Variety (April 1950)

FIIPHI REVIEWS Wvba^li Avenue | (SONGS-COLOE) Hollywood, March 91* Twentieth-Fox veleaie ot William Peri- herg production, SUra Betty Grahle.^V^- tor Mature, Phil Harris; featurea Regi- nald Gardlnen James Barton. Barry Kel- f^, Margaret Hamilton, Jacqu^ne Robin Raymond. Directed by ter. Screenplay. Harry vTugend, .ChariM Ledererf camera (Technicolor), Arthur e. Arling: editor. Robert Simpson; new mu^ »nA ivTlcs. Mack Gordon, Josef My- sic and lyrics, Mack Gordon, Jesef My- row; musical direction, Liortel Newman; dancesi BUly Daniel. Tradecj^Jl’'» March 20, *50. Running time, fp MINS, Ruby Summers .... . • ■ • . He^y ^rabl* Andy Clark .;.,... ..,. >., • • Uncle Mike .. ...... ? . •- . • r f English Eddie.... Hogan .;....... i,,..,..... James Barton Bouncer .. ..... .... ■ • --v• ’ * TllUe Hutch,. ^ Margaret Jennie .,., ••• • •• Reformer ..... . . . CharUe .......;........ . Alexander Pope Joe Hemy Kulky Elsa .......,'..., .i.;. i.. i •>,Marie. Biyant Beulah .;.............. • Carter .. ..? <.« *. .^)\arle8. . Bartender .... k,...... ■ Dick Crockett Vke Capture ' Hollywood, MBrch 30. RKO release of Niven B«ach time “Properties, IncO- production. Blars' JLew Ayres, Teresa Wright; features Vic- tor .Tory, Jacqueline Wldte. Jtomy HuhJ> Edwin. Rand., Directed by ^hn Sturges. Written- by Busch; ^camera,^Edward Crom iager; musdc, Danlele. Amfttheatrof, e^-, tor, George Amy^ Trades|mwn March 27, EuSS .r;,'. :v... ■>■*«{«?, wrwht Father Gomez Luana ............. v* v* Mahoney ;..j ^ - Barry j^uey Carlos .. • • - • • • • • Duncan Ronaldo Tobin . <;......,.... • William ^Bakewell Thin Man .......,.... • Milton Parsons Juan i .,... -y. •... ‘. v Teilin .:, uViine Daiyn *‘T.he Capture” is .. an offbeat r K^iSIlSS drama, with psych^pgical ■ Gyer^ U ‘n?SS tones; that plays off-^against the xander Pope raw and rugged background :Oi jiietto Lyons wrote and produced', iiidependent- Charies v^nt ly fpr RKO release, doing an in- wSuer“on* tteresting job. but the b.o.: possi- non Marshall hilities .are not strong. . gdus” Miller , eommercial aspects might have dre^-^jartetSS l been .strengthened: h^^^ i proached his story on a straight , 1 , t- ^ befiiniiiing-.to.-erid line instead of irts like her flashbacks that keep the plot to .a smait forwards and backwards I ‘ from one phase to another. Gen- ts for pop-^ eraj audiences Will ftnd it hard to nmem, is follow despite extremely interest- Elsa ........, .i.;. i.. i •>,Marie. Bixant Beulah .;............... Carter .. ..•. <• * • .-^^r Bartender ...., ...... • ^tek Prockett Dancer .................. Walter Long Chorus Girl ... . ... • -v i Manon Marshy Drunk ;.. ........... John Skins’* Miller Ship Captain ..... -,.. - v , • . f®rc^ Helton Te^e : :.... y .......; Claire Carleton Betty Grabie as her fans like heir would seem to point to a smart b.6. futiire for “Wabash Avenue.”, It has ail the ingredients for Ropr iilar musical entertainment, is Miniature Reviews - Avenue’’ (Songs) (Color) (20th). Gay Betty Grabie costume musical in color, good b,o. oiitlook. . ^ ‘‘The Capture” (RKO). Drama with Mexican we^eirn setting. Lew Ayres, Teresa Wright. Moderate b.b., “Cargo to Capetown” (Gol). Moderate meller starring Brod- erick. Crawford; average b.o, “Comanche Territory” (Col- or-Song) (U). Maureen O’Hara, Macdonald Carey; and Will Geer in thriller; nice b,o. “Twilight In the Bleiras” (Sohgs-Color) (Rep). Standard Roy Rogers oatuiier for juve ; arid action market. , • ,; ^ “Beware of /Blondie” (Cpl). Standard entry in Columbia's “Blondie” series for , family trade and secondary bookings, v “A Mo d e r n Marriage” (Mono). Marital problem melo- drama with: some exploitation value for smaller situations, “tarnished” (Rep). Feeble yarn of boy who makes good in home town. For supporting situations. ^ “they Were Not Divided” (GFD). Leisurely-told British war drama about a tank corps. Drake to move In and grab the BBwkre (pi Blomdif® silver, thereby giving the redsM^^ Hollywood, March 30. the runaround, . .. Columbia raloasia al MUtpn Foldman What starts out as hitter feud be- production.