Motion Picture Reviews (1940)

MOTION
PICTURE
REVIEWS
JANUARY
19 4 0
FEATURE FILMS
All Women Have Secrets

Balalaika
Brother Rat and A Baby
Charlie McCarthy, Detective
A Child Is Born
Chance
City of
Congo Maisie
The Earl of Chicago
Everything Happens At Night
The Fighting 69th
Gone with the Wind
Gulliver's Travels
Henry Goes Arizona
His Girl Friday
The Hunchback of Notre Dame
Judge Hardy and Son
The Light That Failed
Married and in Love
Mexican Spitfire
Of Mice and Men
Raffles
Remember the Night
The Shop Around the Corner
Slightly Honorable
Swanee River
Two Thoroughbreds
SHORT SUBJECTS
The Blue Danube
The March of Time, No.
Volume VI,
—"Crisis in
5,
the
Pacific''
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Vol. XIV JANUARY, 1940 No. 1
Copyright 1940 by Women's University Club of Los Angeles
FEATURE FILMS
ALL WOMEN HAVE SECRETS O O BALALAIKA O O

Joseph Allen, Jean Cagney, Virginia
Jr., NelsonEddy, Ilona Massey, Charles Rug-
Dale, Peter Hayes, John Arledge, Joyce gles, Frank Morgan, Lionel Atwill, C.
Mathews, Betty Moran. Based on story by Aubrey Smith, Joyce Compton. Based on
Dale Eunson. Screen play by Agnes Chris- the playof the same name. Book and
tine Johnston. Direction by Kurt Neumann. lyricsby Eric Maschwitz. Music by George
Paramount. Posford and Bernard Grun. Score by
The title is out of focus, heading as it Herbert Stothart. Direction by Reinhold
Schunzel. M.G.M.
does a story of triple undergraduate mar-
The old conflict between the Russian no-
riages. It is a picture of immature and ir-
bility and the proletarians with the reversal
responsible people entering lightly into a
of positions following the World War keeps
state which requires sober heads and a will
the course of true love far from smooth.
for achievement. Of the three couples, the
Prince Karagin finds Lydia, daughter of a
first bicker incessantly, the second live in a
revolutionist, more desirable than high-born
trailer, the third engage in night-club sing-
ing and janitor’s duty. Two couples are
maids, uses his influence to make her a prima
donna in Rimsky-Korsakoff’s Schererezade,
visited by a “blessed event”; all are in dire
need of financial succor.
but at the moment of her debut the con-
While the picture
spirators attempt to assassinate his father.
pretends to be a warning to heedless col-
legians, most people will see it as a distortion
War breaks out, and it is not until the
Russions reunite in Paris to run the colorful
of college conditions and an insult to the in-
Cafe Balalaika that the lovers meet again.
telligence of modern youth. These attractive
All of which gives Nelson Eddy a chance
young actors deserve a better vehicle.
Adolescents, 12 to 16 Children. 8 to 12 to sing stirring and romantic songs and Ilona
Misleading No Massey to impress the public with a charm-
Four MOTION PICTURE REVIEWS
ing personality and a good singing voice, propriate ending. Slapstick fights supply
more suited to light chansons than operatic much of the action. Children may like it be-
roles perhaps. Nelson Eddy’s acting is def- cause of Charlie but it will not improve
initely on the up-grade, and excellent sup- their taste.
port is lent by Charles Ruggles, Frank Adolescents. 12 to 16 Children, 8 to 12
Morgan, Joyce Compton. The action is not Inadequate entertain- Poor
ment
always smooth but dialogue is good, photo-
graphy beautiful, and there is dash and
sparkle through most of the film. A CHILD IS BORN O O
Adolescents, 12 to 16 Children, 8 to 12 Geraldine Fitzgerald, Jeffrey Lynn, Gladys
Entertaining War Scenes too George, Gale Page, Spring Byington, John-
Emotional nie Davis, Henry O'Neill, John Lytel, Gloria
Holden, Johnny Downs, Eve Arden. Based
on a play by Mary McDougal Axelson.
Direction by Lloyd Bacon. Warner Bros.
BROTHER RAT AND A BABY O O In 1932 Warner Brothers First National
Lane, Wayne Morris, Jane Bryan,
Priscilla
produced picture entitled “Life Begins.”
a
Eddie Albert, Jane Wyman, Ronald Reagan,
Peter B. Good, Arthur Treacher. Original It was set in the maternity ward of a large
screen play by John Monks, Jr., and Fred hospital and dramatically presented the cases
F. Finkelhoffe. Direction by Ray Enright. of various types of patients. Here we have
Warner Bros. -First National.
substantially the same material under a new
This is a picture which should never have title. There is a demented woman, a de-
been made. predecessor, "Brother Rat,"
Its serted wife, one who has married against
was a delightful yarn of boys in a military her parent’s wishes, one who is under sen-
school, whose startling pranks were all ex- tence for murder. There are babies that are
cusable by the plea of youth. The current wanted, babies that are unwelcome, babies
picture shows the same characters in the that live, and babies that die, but scarcely
outside world, participating in such crimes any of the mothers or babies are healthy,
as petty and grand larceny, arson, and kid- normal, happy human beings. The American
naping, all supposedto constitute uproarious Medical Association at the time protested the
comedy. Due the fact that the cinema
to showing of “Life Begins,” and “Motion Pic-
audience has had better upbringing than the ture Reviews” carried the following com-
perpetrators of the plot, it isn’t funny at all. ment which seems equally applicable to
The tale has many ramifications, beginning “A Child is Born.” The fault of the picture
with a news item of an opening for a foot- lies in the producer’s ignorance or wilful
ball coach and naming the likeable if torpid- disregard of hospital methods and obstetri-
brained Bing Edwards as a candidate. The cal care, in the vicious disregard of truthful
main part of the film relates the ill-con- realism. To create "drama" they needlessly
sidered moves of Billy Randolph in trying to sacrifice a young mother, callously give
get the position for his former classmate. false impressions, implant unnecessary fear
The film is full of personable young actors and suspicion in prospective mothers. In this
who have been given a bad break. day of enlightened medical procedure it is
Adolescents, 12 to 16 Children, 8 to 12
Destructive of ethical No, No unfortunate that a producer should so un-
values fairly place a handicap upon hospitalization
and physicians.
.J.
CHARLIE McCarthy, detective o o No No
•>
Robert Cummings, Constance Moore, John
Sutton, Louis Calhern, Edgar Kennedy, CITY OF CHANCE O O
Samuel Hines, Harold Huber, Warren Hy- Lynn Aubrey Smith, Donald Woods,
Bari, C.
mer and Edgar Bergen, Charlie McCarthy Amanda Duff, June Gale. Screen play by
and Mortimer Snerd. Screen play by Ed- John Larkin and Barry Trivers. Direction
ward Eliscu, Harold Shumate and Richard by Ricardo Cortez. 20th Century-Fox.
Mack. Direction by Frank Tuttle. Uni-
versal.
The heroine eats her cake and keeps it
in a big way. As a reporter for her news-
McCarthy fans may find entertainment in
paper she goes into a gambling resort to in-
this picture merely because of Charlie’s ap-
vestigate evil conditions, falls in love with
pearance. The story itself is too confusing
one of the owners, cleans up at the gaming
and badly constructed to admit of a coherent
tables, turns over the resort to the district
synopsis. Somewhere along the tangled trail
attorney and departs with her lover and a
of incidents a wealthy magazine owner is
sockful of cash to lead an honest life in
murdered, the wrong man accused, and
Texas. This is a fairly exciting but trashy
finally the right one discovered, not by
picture, and it is regrettable that such a
Charlie but by Bergen. The culprit, who
high-ranking character as C. Aubrey Smith
has been a sympathetic character, confesses
should be included in the cast.
in order to exonerate the sweetheart of the Adolescents, 12 to 16 Children, 8 to 12
girl he loves, thereby giving a totally inap- Objectionable Bad
s
MOTION PICTURE REVIEWS Five
CONGO MAISIE O O the grandeur and tradition of his ancestors.

