Variety (Sep 1946)

10 FILM REVIEWS Wedneeday, September 25, 1946 Blue Skies (COLOR-MUSICAL Paraniouiit release oC Sot V. (uctlon. Still's, BiriB Cvosbj'. Jonn CauHVehl; DlRa Snn ,Iwin. ?lCROl pro- cU AUr.lrc, loalurcs nUly DfrW.iU'e, Ulvoi'teil by, rituurt llcls- lor Set-eeniiUiy. AiiUur .-llioeUniiU); i\',I.MiUi- tkin, Allan Keott, iMscil .m oriKina' Irvlns llcrlln. ?otva.h, Irvaig UiH-Vln Bobt. Emn.eU Udlnii; a t ranKpmtnts; 3 Lllloy, rvoy SanJprs; daivos-. Pan- camcr.i (Teclmloolor), ilusk' Herbics ftci'ls., HiTiJon TC'lot EilDMart Jr., Win. SpyaiM", ..pp.'uil Jennings, I'iiul lv.. l^eiine, I------ . • editor, UoHoy Stone: Ti«.il<>8h«*n. N.- « Sept. K>, I'.Mi!. Biiniiing. lime, ">* .^U-VB-j Johnny Ailaiivs.. .'..i- ■ • • Jeil roller,..,.. Mary O'lliiril, , . ■ Toiiy,.,., • Nit:i Nova,.. ..,. Franoolis . > mnel!.......... Mnrtha, NiiiPe.. Mary J211znli"lh, ,1UnB Crosby I'reil A,';l.iire . ..Tivin raiiHieUl },";.ir.Uly DeWolie , , . .OlKll S:in Jnan .jllUliall Kasurony ...... .Frrtnlt rr.ylen ... .Vleiorla Home .. .Knrnl.vn. .OrlnieE the ue Skies" is anoth<?T in show biz cavalcade cycle and, it" sDell beaucoup blue skies and black ink for any, exhibitor. With Crosby,. Astaire and Joan Caulflcld'^ on the marquee, a wealth of /Irving Berlin son,^s and lush Technicolor produc- tion values, this lUmu.sical cant miss for terrific grosses. The cue sheet on "Blue Skies" lists 42 different song items but some of it has been excised and^ the, .: rest so skillfully: arranged, orches-. trated and bresented that the nos- talgic musical cavalcade doesn t pall. The songs are pleasantly famuiar to the World War I ueneration and* for the youngsters, they are refreshing and "solid, esDecially as Berlin has modernized them. .;„ ,,. , Result is that Astaire's "P.uttin On the Ritz" (originally writtfen for .Harry Richman) is the musical standout of the more than 30 items which have been retained.. The flash production terp routines are especially eye-arresting. Not^ for-_, getting the climactic "Heat Wave •When, In a lush Martinique set- ' ting, A.staire does a dramatic fall off an elevated platform as result of alcoholic predilections induced by his torching for Miss Caulfleld. , The story of "Blue Skies" is of familiar pattern and rather skclch- ily hung together by A.staire. He's cast as a present-day disk iockey stringing the cavalcade of Berlini- ana together by recounting the nos- talgic episodes behind the success of the platters as they are miked. Starts with "Pretty Girl Is Like a Melody" and thereafter it's an ex- tension of the Astaire vs. Crosby technique, first unfolded by them in ^Holiday Inn," and given a re-do here. ■ Crosby is the romantic winnah throughout. Miss Caullield is par- tial to the nitery troubadour (Cros- by) whose unusual flair for opening and closing niteries is a plot key- note. Astaire is the suave dancing star and she's in the line of one of his shows. Astaire's romantic inter- est carries her along but Crosby's crooning charms her ; until they marry, have a baby and split up. Finally Astaire's disk-jockey nos- talgia brings the graying but still lovely Miss Caulfield into the story - - lor-another--elinch with, toe^^roan^ Miniature Reviews "Blue Skies'? ^Musical-Color) (Par). Crosby - Astaire - Joan Caulfleld in Irving Berlin's pnilay. How can you lose? "Nobody Lives ForcveV" (WB). Familiar meller of gang- ster who reforms for lovC; ca.st. ilames augur good b.o. "The Magic Bow" (Music) (GFD). British-made film, a likely U. S. entry. ^ ^ "This Man Is Mine" (Col). Briti.sh fllmization of stage com- edy hit "A Soldier for Ghnst- mas" looks strong U. S. entry.