Variety (Nov 1947)

II VnM BBTUBWS Cass VtaMlHsrlane MetTO rcltsm «t Atthuf JBornlilow, Jr., pruduotton. St«rt Siieuccr Ti-ao', I-ana 5'uTOor, Zavhary Scolt; tratures Tom DVako, Mnrjr Astor, Albert Dekfcer, Mnntaret land- «ay, Diceol'eil by George Sidney. Sorecn- iilay by I>anald Oi^«i( Stewart, from an «i]iil>tation by Stewart and .Soiiya Ijevien ol iiimlalr Ijewla' novel; camera, Wuhert Planek! editor, John Duonlng; Ti'aOeBnown Kow York, Nov. S, *47, Uunning time, Cass Timberlane ,. .Spem'cr Trogy VlTKtnta. Marshland .l-ana l"r"«r Brmid Oriley ,.. • .ZdclLuy t'^tt Jamie Waripac Tom Di.iHc Havoclc...,.,..>......Albert Deklter Chris Grau DlantJia Marl .Marsaret IjlndHivy .Kose tlobntt .. ..loUn Jiljel Avis Klderman Mona Barrle Lillian Drover Jfoaephine Hutchinson i:„u.«e Wargate. 'i^^^SrVMS™ BsnnWlSJie . ■Rl'^hardOalm.s Hov DrOTBT. John AlexancU-i- HcrveylPUnt..* Howard Frwrnun Herman, ; ' • • •*'''5„?'ctarii Alice Wargate i„*.t" Pat-UlarK Metro has accomplished a highly successful translation to the screen of Sinclair Lewis' bookstore boff. Larded heavily wittt the romantic elements tliat are never-f ail with the matinee tradie—and with Spencer Ti-acy and I-ana TUmer for the tnar- . (mee-""Oiss OTBBtoetlane" is a cmch to Iseefr Metro's checking cr^s worl^iK avttianafi. ; Miss l^wner is the surprise of the nicture via her top performance feespicaUjr. In a role Uiat allows her the gamut tasta tomboy to the pangs ot cbiWJrirth,and from being anotheir nian'» woman to remorse- ful wile, she seldom fails to acqmt herself creditably. Tracy, as a mat- ter of fact, is nude to look wooden by comparison. . What fault the picture has is its overload running time. Director Georee Sidney is unable to hold the pane for two hours and the film lags £i the niidisection. It's a customary complaint against Metro pix, so much sathat even veteran sales chief Bill Rodgers took unguarded cog- nizance ol it at a trade press con- fab two weeks ago. Its difficult to understand the studio's insistence, especially .during these days of econ- omy on turning out films, that ex- hib'itolts, tiie pu^ilic and even M^U s own sales force would prefer in more abbmialed ^onn. If the studio is going'to. jdo. sny more cutting, let ft start with Ibe leni^ of pictures. This is a love sbny ^all ilie way. EssenfiaUr,-if* flie tenderness of an older m«n--*l, not too old, of course ^for a young ©rU Traty, respected -emaU-town 1ud«i.P«rs tender court to Miss mamer. who's strictly out of his class sodafl(r>. well as chron- oIogi<»dl^, imtil he wins her. She adatJts heiaell to local society and the new life nnUl she thinks she can - stand it no more and-then is off with th« husband's gest-friend, Zachary Scott. Scott, of- oouiae, doesn't want he'- Wlien he can have her and the remotsefulfemme is eventually back to roost, on Tracy's understanding doorst^. , . Tracy's nieeting and. early court- ing of thegjd is cBlficult to accent, but once ttaPs passed, the only mis- giving is liiat the yam telegraphs its * punches so tu ahead. It's got so much of the old sdmialtz, however, that an of its shortcomings will be easily twgiven liid forgotten by the femmes. fHim aoxers to septuagena- rians, who should oopiprise' its prin- cioal audiencfc iQ diiectinB, Sidney has done a good job in keeping tight rein on his playm, yet giving them suf- ficient leeway to get in plenty of emoting. An assortment of lesser players in the rofe of Tracy's social- ite Mends are particularly effective. Thev incWde Maiy Astor, Albert Dekker. Marearet Lindsay and Selena Boylfe . Production itself, while exhibitin<^ no sign of undue opulence, shows - customary Metro attention to qual- ity. • Herb. Miniature Reviews "Cass TImberlane" (M-G). Filmization of Sinclair Lewis novel has all the elements for b.o. strength. •'Escape Me Never" (WB). Errol Flynn, Ida Lupino, Eleahor Parker, Gig Young in good com- edy meller; surefire b.o. "The Fttjitive" (RKO). Made- m-Mexico, this anti-Commu- nistic religious theme should do fair business.' "Love from a Stramer" (EL>. Routine version of the Blue- beard story for fair boxof&ce pull. "Sons «t My