Ann Sothern, John Carroll, Rita Johnson, Pride of race and love of beauty are in-
Shepperd Strudwick. Screen play by Mary C. herent traits of his being, and yet he is a
McCall, Jr., from the book "Congo Land- prisoner because he is incapable of filling
ing" by Wilson Collison. Direction by the position he has assumed. Tragedy is
Henry C. Potter. M-G-M. precipitated by his lawyer who with subtle
efficiency exacts the last ounce of revenge.
“Congo Maisie,” second in a series con-
Although the part of Silky is not a pleasant
tinuing the adventures of that popular hero-
one, it ranks with that of the murderer in
ine, Maisie Ravier (Ann Sothern), is a
“Night Must Fall” as one of Robert Mont-
worthy sequel with all the requisites of a
gomery’s finest achievements in acting. It
good yarn, action, suspense, humor, love in-
terest and a bit of a lesson, although the
is an unforgettable performance. Edward
Arnold has a strong part which he plays with
action sometimes is reminiscent of an old
fashioned serial. We
find Maisie, again the
capability and finesse. The whole cast is
excellent. Production values are high with
wisecracking show girl, this time stranded in
fine pictorial effects in the castle halls and
the African Congo. By accident she and
the House of Lords. It is a little difficult
Michael Shane (John Carroll), a disillu-
for an American to admit that in a country
sioned young doctor, are forced to take
refuge at a medical outpost station in charge
where opportunists flourish even a gangster
could be abyssmally ignorant of facts of his-
of Shane’s successor, Dr. MclV ade and his
tory and general information, but it is bet-
wife. The plot thickens when Shane is re-
ter than a dose of Pollyanna at the end,
quired to perform an emergency appendect-
omy on MclV ade, carries on a flirtation with and after all, this is the case for environ-
ment.
his wife, and all with the hovering menace
of a savage native uprising to complicate
Too mature No
matters. Maisie’s insight, straightforward
talk, and courageous actions, with the help
of slight of hand, bring all the tangled EVERYTHING HAPPENS AT NIGHT O
situations to a happy conclusion. The hard- Sonja Heinie, Ray Milland, Robert Cum-
boiled characterization of Miss Sothern is mings, Maurice Moscovich, Leonid Kinskey,
excellently played and makes the frankly im- Alan Dinehart, Fritz Feld, Jody Gilbert,
Victor Varconi, William Edminds, George
possible story entertaining. Davis. Original screen play by Art Arthur
Adolescents, 12 to 16 Children, 8 to 12 and Robert Harari. Musical Direction: Cyril
—
No too
sophisticated
—
No Sophisti-
cated and some
J. Mockridge. Direction by Irving Cum-
mings. 20th Century-Fox.
scenes harrowing
The title of this frothy little comedy has
* apparently no connection with the story. It
is set in the Swiss Alps against a back-
THE EARL OF CHICAGO O O ground of snow scenes which afford ample
Robert Montgomery, Edward Arnold, Regi- opportunity for skilful shots. Miss Heinie is
nald Owen, Edmund Gwen, E. E. Clive, seen on skis, but her fans will be disap-
Ronald. From the book of the same name pointed by the fact that there is only one
by Brock Williams. Screen play by Lesser lovely skating sequence. The plot concerns
Samuels. Direction by Richard Thorpe. correspondents from two rival papers, who
Score by Werner R. Heymann. M-G-M. are sent to run down the story that a cele-
One of the unsolved riddles of human be- brated scientist who was reported murdered
havior reads: which is the more important, a few years previously, is alive, hiding in
heredity or environment? Here is a story an obscure village. That their methods of
which treats the old but ever interesting outwitting each other scarcely come under
problem in a new way with the findings the head of good sportsmanship will not con-
preponderantly for environment. The found- cern any but youthful idealists in the audi-
ling son of the youngest son of a British lord, ence. When they meet a beautiful nurse,
grows up in the slums of Detroit and Chi- their rivalry assumes new qualities. They
cago to become first a gangster, known as suspect that her patient is the mysterious
Silky Kilmount, later a prosperous whiskey scientist and their guess is correct. Further
distiller. A
barrister arrives from England complications then develop which create dra-
to establish Kilmount’ succession to the peer- matic situations. In the end one lad gets the
age, and his own lawyer, to whom he has girl, the other, the famous doctor’s memoirs.
done an irreparable wrong, persuades him The cast play their roles as though they en-
to claim the inheritance. Then a strange joyed them and the direction sets a lively
and desperate struggle goes on in the con- pace.
sciousness of a man sorely handicapped by Adolescents, 12 to 16 Children, 8 to 12
Yes Yes, but more
ignorance and the scars of an early life of
romance than
crime and misery when he is surrounded by action.
Six MOTION PICTURE REVIEWS
THE FIGHTING 69th O O GONE WITH THE WIND O O