- "The Ovcrlandcrs" (Eagle- Lion). Lack of marquee names militates against Aussie-made pic in U. S. . "Accomplice" (PRC). Light- weight whodunit for secondaries. Martinique number, the deliberately corny song-and-dance challense rou- tine, the : new. theme, "You Keep Coming Back Like a Song, which ties it all together; the overtones of "Always," "Remember ana "How Deep Is.the Ocean"; the pro- ductional "Everybody Step, a good flash although thrown away because of other .footage; the modern bpo- gie-woogie overtone to that corking arrangement in "Heat Wave' — whatever the : number, the oasic values are there; and director Heis- ler jnakes much of his opportunities, Mark Sandrich, who, with Berlin, Crosby and Astaire, whipped UP "Holiday Inn" three years ago, was the key man in "Blue Skies" until his sudden death interrupted pro- duction plans for the pic. Then, too; thfere ■ was the emergency sub- stitution of Astaire for Paul Draper, but with it all this film emerges a boxoffice winner in every respect, Certainly, foi' Astaire, it's perhaps a new triumph. If he ever seriously thought of retiring. "Skies" shijuW postpone any such ideas. Puttin On the Ritz" is a kudo for him. director Heisler and dance-stager Hermes Pan. with the totter mani- festing imagination and novelty in other production numbers. But "Ritz" is particularly, noteworthy with its concerted .10 Astaircs in background to Astaire up front, marking an unique male chorus for the dancing star. Then, by camera abracadabra he is made to dgnce counter-clockwise to himself, mirror-multiplied by 10, so that the double quintet seemingly does a contra-routine to himself up front. It's the same type of lens magic which has inured film audiences to accept the idea of seeing a Roxy the- atre-type number put on in an intime boite. as occurs in this film. Crosby is Crosby although a slightly heftier Bing. He's the same troubadour, chiroing the ditties as only Crosby does even though his waistline is some\yhat more gener- ous than behooves a iuve. As for Miss Caulfield, she's the photogenic .answer to the Kalmuses' prayer as an iAeal 'Technicololf subject. Tech- nicolor brings out her blue-eyed blonde beauty like a portrait. In everv respect Paramount, Siegel, Heisler & Co. have done right hand- somely by the stars, the tunesmith and their assignment. Abel failed to try making an honest liv- ing. John Garfield, as the war hero- gangster carries most of the weight of the story on capable shoulders. His performance gives picture con- siderable lift. Geraldine Fitzgerald, as the girl he tries to take, is not comfortable in the assignment but come.i /through: with best character allow.s. George Tobias, Garfield's aide, injects considerable number of chuckles. Also good is Walter Bren- nan as a con down on his luck. Faye Emer.son does well as a past love of Garfield's who almost ruins his new romance. George Coulouris is a osveho gangster who gives Garfield trouble. Others are okay. Jean Negulesco's direction man- ages to carry the story along in good fashion most of the way, although he is inclined to be over-obvious in .some individual scenes. Robert Buckner furni.shes excellent produc- tion background for events, cloaking action in smooth values that show up. Camera work by Arthur Edeson is keved to meller developments, as is score by Adolph Deutsch, Editing would benefit bv cropping of at least 10 minutes from footage. , Brofl. Homi'N for All London, Sept. 17. General Film DlFitnbutms' rcle.ise of J, Arthur Hank short. ProiliieeO hy sieiKfl Nolbiimlov, At ('ola(!« theatre, Running time, 80 MINS. " -; ; The Magic Bow (With Mus(c) (BRITISH-MADE) London, Sept. IS CSeivrlil Film Uistrilmlor.'i release eainslarough'I'lclure. Stars PtiylH.'i <'iil- vtirt, .Stewart (Sranfjer; fpature,s Jean Kent. ■Dennis rilce, Direoteil by Beriiara knawTe.s. .^'ereenplay by , Roland Perlwee from novel •■Ttie Maelo Bow" by Manuel Komroft'. Camera. Jack Cox, Jack Asher. .Alt: ralace theatre. Kunnlng time,' 106 .MIS.S. I'agailinl,.,.... .Stewart: Granger Jeanne . i,....,,..-.....,.. .i'hylHa Calvert Biiintthi.il.'. .a.: . Jean Kent raul lie la HocheHev..; .Dennis Price nermi,... .'. .;■. ,.';, ,. . .,:■. ... . .Cecil Parker counters lie Vermont!...,.'il'orle Liihr Count (le:ViBnriona.,,.,...Henry Edwards Antonio;.... ..,.:...;.•...:..., .Fr.ank Celller TercBa........,....;k M,iiry Jerroia CaPdinal .Ronalil Speaight Pasin 1 l''elix .\y Imer Lanilltiily ..................... Hetty Wnrren Manager.. .....