUk nroilii'-iion. ■Features Jackie —Hnuli'' .lenklus. .Inaies Craig. Sklppy lloim-ler. IJoinlliy Palra*. Directed by Itoy Kimlanii. urlt'Inal idi-ry and screenplay. .William. I.udwlk': •'Uliieiii. Charles Salerno.' Jr.: editor, nnlpb. K. Winters: s e. NathanLd SllllKl-'l. Trade- shoivn April SJ, '-lli. HuhnliiK lime. »7 MIN>, "Butch" Jackie vlJuicli' Dan Wnlker Sklppy.. SMsan Walker IMvId Banton This modest-budgeted .morsel won't have any earth-shaking conse- quences, A B-grade thriller ' built around the atom-bomb theme, pic is ;i tame spy story with no particular Hank. Mary Walker.. .Mr. Harper... ■ ■■ Minor Mrs; Harper Mr. O'Neill DruKKlst li' Judge' Henderson.... Jcnklua .James era lie Sklppy lloinelcr Mnroihy Patrick Itay Collins Darryl lllckuuin Sliaron McMalltiM Watson iler.ildllic' Wall \rllmr Spnco Kiniii-l D Oninor .....Moroni Olsen A Stolen Lifo Hollywood; April 27. Warners release. of II. D.. Inc. produc- l.'on. Stai-s Itettc Davis: I'ca.u-cs .Clenn Kurd. Dane Clark, Walter Drenuaii, Clinrlle llilKKles: Sruce Bennett. Dlrecli'il by Cur- tis Ucrnlinrdt. Surechplny, I'ailiiTinc Tur- ney, adapted by MunKiiret' Iluell Afil.ler from a novel by Kneel. J.. lienor c.-iini-rn.. Sul Pollio and .Ernast llaller: i:peci:.l ef- fc K, William Mvliann, B. Hoy Ufivlusou. W illaiil Van KiiKCr, ltussell . Cnlllnc.'-; tmisit'. Max Stidner; editor, Hudl !•'■ In-. 'I'l.'iileslinwn April ITiJ, '4d. KunnlllK lime, HID MINS. K.-'lc Itrisivorth I Pairleia llosworlll \ . Bill Kniersnn Karnnk Ktifn l■"oll:lM• , Krcddle Idntcy Jack Talbot , Hi-Idle ^Irs. .fnhnson I,n-•• M.-""- II.tii.. Pay In ...';. .<:'■ nn VVii'il ..... I la li" Clark' . W':iUi-i ; lli'c'iijiai'i .Cli.-.rlii' itiiaul. s .'.. Hi-llce |{iMuif.(: .l'c(.'iy Kniidscn Kslher li.ili- ... ..Inlill W'llllii'ld ..Clar.i Ulandlek ..tVilllam Cardan .....Pit o'Mi.urc ... Ilavld. l/COllard .... Mai-lii . rainier .. .... loliu Illi'irer '.\ilrt Katch. ... Henry llowliind ...... Paul Kruxer ,..... Herman llluir .....Ilka Ciuninir Iloy'd Trwln .... I'lvan Thomas . ...I.csllo Denison Bctte Davis is a triple-threat proposition in "A Stolen Life." In addition to portraying the dual role, actress makes her producer debut With this. B. D., Inc.," is her com- pany. It's a femme story of heart- ache, unrequited love and the usual ingredients that go into this type of yarn. Opulent production values., marquee strength of Miss Davis' name and appeal story will have for Basically "Boys' Ranch" U familiar stuff, but gains added interest be cause its theme is reformation of juvenile delinquents. "Formula used for the fight against delinquency is solid, giving film good exploitation value. Locale is the Texas ranch near Amarillo where teen-agers are given a new start in life. Film takes up too much time in telling its .story, making for footage padding, but makes clever use of young Jackie "Butch-' Jenkins' personality to ap peal to majority of audiences. Original story and script by Wil liam Ludwig depicts how a baseball player gets a group of Texas ranch ers interested in a project to give sidewalk urchins a new lease of life through fresh air, sunshine, farm work and p r o per guidance. The formula is sound and naturally lends itself to good hoke. Villian of the piece is Skippy Homeier, a young delinquent who. takes a lot of re forming before he realizes honesty and good sportsmanship pay off— even if it takes longer. Ficlionizing is formula and makes a play fo proper amount of pathos in spinning out the tear-jerkinff sequences. . Roy Rowland's direction makes the most of the mate r i a I, displaying knowledge of keeping simple things simple and balancing heavier mo- ments with lightness. Bratish cutc- ness of young Butch Jvinkins is played up. In the plotting he's spotted for comedy, not as a delin- quent, and his every appearance is a guaranteed chuckle. James C>°aig, adult male lead, docs okay by assign- ment of the ballplayer who. launches the ranch. Dorothy Patrick, as Craig's wife.