James Cagney, Pat O'Brien, George Brent, Clark Gable, Leslie Howard, Olivia de Hav-
land, Vivien Leigh, George Reeves, Fred
Jeffrey Lynn, Alan Hale, Frank McHugh, i I
Crane, Hattie McDaniel, Everett Brown,

Dennis Morgan, Dick Foran, William Lundi- Zack Williams, Thomas Mitchell, Oscar
gan, Guinn Williams. An original screen Polk, Barbara O'Neil, Victor Jory, Evelyn
play by Norman Reilly Raine, Fred Niblo, Keyes, Ann Rutherford, Howard Hickman,
Alicia Rhett, Rand Brooks, Carroll Nye,
Jr., and Dean Franklin. Direction by William
Marcella Martin, Laura Hope Crews, Harry
Keighley. Warner Brothers. Davenport, Lena Roberts, Jane Darwell,
Mary Anderson, Ona Munson. Screen play
There seem to be two schools of thought
by Sidney Howard based on Margaret
concerning war pictures, one, that people Mitchell's novel "Gone with the Wind".
Music by Max Steiner. Direction by Victor
should see them in order to get a graphic Fleming. Selznick International-M.-G-.M.
idea of the horrors of war and thus be in- A book so rich in historical and romantic
clined toward peace, the other, that people material as “Gone With the Wind” could
should not see them because however great hardly have been less than a tour de force
on the screen, but the film is much more
the illustration of carnage might be, the
than just another super spectacle. It not only
adventure and excitement of war may still vividly recreates the Old South, the Civil
have an appeal. Perhaps it is wisest to keep War, and the Reconstruction Period, but it
the mind pliant until the slant of the film combines fascinating historical material with
intensely vivid and consistent character por-
can be determined. During the World War,
trayals, an achievement rarely attained in
the 69th Regiment of the National Guard the epic type of film. Scarlett O’Hara and
of New York became a part of the Rainbow Rhett Butler as played by Vivien Leigh and
Division. “The Fighting 69th” is the pseudo- Clark Gable will make an indelible mark on
the pages of motion picture history, and
history of the regiment during this time,
Hattie McDaniel’s Mammy is a masterpiece
including its training at Camp Mills, its
of dramatic interpretation. The adaptation is
overseas service, and its eventual return. amazingly skilful and the sets, the costumes,
From the mass of men in the regiment the photography, the musical score, the han-
dling of the enormous cast, the excellent
emerge a number of powerful characters,
acting of even the smallest roles bespeak a
and through them the story is told. There marshalling of superlative talent. But with
is Major Wild Bill Donovan (George all its virtues the film will not appeal to
Brent), a brilliant, hard-headed soldier, Sgt. everyone because in greater part the story
is a tragic and unpleasant account of bitter-
H'ynn (Allan Hale) a true fighting Irish-
ness, selfishness, frustration and suffering.
man, Joyce Kilmer (Jeffrey Lynn) the poet, Scarlett’s one redeeming quality is her un-
killed in action, Father Duffy (Pat O’Brien) breakable will, and almost the only vulner-
chaplain, humanitarian, friend, and Jerry able spot in Rhett’s armour of brutal and
Plunkett (James Cagney) a tough, recalci-
complacent selfishness is his extravagant love
for his child. The war between the North
trant, independent, little wretch whose brave
and the South is never a happy subject,
talk back of the lines is in sharp contrast though it is shown here with admirable free-
to cowardice in action. Father Duffy
his dom from prejudice and unusual insight into
its social and economic significance. Liking
endeavors to help him through a renais-
the production or not, audiences cannot fail
sance of faith and finally succeeds. The role
to be enthralled by its power, its visual
is a most unsympathetic Cagney
one for beauty, and its magnificent scope.
and he plays it uncompromisingly. As might Adolescents, 12 to 16 Children, 8 to 12
Mature in some re- Entirely too long,
be expected the story is lusty, lightened by spects but intensely too emotional
broad humor and softened by the presence interesting and and beyond
worthwhile compre-
their
of the priest. No women enter the plot to hension
confuse the basal theme. The war scenes
are vivid, stark, less confusing than most,
and, as far as one’s sensibilities are con- GULLIVER'S TRAVELS O O
Feature Length Color Cartoon. Paramount.
cerned, unsparing in detail. If there is any
doubt as to the slant of the picture, it is Jonathan Swift’s “Gulliver’s Travels” is
dispelled when Father Duffy’s spirit returns a searching political satire as well as a
in an epilogue to make a fervent plea for fascinating fairy tale. Max Fleischer’s car-
peace in the names of all those who, but toon version is lightly satirical, in the main
a short time ago, died to achieve it. a story-book tale of the Lilliputian people
Adolescents, 12 to 16 Children, 8 to 12 whom a shipwrecked sailor discovers on a
Too much violence No far-away isle. Two stubborn kings of the
MOTION PICTURE REVIEWS Seven
small people break off the betrothal of a HIS GIRL FRIDAY O O