„.;...:,,.. .Anthoiiy First of a new series called "The Modern Age," new British screen review on vital topics, is J. Arthur Rank's challenge to the March of Time. He will, find, small response for this issue, out- side his own circuits. Taking the hot house squatters topic, producer and commentator go into hi-storic essay on causes for Britain's prtisent housing pli,!jht. Air of optimisin is intro- duced as boost for the present government. Commentary is fair but manner ot delivery is sopo- rilic. Issues, .scheduled for once a month, incklde "Scotland Yard," "Bv Air Tomorrow," and "Clothes to .Come." Unless im- proved o:ver this one, it's doubt- ful it March of Time need worry. Cane. The Overlanders (AUSTBALIAN-MADE) London, Sept, 19, Eagle-Won release ot Ealing SUjiH,)«. Michael fiitlcon production, .star.9 Dauline Campbell, Chips Rallcrty. Written and dl- rectcil by Harry Walt; Au.strallan iisso- ciHte, Kalph Smart; music by John Ire- land. Camera, Osmond BorratUiile. At Stti- ' dlo One. llunning time. «l ,MINS, Chlpjr RaHerty Nugent Haywaiil .Daphne Campbell . ■ .lean Blue . ....lieleii Crleve' .., .John Fernslde i..., .Peter Pagan ■ , .Frank Itnnsome ... ,Stnn 'Volhurst vAlArvhall' Crosby John *;ega'n Holies Nobody Lives Forever (ONE SONG) Hollywood, Sept. 21. 'Warner BrOB. release o£ Kobert Buckner production. Stars John Garfield, Geraldine Pltzgerald; featurea Walter Breiman, Faye Emerson, George Coulouris, George Tobias, Directed by Jean Nogulesco. Original screeTiplay, W, R, 'Burness; camera, Ar-, thur Bdeson; mu.slo, Adolph Deutsch;' edi- tor, Rudl Fehr. Tradeshown li. A. Sept. ao, 4«. Kunnlng time, WO MINS,., Nick Blake,................ .John' Garfleia Gladys Halvorsen,...Geraldine ,Fllzgeraia Pop Grubet,...,;.......... WaUef Brennan Ton!........................Faye Emerson Doc GartKih., .......George Coulouri-'? Al Doyle.,. ............George Tobias er.' , , Interspersed is a deft dovetailing of' sundry production values. Billy Be Wolfe is capital as the exrvauder turned waiterrcantain (including his own original "Mrs. Murgatroyd" specialty for solid results). Olga San Juan, Latin eyeful who came to attention in a Par short, is DeWolfe's vi.s-a-vis and clicks on her own with "You'd Be Surprised" and other numbers. To the show- wise, "Surprised" will remind of Helen Kane's boop-a-doop'style, es- pecially as Miss San Juan is coifled. Generally speaking, for Ihe fans who manifest a little sophistication and inside stuff on their favorites, the dialog is inclusive of such tongue-in-cheek craciks as "I like kids even better than horses" (Crosby), along With other topical innuehdos on Bing's bangtails pen- chant. It's in a rather corn.y scene with the baby that one of the three new Berlin numbers, "Running Around in Circles (And Getting No- where)" is done bv Crosby to Karo- lyn Grimes, a rather .self-conscious five-year-old. (Incidentally, nf the other two new Berlin numbers, "You Keep Coming Back Like a Song" and "A Serenade to an Old- Fashioned Girl." the former is the most promising of all three new tunes). It's to the credit of producer Sol C. Siegel and director Stuart Heis- ler that the Berlin cavalcade did not assume talker versions of the old- time illu.strated song .slides. When it does occur, as with the title song, the Technicolor pastels make for fine camera portraiture. This takes place in the pre-Niagara Falls scene. , The niteries which CIrosby -founds, hosts and then unloads :to an omni- potent Greek by the name of Rako- .polis trace the speakeasy era. The cavalcade rings ■ in^ a touch of World War I with "Got My Cap-1 putting down on paper more melo tain Working for Me Now." refer- | dramatic elements of U. S. gang life ences to .flaming youth, the jazz and conmen. Garfield, intent on a age. "keep cool with Coolidge," the i long vacation from war duties, is Clict King,, Charles Manning... J3ell Boy %hake Thomas Win'ay Mather...... TelesCero Mission : Attendant ., Ben , ,. i....... Counterman,,.. .. . .Robert Khayne .'.Richard Gaines .,.., ,DIpk, Erdman Janio.