- has only a few' scenes. Other adulls in the cast also play second fiddle to the juves. Skippy Homeier. Darryl Hickman: little Sharon McManus arc among the .younger players who prove very effective in projecting the story. Robert Sisk's production guidance furnishes excellent physical ncrcu- rricnts. Lensing by Charles Salerno, Jr., takes advantage of outdoor scenery and other credits measure up. Brbf/. Canuck Coin in New Indie Hollywood, April 30; New indie outfit, Doyle-Nelbo Productions, backed by Canadian capital, announced a program of four pictures starting with "Long Novem- ber," based on a novel by James Benson. Nalbo. Others oh the list are "The Man Who Made News," "The Tunnel" and "The Music Maker. , distinction. It will pay . off in the duals, .but that's about all. Film, when originally announced as an important contribution to the atomic energy question, brought down oh producer Sol Wurlzcl's head the denunciation of the Federation of American Scientists, who resented a world-shaking theme being made the subject of a B-grade melodrama. Although Wurtzcl defended serious- ness of pic's treatment, , it's noticeable that claims to film's . scientific im- portance have since been played down. Aside from the fact that atom fis- sion is dragged iii as just a new angle in a mystery story, pic is'further routine in that its plot structure and situations are duplications of dozens of similar spy. yarns. Story is syn- thetic and slow, as well ns obvious f rom the start. In .a secret lab in Germany's Harz mountains, a group of Nazi scientists are' working on development of atomic explosions by remote radio control, despite the fact that the war is over. Their aim is to blow up cities like Paris and New York from' their mountain . fastness, and need only some data from a German scien- tist in America to complete their plans. Film is the story of the tracking down of the plotters by an.American and his British assistant, with lovely German spies, and murderous Nazi gunmen, involved in the proceedings. Of course the American hits on the German hideaway just In the nick, arriving at the secret lab one minute before Paris is to be blown up. Gunplay as usual is plentiful for these formulae-fixed confections, and there is also, interest in' the chase angle. But pic never really stands up. Acting is as perfunctory as scripting and direction. William Gar gan- looks handsome and harmless as the prying American, and Maria Palmer is as superficial as the trai- tress Hun. Pat O.'Moorc is satisfae fory as the English agent, and Kurt Katch is plausible as a German ringleader. Herman Bi.ng'contributes some obvious, feeble,comedy. Bron, ican audiences. Boxoffice prospects for run-of-the-mill American houses, however, are questionable. . Film was-made during the war in Switzerland, where Mme. Rosay and Feyder, her husband, fled during the occupation. Similarity of the French and Swiss terrains, however, make the location shots authentic. Fact that the film was shot in Switzer- land probably aided it also in that the some studio facilities that were used for "The Last Chance" and "Marie-Louise" were available. Feyder wrote the .screenplay to display the unusual versatility of his wife; and Mine. Rosay, consequently, carries the entire picture