princess and array their hosts of minute Cary Rosalind Russell, Ralph Bel-
Grant,
soldiers against each other, all because of lamy, Gene Lockhart, Porter Hall, Helen
Mack, Ernest Truex, Cliff Edwards, Clarence
a disagreement over whose national anthem Kolb, Roscoe Karns, Frank Jenks, Regis
should be sung at the wedding. Gulliver is Toomy, Abner Biberman, John Qualen, Billy
discovered asleep on the beach, and he is Gilbert, Alma Kruger, Pat West. From the
tightly bound by the clever machinery of the play "The Front Page" by Ben Hecht and
Charles MacArthur. Screen play by Charles
inhabitants. When he breaks loose, he good- Lederer. Direction by Howard Hawks.
naturedly agrees to settle the difficulties of Columbia.
his erstwhile captors. The drawings and “The Front Page” is an excellent stage
characterization of Gulliver are perhaps the play, and its adaptation to the screen is
most delightful thing in the picture, although equally good entertainment, speedy in ac-
the night-watchman, the two kings and the tion and even faster in dialogue. The plot
spies have pronounced personalities. It is is substantially the same except that Hildy
a good film for children because there is Johnson appears as a girl in this version
really nothing frightening; even the villians and, by a slight alteration in the story, is
are amusing rather than hair-raising figures. the ex-wife of the managing editor of the
While the color is rich, it is a little heavy newspaper, whereas she had formerly been
at times, and the modern swing dance num-
a reporter and feature writer. After a Reno
ber is an anachronism which might advant- divorce she comes to the office to tell her
ageously be omitted, although the musical former husband that she is through with
score is very pleasing on the whole. One the crazy life she has led in the newspaper
instinctively compares this picture with game and is about to marry a safe and
“Snow White,” and in so doing misses the sane insurance man and settle down to
perfect rhythm and the whimsical touch of normal living. Then the fun starts: he tries
the master cartoonist, but it has numerous
to reawaken her interest by involving her in
technical touches which are unusual and a “hot story”; her fiance finds himself in
cleverly imaginative. It is in fact excellent,
unpredictable and embarrassing situations;
a welcome addition to available pictured
and she battles to keep her independence
folk-lore.
and forget her reporting instincts. It is ex-
Adolescents, 12 to 16 Children, 8 to 12 ceptionally clever, exciting melodrama, a bit
Good Very good
hard on newspaper men, but highly enter-
taining. The lines are very funny and the
pace is the fastest on record with a new
HENRY GOES ARIZONA O O device in recording making it possible to
Frank Morgan, Virginia Weidler, Guy Kib- catch the conversations of several people
bee. Slim Summerville,
speaking simultaneously. The cast are su-
Douglas Fowley,
Owen Davis, Jr. Based on a story by W. perbly suited to their parts, each definitely
C. Tuttle. Screen play by Florence Ryerson
scoring a hit even in the smaller roles. Of
and Milton Merlin. Direction by Edwin
theseJohn Qualen as the condemned man
L. Marin. M-G-M. and Billy Gilbert in an eccentric bit, are
particularly outstanding. Direction is ex-
Three seasoned comedians, Frank Morgan, cellent.
Guy Kibbee and Slim Summerville are cast Adolescents, 12 to 16 Children, 8 to 12
Exciting Mature and very
in a Western which fails to be either very
exciting
funny or wildly exciting. Frank Morgan’s •>
humor has been described as surprise reg- THE HUNCHBACK OF NOTRE DAME O
istered upon belated understanding, but in Charles Laughton Cednc Hardwicke,
Sir
Thomas Mitchell, Maureen O'Hara, Edmond
this case there seems to be a dearth of un- O'Brien, Alan Marshal, Walter Hampden,
Harry Davenport. Screen play by Sonja
derstanding and a surplus of slapstick. A Levien. Music by Alfred Newman. Direc-
broken down actor inherits a ranch in Ari- tion by William Dieterle. Produced by
Pandro S. Berman. R.K.O. -Radio.
zona only to find that his predecessor has
In this screen portrayal the sombre Hugo
been murdered. He is ready to flee until classic retains all of its prestige as litera-
he meets his young relative Molly who bol- ture’s supreme horror story. The film pro-
sters up his courage; later sheer accident ducer has not only mustered to his aid, all
makes him a hero. Virginia Weidler is the technical devices which heighten the tense
action but has assembled a brilliant cast for
proficient beyond her years in acting and
its portrayal of character. The opening
is one of the bright spots in a film with a scenes move so rapidly that there may be
stereotyped story and uninspired direction. confusion in the minds of those not ac-
Adolescents, 12 to 16 Children, 8 to 12 quainted with the story and the historic era
Waste of time Unsuitable in which it is set. But later the individuals
Eight MOTION PICTURE REVIEWS
begin to emerge from their background and acter portrayal makes such a genuine appeal
strike the old familiar notes of romance and that the faults of the picture are forgotten
treachery and thwarted passion. The con- in the feeling of confidence it gives in Ameri-
tinuity is excellently done, omitting nothing can family life. This time Andy is, as usual,
essential to the plot. As to the characteriza- deep in debt and involved in the complica-
tion, those who saw Lon Chaney in the title tions of an adolescent romance. When Mrs.
role will inevitably compare
him with Hardy becomes seriously ill, small troubles
Charles Laughton in this version, perhaps and misunderstandings are forgotten in the
not to the latter's advantage. The supremely family’s realization of what Mother means
grotesque makeup is a powerful ally to any to them, and she is recovering, Andy
when
actor of such a role, but to rise above grotes- finds a way solve his money troubles by
to
querie to depict a human being, moved by helping his father to help someone else.
familiar human emotions, is certainly the Future Hardy pictures might be improved
supreme histrionic achievement. There are if Andy’s girl friends took an interest in some
differences of opinion as to Mr. Laughton’s diversion besides kissing.