^ Flavin ......Ralph Peters Alex HttVler .William JCdniunds .Ralph Dunn ., ,.,,Grady , Mutton "Nobody Lives Forev.er" is melo drama in a familiar pattern. It has name strength, gooiJ production and sufflciisnt intereist to generate healthy , boxoffice returns. It's the old gang- ster reformation theme, dressed up with timely interest in vete.ran re- habilitationv although latter is not likely to be used as a model for such programs. ', :'' John Garfield is seen as a drafted mobster being released after years in the service and with plenty of heroic medals to 'ndicate his fight- ing ability. Original script by W. R. Burnett follows writer's bent for Wall St. debacle, and up to World War 11 with "Any Bonds To- day," "This Is the Army, Mr. Jones" and "White Christmas" (Okinawa setting). The Berlin catalog being what it is there is no wanting for variety,, novelty and nro duct ion ideas. Whether it's "C-u-b-a" for the Ha- vnnn epftino "Kpat W.^vc" for the talked into taking a wealthy widow for a large slice of her inheritance. Plot moves along towards its ob- ,1ective with all the obviousness of such a theme. The gangster falls for the gal he's trying to take, turns honest and it all ends in a high- pitched finale that suspensefully portrays complete reformation and nroner end for tho,'!e of the mob who Swan song of executive producer Maurice Ostrer before quitting J. Arthur Rank's Gainsborough Pro- ductions, there can be little doubt that "Magic Bow" will be big box- office in England. Strength of mar- quee names like Stewart Granger, Phyllis Calvert, and Yehudi Menu- hin.. cannot be underrated. Only snag in the over-boosting of Menu- hin is that it stresses the fact that whenever Granger, posturing as Paganini, is playing the violin, he is .iust giving an excellent imitation of the bowing and fingering of a genius. For the U. S. market, this represents a big selling ,iob. But it may go over if nicely exploited. Honors are shared between Stew- art Granger and Yehudi Menuhin, who Dlays all the violin solos. Rare- ly has such emphasis been laid on the musical side of a film. Backed by the London Philharmonic, Menu- hin is heard in "The Devil's Trill" (Tartini), "La Ronde des Lutins" (Brazzini), "Campanella," "Caprice No. 20," "Violin Concerto No. 1," "Introductions et variations" (all by. Paganini), last movement of Violin Concerto Opus 61 (Beethoven) and "Romance," a haunting , melody by Phil Green based on a theme by Paganini. For those who dote on good music and rave about Menuhin, this film is a veritable feast. For the Granger fans, here he has an unusual and at- tractive part. For those who know something of Paganini and who are now drawn to the theatre by Gran- ger or Menuhin, this picture may disappoint because of its conven- tional story packed with cliches. Granger is not to blame for this. Given the right material and' ap- proach he probably could have por- trayed the strange being who is said to have inspiretl dread as being in league with the devil while at the .same time being the darling of the ladies. There's little to show how this uncanny genius conquered a world. The usual montage of a traveling coach and concert programs is a poor substitute for building up a character Whose career Was more strange and entertaining than fic- Ition. Nor is the background Wholly convincing. The Genoa at the be- I ginning of the 19th century shown lis too reminiscent of the studio, i Being unacquainted with Manuel Komroff's novel, it is impossible to .say how much the scriptwriters are indebted to him, but the resultant story resolves itself into the too fa- miliar one of a man loved by two women, one a socialite, the other a gutter graduate with a heart of gold. It tells how Stewart Granger (Paga- nini), before lea'ving'Genoa for Par- ma to win a Stradivarius, is tricked by aristocratic Phyllis Calviirt into assisting her father to escape from prison. In Parma, she invites Gran- ger to Play ,'al her home, but dis- gusted by the bad behavior of her friends, he leaves after insulting heri Seeking distraction with Jean Kent, he gambles, loses, pawns his Strad, and has it redeemed by Miss Calvert,: unknown to him, in time for his big concert. The gifted violinist falls in love with her. Leading Napoleon's troops into Parma is Dennis Price, selected by the Emperor as husband for Miss Calvert. After the usual love com- nlicationi^, .