Heait" (Mono). Based on lifqi and music of Tchailiovsky; interesting told with appeal to classical lovers. "Roses Are Bed" (20th). Neat meller I' for good support in dualer situations. "Betom of Bin, Tin Tin" (Color) ' (S;-L). Brings back canine film heto in okay adven- ture yarn. "Drittwoad", (Rep.) Walter Brennan, Ruth Warrick, Dean Jagger, Charlotte Greenwood, Natalie Wood in moppet-medico smaUtown meller; nice boxofflce. "Ciiiien Saint" (Indie). Based on life and miracles of Frances Cabrini; appeal limited but okay for religious screenings. WtLTder releane ol Henry Blanke prodac- tion. St«ft» Errol Flynn,- Ida I^upino, Elenjior Banker. Gig ToanB; features ReK- ln.ild Dennr. Isabel Blsoin, Albert Busser- man. IMtectea by Peter Godfrey. Screen, jilay, Tlronuw ■WIUUioMwn and.Lenore Cof- fee, based «fa. norel'play by Mar^raret Kennedy: .camera, ^1 Pollto; editor. Clar- ciiee Kftlflter; dancea, I*i'oy PHnz: muislc, Erieh WbUiSaiw Komgold. TradeshoWn N. Y. Oei. 31, "47. BunninK time, 101 MINS. S..bnatian..,. Errol Flynn Gemma..,....,,— Ha Luplno FenelUi..-. . ..Eleanor- Parker C.irj'l ..V. Gig Younif Ivor MiicLean..ReKiriaid Denny Mrs. JIacI.ean. ;Isobel Elsom HeinrMi. Albert BnsRcrman ■ Stelnack^............ , ..Lurtwlg Stossel lynnHladr-.'.. Helene Thimig Giiiile.... Frank I'usUa Juinf-ster.................... .^'r-ink Reicher Wll.iaa snadoval" .., .Ballet Speci.-ilty George Zonlch J activities in his role of a serious composer. Under the capable direc- tion of Peter Godfrey, he turns in one of the best jobs "of his career and "Escape" may well mark his ar- rival at maturity as a serious actor. Miss Lupino, although she's seldom been typed so much as Flynn, has a role here that' she can really sink her teeth into and she demonstrates once more her versatility as a serious story, scripted by Thomas. Williamson and Lenore Coffee from a novel and play by M^garet Ken- nedy, is cut snarply in half between light romance and heavy drama and therein lies its only fjiult of note. Switch in mood is too keenly drawn, with no shading to ease the audience gradually from one theme to another. Tale is imbued with much of the nostalgic 'flavor of pre-World War I Europe. It tees off m Venice where Young, a struggling young composer, wants to marry .the wealthy Miss Parker. Through a misunderstand- ing, however, her parents think Young is living with Miss Lupino, a widowed waif with an infant son. and . so rush Miss Parker off to a resort in the Alps. Seems, though, that it's been Flynn, Young's happy- go-lucky brother, who took MisS Lupino and child in off the streets. To set things right again, the two brothers, Miss Lupino and the mop- pet start off on foot through the Alps to find ■ Miss Parker and ex- plain the mistake to her. When they finally catch up with her. Flynn meets, her before realiz- ing .who she is and makes a pitch for her, getting inspiration thereby tor a new ballet. When Miss Lupino threatens to leave him, though, he marries her and the two of them set up shop in a London garret where Flynn finishes the ballet. Still a philanderer, Flynn again goes after Miss Parker and is away with her on a rendezvous when Ihe-baby takes sick and dies. He ■■ finally realizes he's been a heel and, on the night of his ballet ojiening, . he^s reconciled with Miss Lupino while Young and Miss Parker also get to- gether. Although Flynn and Miss Lupino carry most of the picture, they're given plenty of as.sist from Miss Parker and Young. Former has sel- dom been seen to better advantage 'and Young makes his role of the dull, plodding brother highly be-^ lievable. Reginald Denny, as Miss "•■-Jtpr's stuff«d-shirt father; Isobel Elsom as her understanding mother, and Albert Ba.