success in this feat, but many feel that from Adolescents, 12 to 16 Children, 8 to 12
being a monster almost too repulsive to look Excellent Perhaps, but
has a good
at he emerges into a figure of superlative
deal of emotion
pathos. Sir Cedric Hardwicke as the villain
plays a part of deep restraint that is both
compelling and convincing. Walter Hampden THE LIGHT THAT FAILED O O
is impressive as the spiritual Archbishop. Ronald Colman, Walter Huston, Muriel
Maureen O'Hara is appealing in a role Angelus, Ida Lupino, Dudley Digges, Ernest
Cossart. Screen play by Robert Carson,
much less clearly individualized than the based on a novel by Rudyard Kipling. Music
other major roles. The photography is a score: Victor Young. Direction by William
triumph of modern camera work, especially A. Wellman. Paramount.
in the mob scenes and in picturing the beau- Perhaps Kipling’s story is dated. In any
tiful Cathedral of Notre Dame. Direction event the film emerges as just another tale of
is good. However, the picture is much too the British Empire and the traditional loy-
gruesome for the average taste in entertain- alty of its soldiers to one another. The char-
ment, and its brutalities are horrifying. acter of the artist who goes blind and com-
Merely the sight of the Hunchback should mits suicide is handled with restrain by Mr.
give sensitive children nightmares. To a Colman, but it fails to arouse the sympathy
few thoughtful adults the story may carry it should. Ida Lupino gives a powerful im-
the encouraging message that the race has pression of the little street waif who defaces
progressed far since the medieval practices the artist’s masterpiece, but the painting itself
of deciding guilt or innocence by trial by would better have been left to the audience’s
ordeal, of staging public executions, and of imagination. Of the cast, “Zinkie,” the Scot-
permitting mob violence and attendant evils. tie, rises above all handicaps and emerges
Adolescents, 12 to 16 Children, 8 to 12 as a star.
Doubtful* No Adolescents, 12 to 16 Children, 8 to 12
*The teen age, curiously enough, seem to feel Not recommended No
the horror too far removed from reality to be '
shocked as much as. their elders, but it will be