^ Faaturaa P«nny^ SingHtom twwn Carey and Mto O’Hara, soon develops into a romance, with the Aiyn Lockwood. Diractfd by Ed- latter agreeing to play ball with ward Berndi. Stwy and tgroenplay. jack fhaa-Tndiiinc'Dntil a new Henley? camera, HonmFreuUch, Vincent Carey and the inclians, unm J editor* Richard Fantl. Frevlewed pact can be rushed from Washing- March so, *5o, Rnning umo, u min$. ton. There is the usual double*- Blondie .........,., , . .. .Fenny singleton erbss by the brother Vrlth his gang DjOTood^^i.................-^Ojur^k, of sllver-hnngry settlera. This band gitS?**..'.'.'.V.'.'.V.V.V.'.’.itor5S4,®*KS5' , jot .trigger-happy newcomers in Toby cufton v....,,,,,....A^e Jergeng turn cross up the Indians until • • • • • • • •;•>• ‘• -* ®‘jSck^^i®i Carey and Geer take over. ^ Mary,....,...;.., , , Aiyn Lockwood Instead of the U, S. Cavalry to Herb WcPdicy -Emory fhp nlnt' ~has '' I^iss Harriet. Woodley. ».»>, »;»,^.lsabcrw^ithers tho rescue,^ the PIJJ. -has miss ^ ^ ^ ^ ^ ^, Danny Mummert , OHara escaping wUh a ; wagon- Adoiph ............... Douglas Fowiey * Ihnil nf nilfered riflesrand rushing Samuel F, Dutton. . . -William E, Green Columbia releag#' MUtpn Feldman decked out in a flashy-colpr garb, ing-performances, unusual settings is played light and easy by .te fine photography,: develops into a romance, with the latter agreeing to play ball with Carey and the Indians until a new pact can be rushed from Washing- ton. There Is the usual double- cross by the brother With his gang of silver-hungry settlei’s. This band A}f .trigger-happy newcomers in turn cross up the Indians until Carey and Geer take over. , ^ instead of the U, S. Cavalry to the rescue, the plot . “has Miss O’Hara escaping with a wagon- load of pilfered riftesrand rushing them to the besieged redskins, with the expected payoff. This is one of the few recent screen vehicles in which the Indians are never cast as the villains, Spotting of the lawless white settlers in sUch role gives V not unfamiliar plot a twist.7;'-" ■•' .■.■7, Carey makes a surprisingly con- vincing pioneer type as Jim Bowie while Mias O-Hara fits nicely as a rugged outdoor . femme. She sings one tune, apparently a folk song, iri acceptable manner but is pest while carrying Gut the role of headstrorig western gal. ; She is a moving figure iji the tough bar- room brawl. Geer thrifts several “Beware of Blondie” neither lets the long Series, down, rior does it starid out as anything more un- usual than its celluloid predeces^ sors, That means the standard set, of “Blondie-Dagwood” physical gags that have featured the Chic ’ Young’ comic sttip and previous Columbia entries, all cut to the familiar patterri that has kept the series alive and kicking over the years..V' This time DagwOod’s. boss goes away on a trip, leaves the hapless character in charge of the business. Such a situation sets up the old. cast and geheraily proves to be a diveiting .90 miriiites of song and .dance.'' Plot Of the Harry: • Tugend- Gharles Lederer script is a satis- factory backdrop for .the deluge of tunes that' run through the foot- age. . There’s nothing in the writ- ing to tax the drafnatic skill of the 4 fine photography.-^ , [ ihg ori his first trip in many years. Picture kicks off with a wallop, j After shanghaiing a crew arid trick- w aViqco fnar i r. * T.® ...i . P* , - — depicting a desperate chase that, storyWise, sets up the plot’s fifiale. Lew Ayres is fleeing the Mexican Turales, wanted on a charge of murder. He hotos up in a priest’s cabiii and begins to disclose his story, A year before he had Itilled a fugitive; Wanted for an Oilfield players; and they romp along payroll robbery. The act and the neatly iii delivering everything possibility of the niOn’s innocence asked by Henry Koster’s direction, haunted him, and Ayres sought put Miss Grabie’s bicture. viewed the widow. They fall in love,:are ttrictlf from thi'anSe rf phyS^ toafried, but^his guilty .conscience attractions which: .she uses to the makes ■ After shanghaiing a crew arid trick- manChe chief, contributes an