<;serman, as the sym- pathetic old music conductor, top the supporting cast. Chief production assist is lent by Erich Wolfgang Korngold'S score, with, both the ballet and thenie music standout. Ballet sequences are tastefully staged by Leroy Prinz and Milada Mladova sparkles in both terbing and thespine as the prime ballerina. Entire film is a notable achievement for producer • Henry Blanke, with all production creriite a definite asspt. Stal. tlve" tells how the government of one of the Mexican states, in a ruth- less drivo to. stamp out religion, hunts.. down the last remaining priest! captures him by a cruel ruse and has him executed by a firing squad. The picture is rich in at- mosphere andVis sincerely donCi but it is slow in spots and uneven in dramatic power. It lacks romantic appeal and the subject and locale are u.nfamiliar to most U. S. audi- ences'. It should have moderate draw, but will ,get support f o»a religious groups. According to ihe opening- screen natration, "The Fugitive" ;is a true story, -viiXti l^lical overtones and with "topical, timely and universar qualities. -It is apparently based" on the efforts of the Mexican govern- ment 20-odd years ago to curtail the power of the Catholic church and control its priests. But as the Soviet government similarly tried to wipe out religion in Russia, and presumably opposes it today in the countries it domi- nates, "The Fugitive" will probably be widely regarded as an attack on Communism. As such, it is vigor- ous, unlimited and arousing. And as such it has, as the screen narration says, topical and timely significance. Parts of the story aren't clear. The government's drive against the church, for instance, isn!t fully mo- tivated. The only explanation of- fered is a rabid speecn-from-horse- back by the fanatical, callous police lieutenant, as he tries to coax the terrorized ^eons into beteayxng their village priest. Subsequently, this storm trooper-like character is shown as actually beset with qualms about his actions and torn by doubts of his anti-religious protestations. In addition, there is a character of an American bandit-murderer in the story, whose function isn't satis- factorily established,- but who risks his life in helping the fleeing priest to reach temporary haven, and later dies trying to prevent his ultimate capture. Also, the picture's fade- out, .a miracle-suggestive' scene in which a new priest arrives to serve the devout villagers, is insufficiently clarified. 'The Fugitive" is handsomely photographed,^ with colorful village scenes and impressive landscapes, Some of the sequences, such as the police squad's raid on the quiet vU' lage, or the military formations in the constabulary headquarters, are effectively, done. But at other times the mounting suspense of the chase is dissipated-in meandering action. . Henry Fonda is expressive in the subdued and somewhat static role of the priest. Dolores Del Rio is dec- orative and mutely impassioned as a devout victim of the law. Pedro Armendariz almost succeeds in re- solving the zealous but slightly doubting lieutenant. J. Carrol Naish, Leo Carrillo, Ward Bond and Robert Armstrong are believable in principal supporting roles. Kobe. WiBdiicgday,} WavieinlMer 5, 1947 hoteMs'Enrst Pk an OK Prod "Beyond Our Own," initial production of the recently-formed Protestant Film Commission, is undoubtedly the best picture of its kind yet filmed. Commission, producing agency of 19 Protestant de- nominati9ns, doesn't plan to give it theatrical distribution, holding it instead for showings in churches, schools and' before civic groups. It's easHy good enough, though, ,to rate bookings in any theatre in the country. ' ' ' , Produced under the supervision of PFC director Paul F. Heard, "Beyond'' was turned out- by a' group of HoUywood professionals^ which: probably explains the neat job done on it. It was produced by Jack Chertok, winner of an Academy Oscar for shorts, and directed by Sammy Lee, with the original script penned by Doene Roag. Cast is topped' by Charles Russell, DeForrcst Kclley, Trudy Marshall, Richard' Loo and Douglas Dumbrille. ' Story, running 40 minutes, is obviously a church messagp, based on the, theme that no life is complete until a person learns to live for others as well as himself. It's not a pedantic- preachment, though, and there are sufficient dramatic highlights in the picture to hold the attention of any audience on the basis of sheer entertainment. Entire production is tastefully handled and it should serve well whatever purpose