entirely a matter of individual taste in recom-
mendation. MARRIED AND IN LOVE O O
Alan Marshall, Barbara Read,
Patric
Knowles, Helen Vinson. Story and screen
play by S. K. Lauren. Direction by John
JUDGE HARDY AND SON O O Farrow. R.K.O. -Radio.
Lewis Stone, Mickey Rooney, Cecilia Parker, In this story of two women in love with
Fay Holden, Ann Rutherford, Sara Haden,
one man, the odds seem heavily on the side
June Preisser Maria Ouspenskaya. Story
and screen play bv Carey Wilson Musical of clever, beautifully apparelled Doris, who
score, David Snell. Direction: George B. held a prior attachment as his college sweet-
Seitz. M-G-M. heart. She is the predatory type who, having
The rock upon which the Judge Hardy found marriage for wealth and position not
series has built its popularity is the fine rela- entirely flawless, turns to romantic adventure
tionship of an ideal father to his family, and with little pity for the man’s unselfish, loyal
the scenes in which the Judge displays his wife. In the struggle Helen develops into a
understanding of his children’s problems and stronger person and retains her husband by
reveals his wholesome code of living are proving that their marriage has a firmer
always outstanding. foundation than the glamor of an old love.
So again in a picture which is rather over- Direction by John Farrow is largely responsi-
loaded with tearful sentiment and in which ble for the success of a picture which has
the interest is divided among three distinct such simple outlines that it might have gone
plot elements, Lewis Stone’s endearing char- flat without his skilful touch. Intermittent
MOTION PICTURE REVIEWS Nine
photographic cut-backs sketch in the past of marks doom. Burgess Meredith in the
his
the characters, and situations are handled role George, by his restraint, gives a
of
with good taste. Alan Marshall, Helen Vin- natural and unforgettable portrait of a man
son, Barbara Read and Patric Knowles are whose understanding and pity for Lennie
all well cast and make the various people forces him to remain his guardian, giving
seen true to life. up all that would make like worthwhile be-
Adolescents, 12 to 16 Children, 8 to 12 cause he will not desert the simple-minded
Too sophisticated No creature. Betty Field, last seen as the de-
lightful adolescent in “What a Life,” is a
surprise as Mae, the cheap, pleasure loving,
MEXICAN SPITFIRE O O lonely, defeated girl, a curse to all with
Lupe Velez, Leon Errol, Donald Woods,
Linda Hayes, Elisabeth Risdon. Based on whom she comes in contact. Roman Bohnen
story by Joseph A. Fields. Screen play by of the New York Theatre Guild, gives a
Joseph A. Fields and Charles E. Roberts. moving portrayal of the tragic, pathetic
Direction by Leslie Goodwins. R.K.O. -Radio. Candy.
This is a poor sequel to the romance of All of the cast deserve credit, notably
Carmelita and Dennis. When the newlyweds Charles Bickford in the one sympathetic role,
return from their honeymoon, Dennis’ aunt Bob Steele as Curley and Leigh Whipper as
and his former fiance conspire to wreck the the bitter, sadistic Crooks.
marriage and are doing well with their The photography is outstanding. The set-
scheme until Uncle Matt intervenes. Leon tings, while not attractive in themselves, are
Errol in a double role as the uncle and the made so by careful lighting and composition.
eccentric Lord Epping is uproariously funny, They suggest Millet in his treatment of
especially in the scenes where he dodges him- common characters against a background of
self coming in and out of the dining-room. the soil. Camera angles are used effectively
He is ninety percent of the picture, and the to heighten dramatic effects, especially where
less said of the other ten percent the better. Lennie crushes Curley’s hand. The scene is so
Lupe Velez can act ifprovided with a good startling that later climaxes seem less com-
part, but here she is cheap and vulgar! The pelling after it. Music lovers will appreciate
grand finale shows her in the center of a the effective and beautiful score.
wedding-cake-throwing contest which out- The film, at no time, becomes cheap or
strips the custard pie battles of days gone by. sensational. It, like the book, must be ad-
Adolescents, 12 to 16 Children, 8 to 12 mired for its masterly treatment of the theme.
No. Low standards No It is a view of life important in social ap-
praisal, but seldom seen in motion pictures.
OF MICE AND MEN O O It is not entertainment in any sense, but it
Burgess Meredith, Betty Field, Lon Chaney, is well worth seeing for its dramatic honesty.
Jr., Charles Bickford, Roman Bohnen, Bob Adolescents, 12 to 16 Children, 8 to 12
Steele, Noah Beery, Jr., Oscar O'Shea, By no means Absolutely not
Granville Bates, Leigh Whipper, Leona
Roberts, Helen Lynd. Novel by John Stein-
beck. Screen play by Eugene Solow,
adapted from stage play produced by Sam RAFFLES O O
Harris. Produced and directed by Lewis
Milestone. Hal Roach-United Artists. David Niven, Olivia DeHavilland, Dame May
Whitty, Dudley Digges, Douglas Walton.
John Steinbeck’s novel is a great literary
Based upon the adventures of “The Ama-
achievement, and the film a magnificent
is
visual interpretation. It has a tragic theme teur Cracksman" by E. W. Hornung.
of frustration and loneliness with no conces- Screen play by John Van Druten and Sid-
sion to sentimentality. It is pathetic and ney Howard. Direction by Sam Wood. Pro-
brutally realistic, but it is true to a certain duced by Samuel Goldwyn. United Artists.
phase of life, and while it is heart breaking, Raffles, the gentleman thief, does not some-
underneath there is the beauty of compas- how seem so thrilling as he did a decade ago.
sion, of self-sacrifice and of man’s kindness Is it because the daily drama of today dwarfs
to man. A
grim, depressing story has been his importance and a stolen emerald neck-
brilliantly transferred to the screen with all lace seems less exciting than, let us say, a
its power but without the obscenity that was purloined blueprint of an aeroplane? It is
part of both the play and the novel. Much a drawing room melodrama about a popular
of the credit is due to the director and to the cricket player who steals for gain, but more
actors for their excellent handling of a dif- for the pleasure of confusing Scotland Yard.
ficult subject. His last adventure tricks him although an
It would be difficult to imagine a more per- altruistic purpose is behind the theft. It is
fect cast. Lon Chaney, who at times may smoothly acted by David Niven, Dame May
overact, is yet very compelling as Lennie, Whitty and Dudley Digges. Olivia DeHavil-
the child-like giant whose innocent naivete land’s role is less exacting, but she is beau-
is coupled with a brutal strength which tiful, as always. It is well directed and is
Ten MOTION PICTURE REVIEWS
entertaining but the familiar pattern of the and competent, and