<!he renounces Granger on the eve of their elopement. But they meet again in Paris, a duel with Price, results. The faithful Kent and the heartbroken Miss Calvert save the violinist's life in time, but Gran- ger has lost all interest in playing, (ilimax comes when she engineers a Papal Command Performance in the Vatican (an imposing reproduc- tion) and to the strains of "Ro- mance," Price releases Miss Calvert, so that she can marry Granger. Within the limits of the script. Granger gives a fine performance. Running him close for acting honors, is Cecil Parker, who, as lawyer- manager for Granger, provides the comedy. Parker, who won laurels in "Caesar and Cleopatra," adds to hiss reputation. Miss Calvert, has little opportunity, in her struggle with an anaemic Dart, ^ind her attractiveness some- times escapes the camera. Kent's portrayal of the singer who came from Genoa's gutter has the odor of Lambeth Road. Price is a pictur- esque, stuffy soldier. Whatever failings the picture may have, there are many bally angles for the exhibitor. Even though Granger and Calvert may not yet be big marouee names in the U. S., Yehudi Menuhin should count for something. Cane, This Man Is Mine (BRITISH-MADE) London, Sept. 12. Coliinibia British X'lcture» release of M.'ii'cel Varrrel production. Stars Tom Wall.'?. Glynis Johns, Jeanne de Casalis, Diret'ted by Marcel Varnel, .•Screenplay lay Doreen Montgomery, Nicholas Phipps, Reginald Beckwilh, Mabel Constanduros, from Reginald Brckwlth's stage play "A Soldier for Chrlslinas," t'^amera. Phil Grlndrod, Al Siiulio One. Running time, 10» MINS. Philip Ferguton,. , .Tom Walls Mrs. Fergu,^ion,, Jeanne de Castilis Phoebs Forguaon... .....Nova Pilbcam Brenda Forsusoil Rosalyn Boulter Millie ., Qlynis Johns Bill M.icKenzle,.i...,.>..Hugh McDermott Ronalil ,.:,.,..i;Barry Morse I.ady Daiihiicy,....... A trtbroslne Phlllpotts Jarvis.. , Mary Merroll Mrs, Living up to Columbia's boast that this is its best Briti-sh comeciy to date, picture should register hefty grosses here, and should find a ready market in America, when trimmed about 15 minutes. Starts off with ripples of laughter and keeps up the gait, Christmas of 1946 finds Bill Mac- kenzie, ex-Canadian soldier, enjoying his holiday in Saskatoon. Greetings cable signed "The Fergu.sons" is ex- cuse to flashback across the Atlantic to an English village in 1942 where .soldier was Christmas guest of the Fergusons. Home is in a pleasant state of tuimoilj Brenda has left her husband because he couldn't supply a turkey, second daughter Phoebe can't make up her mind about boy friend Ronald, ex-maid Millie, now in uniform, arrives as a billette and MacKenzie. primed by his Colonel about Anglo-American relations, comes in time to sweep Millie and Phoebe off their feet. Both girls make a bee line for him, having de- cided that the gloves are off. Story follows a familiar patlerni but complications including a mail robbery and Phoebe's visit to the .soldier s bedroom, provide good fun. Final shot shows Millie preparing CThrlstmas dinner for her Canadian husband Mackenzie," Acting honors go to fidinburgh- born Iiishman, Hugh McDermott, who is rapidly becoming a star. Glynis Johns makes a fine foil, but her speech becomes somewhat mo- notonous. Nova Pilbeam and Barry Morse arc an acceptable pair of lovers while Joanne de Casalis dithers delightfully. Veteran Tom Walls begins a second career here as a .straight actor. / , Direction by Marcel Varnel is slick and aimed to :get maximum laughs. Cane. ... Dan McAlpine, Bill pursojis,,... Alary Parsons,,. .Mrs. I'nrsons.,;, Helen Par.sons. Corky,.......... duller Slnbad,.. <?harlle. Manager......,, Minister, .l*ollce .Sergeant, : First big feature film to be made in Australia by a British firm, this should come as a breath of fresh air to audiences jaded with routine pic- tures. Based on fact, the story has legitimate fictional twists to give it audience appeal. The fact that a mil- lion American servicemen spent part of: the war years Down Under should not be' overlooked. Whether it can be sold as an epic westerner will spell its U. S. chances. Producer Michael Balcon sent di- rector-Harry Watt to Australia with a mandate to make a picture repre- . i-entative of that continent. Watt spent five months