it's put to by the Commission. Commission, incidentally, is evidently hep to modern 3how biz—the Qlm is slated to "day-and- date" in 100 churches throughout the country next Sunday (S). stal. Isobel Elsom is effective as the dizzy aunt. Ernest Ccssart, Anita Shatpe- Bolster, Phillip "Fonge and Frederic^ Worlock are satisfactory in support- ing parts. As handled by Agatha Christie in the novel, "Love From a Stranger" is supposed to have built compeUing atmosphere and a mounting terror,- and the Frank 'Vosper dramatization was fairly successful in London, witii the adaptor starred as the vil- lain; The play flopped on Broad- way; however^ when Alex Ydfcel presented it in September, 1936, with the star in the same l>art; Sub- sequently, while 'Vosper was return- ing to England, he disappeared from the ship, and his battered body was later washed up on the French coast. players and smart art direction and set decoration to advantage. Rich- ard' Heermance's ediUng, under the supervision i of Otho. Lovering, has held running: time to ■ crisp 83 minutes. ' Brog, - Love From a Stranger 'Eagle Lion release of Jaiilea J. Geller pro- duction. Stars John Hodi^k, Sylvia Sid- ney, Ann RieharUs; featui'es .Tohn Ho-ward, Isobel Elsom, Srnest Cosfsart, FhiiUp Tonge, Anita Stiarp-BoI.<jter, Frederk: Wor- lock. JHrected by Richard Whurf. Screen- play, Philip Maul>nnald: from play by Frank Vo.sper: based oil story by Agatha Christie.- Previewed N. Y., Oct. 30, '47. Running time, 80 MINB. Cecily Harrington............Sylvia .Sidney Manuel (^>rtez. ..Jolin Hodiak Nigel I.£i.\vrence John Howard Navis Wilson...... An|i Richards Auntie LOO.X.A10 Isobel BIsqId Btllingsi ..................... Iilrnest Coisart Ethel .1 .Anita Sharpe-BoUter Dr. Gribble Fhtllip .TonKe Infipector,Hobday. ,.. .Fred Worlock Song of My Heart .. (MUSIC). : Hollywood, Nov. 1. Monogram rolcaw oC Allied Artlata pwsen- tatlon, pTOdused bjr Mstluudel Ftastott ana J. Theodore Kced. Btarj) Frank Sundstrom; features Audrey l.ontr. Sir Cedric Hard- wlcke, Milchail Rasumny, Gale Sherwood. Written and directed by Benjamin Gloxer. Added soenei]^ Bernard 0chubert; .camen, BoUnd Tottaeroh; mualc director, Natbaniel Finaton; music. Feter Ilyitch TcliaUiavdty! KonKs, Janice Tone and '^eii. Spielman;; editor, Blchard H«ermancfi-t PrevlewM: Oct. 30, 'if . KunnlnE tlRie; SS-niStS, Peter TchaikoviSity....*..'..Frank Sund'strom Amalya... .Audrey I^ong Grand Duke...Sir Cedrlc Hardwieke Sergei-Stephan...........Mikliail Ramimny Sophia Gale Sherwood Ivau. .Serge Krbsman Jurge^en « Charles Tro-s^'brldge Nurse ,. iCa tc- XAwaon Lubenstein. .1>ster Sharpe Kolya Mrem Allen Uent. Sanderson Scott Elliott lileot. Julian,.. ..aordon Clark 'Ptc. Murphy Jimmle Uodd Ulihsky.KorsakolT .David X^onard Czar., ; .John Hamilton Cesar Cul WllUAin Riihl Aide In Gnitorm,:. Steve Uanell Honxlin........... .V., i .<.•.Robert Barron Housekeeper...««...•.«•••«...,:fi:ivlra Curcl Ballet Maxtor....... .UauHce Cass i^octor...., .Grandon' Rhodes Doorman, a .WlUlaih Kewell Conductor.................. ..T.eanard Mudie Policeman ,,. .Lane Chandler KanaKCr. Leonid iJnPKOir HousEOteaky ,.. .Lewis Howard Cant. Wcalherly Stan Johnijon Mess Senjoant ; .r>eo Kaye Prie-st Jack George Evans Vernon Cansino Sophia's Mother...i.t.......iNina Ilunsen Rttses, Are ftetf - 20th-l<^ox release of -Soi M,. Wurt*,eel pro- duction. Features I>on Castle, l^^f^y ICuud- sen, Patricia ICnight. Directed by Jiiniea TiuUnff. Screenplay, TrvlnK Elmnn; <-;im- era, Benjurauie ICllne; ed-ltor, Frank Uuld- ridge. Tradeshown N. T. Oct. Z9. '47. Hunning time, tff .HIMS. TJiorne I ,. Carney j , ..^ .].>(>n (.'.iiKl.le Martha....................... PeRKy Ivmitlson Jill..,.. ....Patn.-ui iCniKlit Wall. .: .Joe ljaw.ver Locke ..Eldward Keane Knuckle. JeK Chandler Dukei........Cbarl^ SfeCiniw Llpton . 