high, the cast attractive
plot somehow lacks the spark which once makes the pic-
the directorial touches clever,
made it out of the ordinary. ture more dangerous for immature audiences
Adolescents, 12 to 16 Children, 8 to 12 and more unpalatable for others.
Needs adult No Adolescents, 12 to 16 Children, 8 to 12
evaluation Absolutely not No
THE SHOP AROUND THE CORNER O

REMEMBER THE NIGHT O O Margaret Sullavan, James Stewart, Frank
Fred MacMurray, Barbara Stanwyck, Beulah Morgan, Joseph Schildkraut, Sara Haden,
Felix Bressart, Inez Courtney, William
Bondi, Elizabeth Patterson, Sterling Holo- Tracy, Sarah Edwards. Based on the play
way, Willard Robertson, Charles Waldron, by Nickolaus Laszlo. Produced and di-
Paul Guilfoyle, Georgia Caine. Screen play rected by Ernest Lubitsch. M-G-M.
hv Preston Sturges. Directed by Mitchell So manycurrent films seem to run to so-
Leisen. Paramount. ciological and
psychological problems that
A beautiful and smartly dressed young it is with great relief that we find this one
simply a light and very diverting tale about

woman is being tried for her third thieving
every-day events in the lives of every-day
offense. Realising that the Christmas season people. It is the story of Mr. Matuschek,
may soften the jury so that a conviction will who owns a smart novelty and leather shop
be difficult, the District Attorney arranges a in Budapest and of how his emotional
postponement of the case. Then, moved in
moods affect his employees and their rela-
tions with each other. There is also a ro-
turn by the holiday spirit, he gets bail for
mance by correspondence to be settled satis-
her. The professional bondsman, misinter- factorily. It is rich in humor and enlivened
preting this sentiment, dumps the woman on by the clever touches introduced by Ernest
the lawyer’s doorstep. He offers her money Lubitsch which, without words, express the
emotional tension in the air. The role of
to tide her over the holiday, then finally
Matuschek is a dramatic one of many moods,
suggests that he drive her to her home near and Frank Morgan is excellent in one of
his own in Indiana for the vacation. When his best opportunities. He looks Hungarian
she welcomed by her mother, he gaily
is not and acts it. In fact, the whole cast create a
foreign illusion except that Jimmy Stewart is
takes her on to his own home, where they
as ever just plain American. He is really
spend a pleasant week on the farm and fall fine in his role, but the unique characteriza-
in love. Driving back to New York, he tions, in addition to Frank Morgan’s, are
gives her a chance to escape in Canada given by Joseph Schildkraut, Felix Bressart,
and William Tracy, who fit into the setting
and proposes at Niagara Falls. He then tries
and give a distinctive atmosphere to a clever
to throw the case in court. She confesses to film. Margaret Sullavan is, as always, at-
save him from disbarment, a procedure sure tractive and most competent. Sara Haden,
to have followed under the circumstances. Sarah Edwards and Inez Courtney are also
excellent. For good fun we recommend that
The final fadeout shows her in his arms
you visit the “Shop Around the Corner.”
while he promises to “hold her hand” when
she is sentenced and to “wait for her.” Yes Mature
This is a brief outline of a plot so senti-
mental and false in ethics that it is danger- SLIGHTLY HONORABLE O O
Pat O'Brien, Edward Arnold, Broderick
ously anti-social. The girl is supposed to Crawford, Ruth Terry, Claire Dodd, Alan
have reformed during her week at the farm, Dinehart, Janet Beecher, Phyllis Brooks.
From the novel “Send Another Coffin" by
but there is no excuse for the lawyer to de- F. G. Presnell. Screen play by Ken Englund.
Direction by Tay Garnett. Walter-Wanger-
grade himself and his profession in order to United Artists.
save her from a just penalty. In these days The opening with wisecracking
scene,
of enlightened treatment of cases and easy around aflower covered coffin, is novel if
probation, another outlet was available, if we not edifying. John IV ebb is an honest lawyer
accept the regeneration motif. The film is
who tries to stamp out corruption in po-
litical high-places and moves through the
another example of the current fad for
film in constant jeopardy from flying knives
glamorizing pretty miscreants, and for less- which eliminate many members of the cast.
ening confidence unbiased legal proced-
in The intricate plot does not reveal a con-
ure. The fact that the production values are vincing motive for the crime. Violence and
MOTION PICTURE REVIEWS Eleven
cheap humor are mingled indiscriminately. foal, whomhe knows in his heart is the
Edward Arnold is efficient in his part, al- colt ofgreat race-horse stolen from an
a
though it is a thankless one, but Pat O’Brien adjoining ranch. His struggles to retain it
and Alan Dinehart indulge in needless exag- and studies in animal husbandry to
his
gerations, and Ruth Terry looks so much like know how to raise it properly form the main
a pretty girl out of Esquire that her conquest part of the simple story. A
little oversenti-
of the leading man seems out of line with mental, a little tinged with “hokum,” it is
usual cinema procedure. nevertheless a truly sympathetic story of a
Adolescents, 12 to 16 Children, 8 to 12 boy and his horse. The acting of young
Confused ethics No indeed Jimmy Lydon is particularly good, and Ar-
thur Hohl is worthy of mention as the horny-
SWANEE RIVER O O handed uncle.
Don Ameche, Andrea Leeds, A! Jolson, Adolesce its, 12 to 16 Children, 8 to 12
Felix Bressart, Chick Chandler, Russell Good Too emotional
Hicks, Hall Johnson Choir. Screen play by for some
John Taintor Foote and Philip Dunne. Di-
rection by Sidney Lanfield. Musical direc-
tion by Louis Silvers. 20th Century-Fox.
SHORT SUBJECTS
A biography of Stephen Foster, revised
for dramatic and sentimental effect, is true BLUE DANUBE O O
in spirit to the times in which he lived and Hugh Harmon-M-G-M. Musical direction
to the songs he wrote which will endure by Scott Bradley.
in American hearts for generations yet to Fairies gather the bluing from flower cups
come. It is the story of a man who immor- to azure the Danube. While some of the
talized the melodies of the negroes, who cartoonist’s views are exquisite in color,
loved the South and married a maid of etherial in quality, the fairies are as spank-
Dixie only to succumb to success and to able as Rubens cherubs and the nymph
drink himself to an early death. The picture bears a resemblance to Lady Godiva. How-
ends with the singing of the Svianee River ever pretty the conceits of drawing and
on the night he dies. The film is done in painting, the film is not exactly what one
beautiful Technicolor, and Andrea Leeds as would expect as an illustration of the Blue
Jane, Don Ameche as Foster and AI Jolson Danube Waltz.
as the minstrel-show singer play with sin- Adolescents, 12 to 16 Children, 8 to 12
Yes, for the music Yes
cerity of feeling. Throughout the produc- and many beautiful
tion run the songs which are dear to all of views
us and are truly American: Oh Susanna,
Old Folks at Home, Jeanie With the Light
Broun Hair, and Suanee River. CRISIS IN THE PACIFIC <> O
Adolescents, 12 to 16 Children, 8 to 12 The March of Time. No. 5, Vol. VI
Yes. Yes, because of
Produced by the Editors of "The March of
of the music.
Time" Magazine, No. 5, Vol. 1.
This news review begins with a brief re-
TWO THOROUGHBREDS O O sume of the European War situation, then
Jimmy Lydon, Joan Brodel, Arthur Hohl, shifts to the Pacific, to Tokyo and to the
J M. Kerrigan, Marjorie Main. From a Island of Guam now being improved as an
slory bv Joseph A. Fields. Screen plav by
Joseph A. Fields and Jerry Cady. Direction
important airbase for the U. S. A. The film
by Jack Hiveley. R.K.O. -Radio. is well photographed and packed with in-
terest although it does not take an objective
This is a story of a helpless boy depend-
ent upon grudging, poverty-stricken rela- point of view, as it strongly urges armament.
tives, and his love for a little orphaned Family
After 5 Days Return to Sec. 562, P. L. & R.
Women's University Club U. S. POSTAGE