out- ing his pal, Crawford, into serving standing characterization W““® as his chief engineer, Ireland Gets Drake is! okay as the conniving involved with Miss Drew in ri 'love brother. Ian MacDonald, Rick affair while she’s supposed to be Vallin and Edmund Gobb are riice- afflanced to Crawford. Blowoff is iy cast in priricipal supporting a knockdown fight between fhe two parts. _ " : . rivals, with Ireland gettiiig the George Sherman’s direction is best- of it, pugilistlcally and rp- always pointed and forward-mdv- scenes, providing coiriedy reUef., bridger game, wU^ a beautiful Pedro De. Cordoba, as the Go- blorid the principal “ bait> in the fullest, but she is abetted by some strong personalities in. the male departmerit: Victor Mature, Phil Harris and James Barton. What’s ahead in the footage Is cued by Miss Grabie’s opening shimmy dance to “I Wish 1 Could Shimmy Like My Sister Kate.” That bawdy but delightful flayor is sustained throughout. Background music score totals 26 oldies, . some of which Gate featured Spots for song and dance, like Miss Grabie’s opening stint. “I’ve Been Floating .Down the Old Green River” and “Harrigan,” both smartly and effectively done by James Barton; “My ' Little Lovin’. .Honey Man,” ‘T Reirieriiber You” and “Billy” are also among Miss Grabie’s fetching contribu- tions.: , Additionally^ Mack Gordon and Josef Myrow cleffed five hew pries that fit handily into the rriusical proceedings. “Clean Up Chicago,” the strongly plugged “Wilhelmina,” “Baby, Won’t You Say You Love Me,” “May I Tempt You With a Big Red Rosy Apple?” and“Down On Wabash Avenue.” Ace musical directiori by Lionel Newman with vocal directicin by Ken Darby; the orchestrations by Herbert Spencer and Earle Hagen, and the dance staging by Billy Daniel, all serve to sharpen the eye arid efar treat that backs lip the story. Quite a bit of Phil Harris’ radio chr:racter gets into the StoiY, arid it’s all to the good. He and Mature portray friendly enemies, out to beat each other with a smUe. It’s all good fun as long as they cheat each other at cards, win arid lose their various business enterprises. It’s a more serious thing, though. When they cpriipete for Miss Grabie and skullduggery runs high.: Before ■ it’s over, however, you know Mature will win. Barton is wonderful as aii Irish drunk arid di;:ink-cadger. A top sequence is his jigging to “Harri- gan” and his use of “Green River’’ as a diverter while he swipes un- attended drinks, Reginald Gardi- ner has his riiomerits, as Mature.’s handiriian, and also showing up Wejl are Barry Kelley, Margaret Hamilton ; and Robin Raymond. Miss Hamilton’s crusading reform- er figures hilariously in a saloon- Wrecking and Irish wake sequence; aster’s direction supplies the pivtiire with a snappy pace en- in Geeping with the quifck- bawdy implications and' ■ Wiiliam Perlberg splashes the pro- He goes back over the trail,; dis- covers a now-respectable busine^ man is the real culprit, Latter is accideritaliy killed, and Ayres flees. AVindup has hirii captured and there is some indiciition that even- tually things will work out so that he and Teresa Wright can fulfill their marriage. , AjTes and Miss Wrigbt are. very capable in the lead characters, add- ing; to the general realism given the story because of the locales, used. John Sturges’ direction de- velops many irioments of suspense and honest drama that could have had added forcefulriess had not the story been tefid in flashback. Ed- win Rand appears briefly as the fugitive Ayres kills, arid the vari- ous facets of his character are told by dialog in subsequent events rather thari by his appearance in them. Jimmy Hunt does excelr lently by a moppet spot, and Vic- tor Jory handles the priest assign- ment well. Barry Kelley, Duneari Renaldo, William Bakewell, Jac- queline AVhite, Milton Parsons, Frank Matts and Felipe Turich are among the others performing capa- ■bly, One of the iriterestirig touches to the film is the music, ririt the gen- eral background score, which in- trudes too often, but the Incidental njatiye music hauntingly spotted with the appearance of a blind guitar player. The fine, realistic lensing of the Mexican locales rates Edward Crohjager a credit. Brpg. i^rgaioCHpetoWn Columbia release bf Lionel Houser pro- diidtlon. Stars Broderick Crawford, Ellen Drew, John Irolaiid; features Edgar Bu- chanan, 'Fed de. Corsia. Robert Espinoza, Leonard Strong. Directed by Earl McEvoy. • Screenplay, Houser; camera, Charles Law- ton; editor, William Lyon; score, George Dunin.g; musical director, Morris Stoloff.