4'harlea 1.a ne Oioley .r«ul uuiitoyie Oliver....... • Doug Fowley Ray Jamea Aurness "Escape Me Never" represents the best Ijieak that the Warner factory has given Enrol Xlynn in a couple of seasons. Cast in a role vastly diftetent from his usual assignment, he shows up remarkably well in an engrossing tale laid in Venice, Lon- don and the Italian Alps at the turn of« the century. Kim has a slightly longhairish tinfie but that's proven an asset fieceniJy, not a boxoffice liability. Marquee-laden cast, with Ida Lupino, Eleanor Parker and Gig Young sharing Use star honors with Flynn, should it malie it a big grosser in all situations. Flynn Is given plenty of oppor- tunity to flash the ola charm but there's hardly a toiich of the usual swashbuckling or boudair romance The Fngitive RKO release of Ar,i?osy P'ir^tures-John Ford and Merian C. Copper production <Kmilio Perhandez, aesociute producer),!^ directed by Xi'ord. Stars Henry Fonda, Dolores Del Rio, Pedro Artnendaviu; features J. Crirroi Naish. Leo Carrillo, Ward Bond, Robert Arm- strong, John' Qunien. :,Screenplay,- Dudley Nichols, based on novel, '".rhe Labyrinthine Ways," by Graham (Ire^ne: camera, Gabriel Figueroa; score and musical directlonv^ Richard Hni?^^^ editor. Jack Murray. Tradeshown N. Y., Nov. 8, '47. Running time, DO ■JIINS. Fugitive. .Henry Ponda Indian Woman. ; Dolores Del Rio .Police Ijieutenant..Pedro Armendari:i Police Informer J. Carrol Naish Police Chief...., ......Leo Carrillo Bl GrlOKo ...Ward Bond Police .^ergefint..Robert Armstroivef. Refugee DOcior. , Jolin Qualen Governor's Cousin., Fortunio Bonanova Organ Grinder....... firis-Pin Martin Hostage.........4.., ,. .Miguel Inclan Singer..Fcmnndo Fernandez Made in Mexico -with Hollywood leads and-native extras, "The Fugi The old bluebeard story, staple of literature and drama for generations, is given standard treatment in "Love From a Stranger." The result is a fair thriller, without novelty or any particular "viewpoint," with little suspense, surprise or excitement, and only moderate boxoffice prospects. ■There have been no vital changes in the story for this screen edition. There are a few additional minor characters, such as the heroine's gabby aunt, a sleuth from Scotland Yard and assorted bits like the post- man, cab driver, railroad station attendants; etc, Also, instead of being tricked into having a paralytic stroke, the mur- derer is now run over by a team of rampaging horses, climaxing a rock- 'em, sock-em flstfight with the de- tective and the heroine's devoted suitor. The final scene, incidentally, takes place in one of those synthetic thunderstorms customary for the climaxes of film whodunits. For no apparent reason, the whole picture is interspersed, with shots of surf breaking over rocks and pounding across the shore. Because of, or perhaps in spite of, all the standard plot and directorial devices, "Love Prom a Stranger" never seems plausible or particularly interesting and, <if course, it never cause's any spinal shivers* The sinister character of the stranger is indicated at the start, so there's no mystery. John Hodiak plays the homicidal psychotic wjlth a -glowering sort of intensity that would tip off the most credulous wife or servant. That ob- viously complicates Sylvia Sidney's task of playing the wife, but she gives a direct and spirited perform ance. Ann Richards is acceptable in the straight part of the heroine's friend, while John Howard Is be- lievable as the earnest suitor and The career of Ru.ssian composer Peter -Bytich Tchaikovsky gets its first scr^n presentation in "Song of My Heart." It makes good use of his music in spinning an interesting, although fanciful, tale of . the com- poser's lite. Mounting is excellent, the score Speaks for itself; although marred by poor sound projection at the preview, and values generally are geared to hold-audience atten- tion. Film . was produced by Nathaniel Finston and J. Theodore Reed tinder the banner of Symphony Films fo? presentation by Monogram's upper- bracket Allied Artists. "Song" rates the AA classification because of the manner of projecting score values .as more than a backsround for story." Benjamin Glazer. directing from his own script, with added .scenes by Bernard Schubert, develops in- terest with sensitive handling ot the plot and players. Frank Sundstrom, Swedish actor, garners attention in the role of the composer. He han- dles him.self