on her very capable shoulders. She portrays four different 'Women, each dissimilar to the others, and each done - in. top fashion. Story has her first as. an opera star, who commits suicide over fear that she's losing her hold on her audience. Her body is found, lacking iden- tification. Aiuuvering police, inquiries, tour people appear, each believing the body to-be-that of a friend or relative who's-disappeared. As the bereaved tell their stories via Hash- back. Mme. Rosay gets a chance to show her. wares as nn old peasant woman, a genteel schoolmistress and the lusty wife Of a bargekceper. Lat- ter rtjle gives her the opportunity to indulge in some raucous comedy and is probably the best-drawn, but all are excellently done. While Mme. ROsay walks off with the acting honors, rest-of the cast- is uniformly good. Jean Nohain lends deft touches to his role of the young farmer who thinks-the dead woman is his old nurse and servant. Ettorc Cella, as the bargekeeper, maintains the lusty pace set by the star in this sequence. Duo's French dialog with ah Italian accent is something for the ears. ' ' Firte camera work of Jacques Mer- canton and Adrien Porchet spotlights the title motif with shots of Mme. Rosay through a mirror, in a photo- graph, ' etci, nil resembling actual portraits. Feydcr's subtle directorial techniques arc evident throughout, adding much to the picture's consist- ently fast tempo. English titles by Herman G. Weinberg are more ade- quate than in roost foreign-made pic- tures. "Portrait" is preeining in this run with "Hymn of the Nations," three- i cclcr with- Arturo Toscaninl and the NBC Symphony Orch.. Produced by the OWI and reviewed in Variety on March 3, '44, latter is .being distrib- uted domestically by Mayer-Burstyn on" a non-profit basis. Slal. The Glass Alibi Republlo rcleaM of W. Loo Wilder pro. ductlon, directed by Wilder. Star* Paul Kelly, Dcufftsa Fowley. Anne Owynnc: re*, lures Marls Wrlxon. Jack; Conrad. Original eerecniltay, Mlndred Lord; camera, Henry Sbarp; editor, Asa Clark. Previewed N. v - April 20, '46. Runnlns time. 08 MINS. Mux Anderson. Joe Bykner Hvlle Merlin.... Unda Vale Benny Brandlnl. I)r. iJiwaon..,.. ItiKga.. ■ lied llugnn,..... Coroner. Had Attendant,. Itnrtender Xui-iio........'« IHnit Clerk...... Kriiuk t'o'niile i:iiiirlln. l'oul Ivellj ..Douglan Fowloy . ... .Attnc Owynne .... .Maria Wrlxon Jack Conrnd , . .Selmer Jncknon .. .t.'yrll Thorniun Oy Kendnlt .Wnlter Siidi'rlluji ;Vle I'ofe) ..tleuive i'li:ui<iler I'lielllrt Adiilr TM SKinlinpo ' Dirk Seolt Kllln (;uy .... I'orrevl Tnyfor Infused with good direction, per- formance and -refreshing twists, this murder meller clicks despite lack of cast names. Although somewhat too. involved in story material, 'film is well paced and holds interest. Most : of the load is carried ably by Doug- las Fowley as the central interest From the ranks as an oatcr heavy, Fowley is subordinated in this one by . Paul Kelly playing the homicide cop. Styled unpretentiously. "Alibi" will register strongly on .\ny dual . bill. ' Able direction focuses, otherwise commonplace sequences into sus- tained interest for the story which is localed in southern California. Fowley, as a reporter with criminal bent, inveigles a wealthy■ Sanla Mo- hicn resident, played by Maris Wrix- on, iiito-marriage on learning she 1 is to die because of heart ailment. His ambitions; spurred by the other gal, Anne Gwynne. All in the middle foot- age with smooth suspense leading to the. murder climax, Unknowing of her death because of heart failure, Fowley shoots his wife in accordance lo carefully laid out murder plans. Due