- At Palace, N. Y., March 30, *50. Running time, 10 .MINS, . ’ ’ . - Johnny. Phelan...... .Broderick Crawford Steve Conway,. .;........... John Ireland Kitty MeUar ........ .... .. Ellen Drew Sam Bennett,.... .Edgar Buchanan best A of it, pugilistlcally and rp- irianticaily. En route, there’s a violerit storm which kills a native cabin boy. Pic winds up in a ship- board fire, with Ireland rescuirig Crawford while risking his own neck.' Crawford - plays experlly in, a' role that is sifnilar to the ones he appeared in before “All The Kirig-s Men,” which won him the OsCar. irig. Oscar Brpdriey and Lewis Meltzer deserve credit for Whip- ping Up a sturdy screenplay from the latter’s original. Frank Gross’ Swindling game. DagWood is seen in the company of Adele Jergeris, believes, her story of busiriess trarisactions ; with the boss, gets hiriiself involved in a hotel robra and with a supposedly infuriated husband: Blondie to the rescue , pulls Dagwood out 'of ariother mess, arid the family Grade will chuckle and - Oheer. Edward Bemds’ directiori and the script by Jack Henley are frankly hokum. Story . spends quite editing is one of the better , things a bit of time iri $tandard Blbridie- about. the fllrii.* . Maury Gertsmari s Dagwood antics before the plot lensing is satisfactory, with William Fritzsche takirig a bow for Tech- liicolor color consultant job.; Spe- cial camera effects, ;which -play a There’s no opening for any deep vital part iri trimming coists on this characterization. Ireland also does production, are superbly flo*ie by well as the captain while Miss David S. Horsley, Wear. Drew regirters nicely as the ro- ———— mantic interest. Good perform- Rlie SlerraB ances are also turned m by Edgar : --.A* Biiri'honnn. a Tpfi He Cor- (SONGo-CUIjOK; Rhys i.......,.......... Ted de Corsia Ilik ...... . Robert EsrtnozaJ Singh Leonard Strong Sparks . King . Donovan KrOll ............ Gregory Gay Golmez ................. Peter Mamakos Jujge Van Meeger....... .Frank Reicher Cariday ^ • •. • • • • - Tom Ste'venson “Cargo To Gapetowri” Is a fair shipboaM meller Slated for moder- ate action at the b.o. A lot more Could have been rriade out . of the pic’s fine casti but uneveri script- ihg robs the 'yarn of sustained dramatic impact. Marquee values are mainly supplied by this year’s ances are also turried in by Edgar Buchanan, as a mate; Ted de .Cor- sia, as a shifty sailor: and Robert Espinoza, as the boy. . Production dress Is solid, with the pic having a genuine shipboaird atmosphere. Good process lens- irig, smooth editing arid suitable b a c kg r o ii n d score serve to strengthen the entertainment val- ues. Herm. CDijttaiiehe TerrUary (COLOR-SONG) Universal release of Leonard Goldstein production. Stars Maureen O’Hara. Mac- Donald Carey; features Will Geer, Charles Drake, Pedro De Cordoba. Directed by George Sherman. Screenplay by Oscar Brodhey, Lewis Meltzer,. from story by Meltzer: camera, (Technicolor), Maury Gertsman: editor. Frank Gross: special ef- fects, David S. Horsley. Tradeshown N.Y., March 31, *50. Running time, 74 MINS. Katie ............. Maureeh O’Hara James Bovi*ie........... Macdonald Carey Dan’l Sceger ;.. Will Geer Stacey Howard ;... Charles Drake Quislma ............. . Pedro De.-Cordoba Walsh i .Ian MacDonald Pakanah Rick Vallin Boozer ..................... Parley Baer Sam .. .Tames Best Ed ........................ Edmund Cobb Big Joe ............... . .Glenn Strange “Comanche Territory” is a big outdoor Indian picture somewhat in the manner of “Stagecoach” and “Ft. Apache.” Film has no big western riame players but Maureen G’Hafa and Macdonald Carey should suffice for marquee decora- tion. It is a production that lends itself to smart bally. . A pleasing vehicle mainly because deftly directed, “Comanche” shapes as nice wampum in most'keys. Done in bright Techriicolof, pic- Repubiic production'and release. Stars Roy Rogers; features Dale Evans. Dl- retted by William Witney. Associate pro- ducer, Edward J. White; screenplay, Sloan Nibley; songs, Sid Robin, Foy WlUr irig; camera (Trucolbr), John MacBurhie; editor, Tony Martinelli: music, Stanley Wilson. Tradeshown,. N. Y., March 29, *50. Running time, 47 MINS. , . Roy Rogers .......... Roy Rogers Pat Callahan ... . . ........ •. Dale Evans Lola Chavez ..;......'. Estelita Rodriguez Sparrbw Biffle Pat Brady Ricardo Chavez Buss Vincent Matt BrUnner.. George Meeker Mason . : . .Fred . Kohler, Jr. Judge Wiggins ........... Edward Keane Williams. ..:.......,.. .House. Peters, Jr. Blake Pierce Lyden Bartender ■... .lUon .Frost Herichman '......;....... Joseph A. Garro; Paul Clifford' ..:...Wm,’ Lester Themselves ;.Foy. Willing and The Riders of the Purple Sage “Twilight in the Sierras” is a staridard ; Roy Rogers pic slanted at the juVe action trade. All the familiar ingredients are used in this datuner, which boasts it. bet- terithari-usual score. But the kid- dies will go for the hard-riding, rootin’-tootin’ yarn which keeps the characters galloping : from start to finish. Trucolor tinting adds to the production values de- spite the overall untrue reproduc- tipn of facial and landscape hues. Plot is; a curious mixture of riiodern gangsterism in wild west dress which the kids most likely won’t mind dr even notice. Roy Rogers plays a marshal in a ter- ritory where a gang, of counter- feiters is planning dperations. To carry through their scheme, the varmints kidnap an ex-convict comes in, but followers of the series have come to expect all the familiar doings to pad put a yarn th6t could have been told in less than 66 minutes. It’s stock fun for the series arid; diverting for the family trade. pienriy Sirigleton and Arthur Lake are up to all demands of .the characters they have played so long, as are Lariy Simms' and Marjorie Kent, the Bloridie; mop- S ets, and Dgisy the dbg. Miss ergens’ physical appurtenances lend belief to the shakedown role, and she also has the ability to sell it histrionically, even though de- mands aren’t heavy, in that depart- ment. . Others come-through okay. Milton Feldirian produced and supplied acceptable physical values. Technical credits are aill gpbd. A ]|fofl<^rp Ufarriage : Hollywood, April I. . Monogram release of David Diamond production. Feature! Reed Hadley, Mar- garet Field, Robert Clarke. Nana Bryant. Directed by Paul Landres. Screenplay^ Sam Roeca, George Wallace Sayre; cam- era, William Sickner? editor; Philip Cahn, Previewed March 31, *50. Running time, 44 MINS. Dr. Donald Andrews....... Reed Hadley Evelyn BrowU........... .Margai'et Field BUI. Burke...,.....: Robert Clarke Mrs. Browii : . Nana Bryant Jiihmy Watson Charles Smith Mr. Biirke.................... Dick Elliott Mrs. Burke... ;>............. .Lelah Tyler Mary ... .. ^......,..... Pattee Chapman Mr. Brown... Frank Fciiton Dn Connors ............. Edward Keane “A Modern "Marriage” has spme exploitation value, but in the over- all release outlook it is a second feature for lowercase bookings. Marital problem deals with a young girl’s fixation that prevents a normal consummation of marriage. There’s nothing particularly excit- ing in ^ the way it has been posed or resolved, scripters and producer pi'eseriting it with a hands-off at- titude that mitigates against fuU- duction values with all the glitter Academy Award winner, Broderick that color and scanty costumes can mii.ster. These physical factors ai'e.elegantly displayed by Arthur E. Arlirig s lensing. Hollywood, April 4, Five pictures get the gqn at Re- public this month, with three hold- Crawford, who,7 unfortunately, tdry. 4oe.sn’t get much of a chance in a sigm commonplace Tole: West Screenplay as a whole is marred pem by cliches