soaking up the atmosphere. In the Federal Food Office, Controller Murphy explained of the greatest mass migration of cattle the world has even known to get them out of reach ot a probable Jap landing. Across 2,000 miles of heat and dust, drovers had battled with , 500,000 heads of cattle. Watt decided this would be the film's ■ theme. ■'•,'' Story begins in 1942 at the tiny town of Wyndham, where meat works are destroyed, personnel evacuated, and Chips Rafferty, boss: cattle drover, is told to shoot 1,000 . head of prime beasts. He decides instead to overland them across 2,00() miles of tough going. ■ Epic trip lasts 15 months, and the adventures are graphic. Highlights are the breaking in of wild horses when their own had died from poi- son weed; the stampede with the men facing a charge of maddened cattle and the forced march across ■ a mountain path with a sheer drop on one side. The cattle are delivered safe from the Japs, and Chips and his team go back north to help again. Direction reflects credit on Harry Watt, who adds one more success to his record, which includes "Target for Tonight" and "Nine Men." Not only does he show something of the - real Australia, but he also puts over tragedy, comedy and romance. His cast had few professional actors. Tall, laconic Chips Rafferty is a natural for the head drover. La- belled Australia's Gary Cooper,- his experience in "Rats of Tobruk" and "Forty Thousand Horsemen" helped him in this film. He is now in Lon- don playing a lead in Balcon's "The Loves of Joanna Godden." Other stage people include John Fernside, Peter Pagan, John Nugent Hayward and Jean Blue. For his leading lady, Watt chose 20 year old Daphne Campbell, nursing orderly in an Australian military hospital. She had never before faced a camera, but she makes a real outdoor girl in this picture. Cameramsn Osmond Borradaille deserves laurels for his work. The veteran of British music, John Ire- land, was persuaded to do the , film music, for the first time. Gane. Accompliee Hollywood, Sept, 21. PRC release o( John K. Teatoid produc- tion. Stars Richard Arlert; Veda Ann Borg. Tom Dugan, Michael Branden, Alarjorle Manners, Earle Hodglns, : Directed by Walter Colmes.. Screenplay. Irving Elman and Frank Gruber from novel by GruV'er: camera. Jockey Felndel: score, AlexHnder l^aszlo; editor, Robert .Tahns, Previewed Hollywood, Sept 20i Running time, <>0 MINS. Pimon bash..,,, Joyce Bonriiwell Eddie Slocum,.. .Sheriff Rucker., Evelyn Price... Jcit Bailey Pete Connors... Jim Bonnlwell,. Vincent Springer, ., i. ,Richnr<l .^rlen ...Veda .^iin Borg ..Toin Dugon . . lllchaei Bvandcn .Mtir.iorle Manners Earle Hodglns , ...... Fra ncis Ford ..., ,Hd ward Earle Herbert ,lta w 11 nson Castleman .............Sherry,Hall Kyan Vice Siodmak Hollywood, Sept! 24. Frank Ryan will direct "Time Out of Mind" for Universal, supplanting Robert Siodmak^ who has directed five pictures: in a row and needs a rest. Latest-addition to the: cast is Eddie Albert, who draws one ot the top roles, . Dull whodunit with little to recom- mend. Will serve best as T)rot;ram filler for the secondary situations. Inept direction defeats whatever merit cast and script might have. Physica.l production values are good , for minor budget expenditure. "Accomplice" Is from the Frank Gruber novel, "Simon Lash, Private Detective," but Richard Arlen as the book-loving dick, has few chances to break into ac Jon needed to siiitain interest. He's called in to .solve dis- appearance of husband of an old love and there are four murders before case is cleared up. Gal and her hus- band are in cahoots to defraud bank by phoney disappearance. When complications set in, pair resort 10 murder to cover their trail, but de- velopments never makes it very clear. Walter Colmes' direction is repe- titious and lacking in skill needed to point up interest in proceedings. Veda Ann Borg and Edward Earle, are the plotters. Tom Pugan ,*ive,s for some laughs as Arlen's handy- man. Best characterizations are fur- : nished by Earle Hodgins .Is a graft- ing small-town marshal, antl Michael Branden an intelligent sheriff. Lensing, editing and other technical aides are stock. Broy.