to his own schemed alibi, corv- victioii and justice follow for the filiate" with Paid Kelly withholding the technical facts that, would clear him. Film is given excellent produc- tional attention and is interspersed .with well-set outdoor shots. . In Old Sacramento (SONGS) nepuldie rele:iMO of Joeoph K:ine produe- liull. dii-eeli'd liy. Kane. SlulD William Kl- linlt, t'unslaiiev Mitore; fciitui-eA Mmik Diin- l< ls. Ituili Donnelly. lOuneiu- I'alletio. I.itinrl stmiili-r. .lai'k Laltue,. tirant Withei-K. Sci-eenplay. Kroni-es Hylnnd, biined .in m-iK- .itlul liy .Ici-iimc tldltnn: juiukm, Jean l^•lll^n , - Itiiiee Sl.-vii r, 1'red Cllln n. Will il. fulm- Jus 'l-:d\viirils, Hnrney Kuflun. Amlrew It. .sttrlliiu-t.'linrleH Wnril; musle. dlr.Tlur. Mnr- n ; Srolt:' camera. Jack Mtiiin: >'ditiir. Kred Allen. Vvetlewod N. Y., April 2-1. '-III. nunnliiK tinte. H» MtSX. .Itdillny llarrelt. ■ lti-lle .Mil I.mo Sinn Cliase Xeliliy' riimker.......... Jim Wnles Kddlc DodKC.... .. .... I.arninle. v f^npt. Mnrc Slayter... NcwHUoy Murehettl Stage Driver. Ma Dodge Oscnr , .William Kl'.lott '.Oonsianee Mnoir , Hunk Ilanit'l.H ...Rnlli Di.nnelly ,. . KilKi'lie I'alli-Ue . .. .Lionel Standcr ,. Jack I.nUue ....(Irani Wlthein ......Huliliy Blake ....Ch.irlea .Tudcln , .. . ,Pnul..Hurnt .. .Victoria Hornn .Dick Weasel Days and Nighis (RUSSIAN-MADE). Arlkluo relenao of Mosllltn Studios pro* dueilon: Stars Vladln^lr Soloviee. Anux Lisyanak'nya. Dmitri RnKul. Vuri I.luliinioy, Lev Sverdlln. Mikhail Derjuv In. Vaimlll Kliiiehnrev, Andrei Alexeyev. Dliwted by .Mexander'Stdlper: aereeilplfiy by KniiHlan- line siinouiiv from the novel iiy ■anine uu- ilmr: I'umern, KuHeno Audrikaiils;.Knalliih : i it I'linrleH Tlemi'iil. Vh-vlewed In N\ Y. t April -Jil. 'Hi. Running- time. UU MINS. fnpt. Siiljurov... Vladhnlr rtolovlev Vanlu Dmitri Sofial l.ii ut. .MiiKleunikov Villi I.luliliiiov Auyii Kllmenki Anun rjnyuuslAiya i\i|nnel'Ali'Xtinder l'mtsenk... .Lev ftverdlln Hiner.-il Mutveyev... Mikhnll Derjnvln <:..|ui.t | Sei K el It'einlzuv .. Viiralll Kllin-liarev I'eivn.. Andrei Alexeyev l'oriraii of a Woman (FRENCH-MADE) Maycr-Durntyn release nf .riii-tiues T-'nyder priHluetlon, dlriM-led l)y Keyili-r. Slam |.*r:,n- i oise noiiay: - feature** lli-ury i:iiinnl, Jean Nolinin. Kltiire' t'ella. S.-.i-c-eiiplai-. l.y IVy- ■ lfM\ linstil on novel by Jiiriiucn vu.i: i-am. i'1-a. Jac|iui'..H .Meiviinl-'u. Ailrifii. i'ar. lid': i-illlor.-John Oct^ . l-Jimlinli litlci'. II.tihiiii ii. Wi'lnherK. At l.lllle fanieKlc. X. Y., .Mail-27-. 'HI. HuniiliiK lime. Mil MINK. l'n»l: Ki'lincolse.. Unsay. Henry ilujsol. Jf.'in Nnhaln. ICllofo .t'elin. I'laive I'li-rard, Vva lielie. Cliiudo Alain, l-'loii-n-.-e f.yuu. (Ju French; Eiifllish Titles) "Portrait of a Worn^n." one of .the better French films exported since the war, revives the excellent French finesse that made "Un Carnct du Bal" and "Bal:er> Wife" classics in this country. With Francoise Rosay, star of "Carnet," in the lead and with direction by Jacques Feyder, win- ner of several French Oscars, the film should rate strongly with arty Amer- Old Sacramento was never like this. In 1848 it used to be a brawling camp triple-decked with gold-dust- ers, gamblers and'gunplay. This ver- sion is loaded with music, albeit mounted handsomely with elab- orately furnished indoor settings, masses of extras and a strong sup- porting cast which won't hurt at the b.o. Faltering on the story and script items, production-direction of Joseph Kane spins the yarn around the ro- mance between a music hall belle, bf rigid ethical standards, and a gentle- man-gambler who doubles as a no- torious