arid over-sentirtiental to ir passages which slow down several iriect poWertuiiy violent sequences. Rb- crael mantic triarigle, involving Craw- by \ ford and John Ireland in a ebritest rene for Ellen Drew, is also forced into with .strictly conventional channels. Per-1 whit Done in bright Techriicolor, pic- who’s going straight frOiri a neigh- titude that mitigates against full- ture does not look too expensive bPririg ranch with the idea of mak- fledged ballyhoo. The idea in it- Lepriard Goldstein’s production ap- mfl him turn out the^ plates.; But though,; can be iised as , a pears an instance of getting the Rogers gets on their trail and gimniick in the 'exploitation house, most value oiit of the coin spent, rounds them up in short order. En- Aside from the Gommercial as- it is an actioriful story, naturally,’‘•’oute, thCre’i a good sequence biiilt pects^ picture has been nicely turn-" yet there are few costly (and sb around a mountain lion hunt: A fprevyord often ' meariingless) . outdoor se- Rogers is as rtandard as the lists the typos of problems eriebun- quences. The average patron will script, getting a good assist from tered by clinics in solving iiyarital not miss such costly scenes bcr- Dale EVaris, as the daughter of the urihappiness and then takes up .tlie cause the production crew has re- local sheriff; his boss, Trigger, arid story of Margaret Field and Rpbert tairied the fpei of the big outdoors the Riders of.the Purple Sage yo- Clarke,, newlyweds. . Mis.s Field’s yia tome Very dramatic open-air cal group. Top songs include .problem is a dominatirig. rnother Sequences. . ^ ^ has Central theme for “Comanche” is “Rootin’, Tootin’ Cbwboy” With Ibd her to instill fear in her daugh- the usual squabble between red- Estelita Rodriguez, as a Visitirig ter. Wise counseling of Reed Had- skiri residents in the Indian Terri- Cuban gal. neatly handling “Pan- ley. medico psychiatrist, finally tory. Carey, frontiersman and de- cho’s Rancho.’’ Herhi, overcomes all difficiulties and the overs from Mfirph +i7« siricuy convenuonai cnanneis. rer- wniie seiners irom me lana. studio’s souriH tsifliTPc to however, are excellent Robbed of this vital paper. Oeer Starter*! are Standout cairiera work lencling later discovers that Miss Q’Hara, “qnricr *sf f»,f ; an important asrist in giving the bank head arid owner of the town’s some weight. saloon, has thefted the document in Petticoats Locale of the yam is a battered { Lifting of the dbeumerit is part of ana Hit'PatadC; of 1950. j oil tanker Which Irelarid is captainr i a plan by her and brother Charles tOry. Carey, frontiersman and de- signer of the bowie kriife, is out West to make a pact with the tribe peiTTiitting the U. $. GOverriment to mine silver bn their land. He irieots Will Geer, a politico and crack rifle shot, Who had been sent by Washington with signed papers renewing the Government pact with the Indians which would bar white settlers from the land. Robbed of this vital-paper. Qeer later diseovrir$ that Miss O’Hara, bank head arid owner of the town’s saloon, has thefted the document. Hollywood, April 4. Paramourit lot, dark since the cbmpletion of ‘‘My Friend Irma Goes West” more than two weeks ago, resumes activity this Week, with two films before the lenses. whose own unhappy riiairiage has Ifed her to iristiU fear in her daugh- ter. Wise counseling of Reed Had- ley, medico psychiatrist, finally overcomes ail difficiulties and the newlyweds get back together, the mother sees the light and the d()C- tor; writes off ariother successful treatmerit. Film serves as an introduction of Miss Field and; within the limits Of the role, she comes off okay. Clarke is good as her avou) d-he husband, and Nana 31 * 3 'ant milks her mother role, even lliough returned to_ the home stud to after lace Sayre failed to give thfe location shots in Arizona. In ad- { character any unusual twists. ITad- dition, Hal Wallis is starting his; ley supplies assurance to the doc-^ “Dark City” with William Dicterle | tor role, arid others live up to the directing. “ i (Continued on page 22)