capably, demonstrating undeistanding of the characteriza- tion. His piano work was dubbed by the uncreditcd Jose Iturbi. Major credit for sparking'the story goes to Mikhail Rasumny. His tim- ing, facile comedy and facial ex- pressions give the plot needed lifts to bridge dry spots. It is through Ws eyes, as the son of Tchaikovsky's man-servant, that the story is told. Rasumny plays the father and the son, and plays both to the hilt. Composer's early and brief mar- riage is shown and Us later spon- sorship by an unknown lady. It is here that story departs from actual- ity to depict a moving, love story between the composer arid his spon- sor, played by lovely Audrey Long. Their scenes together during a so- journ in Italy and at the finale when Tchaikovsky is fatally ill with chol- era regiister big. Sir Cedric Hard- wicke^is in briefly as Miss Long'.s father,- and Gale Sherwood shows wpI! as the composer's young wife. She also sings "I Looked For Love." Others in the cast , are good, Roland Totheroh's lensing presents Turned out on the B corner ot 20th's lot, "Roses Are Red" is an un- pretentious, but neatly paced meller that'll serve as firm support in nabe situations. There's not much logic in the yarn but this defect is adroitly coyered up by jtnappy dialog, fast ac- tion and a series of sharp charac terizations, esqiiecially in the minor roles. Production dress and camera- work is standard for modest-budget- ers. ■ • i ■ . ■ Story is a formula takeoR on the double-identity strategem w i t h a cops^and-rofoberjs twist Don Castle, screen newcomer who bears a strik- ing resemblance to Clark Qablej plays the dual role of an honest dis- trict attorney and an underworld character. set to take the former's place in order to spring one of the local hoods. After'a kidnapping and set of complications involving a crooked detective^ the d.a. makes his escape and plays as his twin in or- der to get the goods on the racketeer mastermind. Director James Tilling draws the action with straight, broad strokes : and leaves romantic play hushed in background. In lead. Castle registers as like- able'personality but reveals no ade- quate thesping range to step into tougher rol& as yet. Castiiig over- sight has paired Perry Knudsen and Patricia Knight as the only two femmes in the film. These two ac- tresses look so much alike that, couDled with deliberate twin part of Castle, the pic becomes more con- fusing than necessary. In m in o r Darts, Joe Sa-wyer, Jeff Chandler, Charles McGraw and Paul Guil- foyle turn in racy performances that establish basic atmosphere of the film, Berm, Retnrn of Rin Tin Tin (COLOR) Hollywood, Nov. 1, ISagle Lion release of William Stepiicns produ<-tlon. Features Bin 'i'iii Tin HI, Donald Woods, Bobby }-.lake, (.'loiidia Di-!vke, Gaylord Pendleton, Bnrl HuiIkIms. Directed by Max Nossc<'k. .Screenplay, Jack De "Wltf; original, William .Slevens; camera (V.ltacolorl, Carr BerBcr; edllor, Eddie Mann. Previnw'ed Oct. 20, '47. Run- ning time, 60 MINS. Father Matthew nonn Id Woods Paul, the refugee lad..». Boliby I31"ke Mrs. Graham,,,,...... .('taudia DnMio Melrose Gaylonl I'midli'lort .Toe .......Karl Hudgcns Bin Tin Tin in . "The Return of Rin Tin Tin" shapes up as good fare for the smaller situations and should be particularly sturdy in houses cater- ing to moppet and family trade, It brings back to films the descendant of the educated canine known to most adult fans snd indications nre that new crop of kiddies will take to Rin Tin Tin, III. - ■William Stephens' production guidance has given picture smart outdoor values, a sentimental story and sufficient- demonsstration of ca- nine intelligence to fill all release aims. .There Is no credit for the color process used but picture was filmed in 'Vitacolor apd processed by, Cinecolor. The hues arc good, showing to advantage the Santa ■ynez country' and Santa Barbara coast line in California. . Plot hinges on the morale-saving value of the love between a dof? and a refugee lad, mentally-scarred by the war in Europe. Bobby Blake jS the boy, spending a summer at the Santa Ynez mission while Do»aia (Continued on page 20)