stagecoach yegg by the name of "Spanish Jack." With the sheriff and vigilante closing in on her lover, the femme permits romance to sur- mount virtue and she alibis for him. But when a young prospector, who has fallen for the singer, is falsely accused of being the masked bandit, the genuine article gallantly reveals himself, is shot up for his trouble, and dies in the arms of his Belle. William Elliott, who was featured in llie Red .Ryder western series, makes his bow as a more substantial romantic figure in the role of "'Span- ish Jack." The physical equipment is perfect, Elliott being tall and lean, with a strong chin and voice of deep masculine timber. Thespihg is a bit uncertain, however, with some stiff- ness visible in the trying spots. Con stance Moore, as the heart intcrest. is a looker with appealing personality She also totes the heavy musical load with finesse, sings-fbur oldies: "Speak to Me of Love," "Man Who Broke the Bank at Monte Carlo," "Can't Tell Why I Love You," and "Camp' Town Races.". A well-trained barber shop quartet handles the fifth num- ber; "My Gal's a High Born Lady." Roster of supporting players in- cludes reJiph'cs like Eugene Pallclte. Ruth Donnelly. Lionel Standcr and Jack LaRue, nil of whom make the most of their lines. (In Russian; Enplisli Titles) The defense of Stalingrad, the stand that broke the Nazis' back in the cast, comes in for some grim and relentless treatment in the So- viet-produced. "Days and Nights" now pi'ccming at Artkino's flrst-run Stanley theatre. Adapted from Kon- slantine Stimonov's novelized eye- witness report which copped a book- of-the-month spot, the film, in a' sense, explains the surprising Teu- tonic upset by. recounting the part played by a lone company. And in doing so, it develops a life-sized' por- trayal of the men who fought and won. ' For the nonce, the Russians have come out with a war picture which omits -depletion of a single enemy soldier. Instead of the usual black- and-white characterizations that mar more than help, the camera spends full-time on the Russian side of the story. The resulting vast improve- ment should pay off in b.o. receipts. Entire action was reportedly lensed in Stalingrad's ruins with the Dim opening and closing with some fa- miliar, newsreels of the campaign;. Related is the Volga crossing of the company as it first enters battle, its capture of three strategic buildingis and the ensuing 70 days of desperate fighting which stopped the Nazis. Towards the close, the strategy of the counterattack which trapped the German army is glimpsed in a scene at g.h.q. : Sentimentality of the Russians is played up as a counterpoint to the grape and cannistcr scenes. In sev- eral sequences, with slight provoca- tions-one or more ot the players burst into nostalgic melody. The sinking, typically Slavic, is rich, strong and good. One scene In which a colonel- toasts his native Ukraine in son;.' is a trifle unbelievable and ollot'et'icr unmilitary-to-western eyes. But it would be captious to say the <i' m loses out by the stress on melody. Central role of a heroic capluin who crosses the enemy . lines three- times to deliver vital messages is played to the hilt by Vladimir S- ln- viev. . His : solid . performance j.els across the nerve-wracking, uncnt. -ng fatigue of constant warfare. Solo?, vlev duets with Anna. Li.;yansk;:>a in the role of nurse, on a love theme sufficiently muted so as not to inter- fere with the history of the battle. Lev Sverdlin is a standout in his bit rs the robust and determined .bat- talion colonel.. 'Direction by .Alex- ander Stolper is consistently excel- lent.