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MOTION
PICTURE
REVIEWS
FEBRUARY
19 4 0
FEATURE FILMS
Adventure in Diamonds
The Blue Bird
Broadway Melody of 1940
Calling Philo Vance
Chasing Trouble
Goose Step
Granny Get Your Gun
The Grapes of Wrath
Green Hell
He Married His Wife
High School
The Invisible Man Returns
I Take This Woman
Little Old New York
Mutiny On the Blackhawk

Pinocchio
The Saint's Double Trouble
Santa Fe Marshal
Sidewalks of London
Swiss Family Robinson
SHORT SUBJECT
Mighty Hunters

LOS ANGELES BRANCH. AMERICAN ASSOCIATION OF UNIVERSITY WOMEN
ENDORSED BY
MOTION PICTURE REVIEWS Three
MOTION • PICTURE * REVIEWS

LOS ANGELES BRANCH
Mrs. Chester A. Ommannit, Preview Chairman
Mrs. Francis Pot as, Subscription Chairman
Long Beach Glendale Santa Monica Whittier
EDITORS
Address ail communications to
The Women’s University Club, 9+3 South Hoover Street, Los Angeles, California
Vol. XIV FEBRUARY. 1940 No. 2
FEATURE FILMS
ADVENTURE IN DIAMONDS O O Maeterlinck’s “Blue Bird” more surely in the
George Brent, Isa Miranda, JohnLoder, film adaptation than in either the book or the
Nigel Bruce, Elizabeth Patterson.
Screen
play by Leonard Lee and Franz Schulz. stage play. The moral that anyone can find
Direction by George Fitzmaurice. Musical the key to happiness when he is willing to
direction by Sigmund Krumgold. Paramount. contribute, is tellingly presented. The pro-
Jewel thieves, working through a fashion- duction has been given a spectacular and
ably dressed girl accomplice, attempt to steal modernized background, and some scenes are
diamonds from a mine in Capetown, but they radiantly beautiful.. It is not possible, how-
are finally apprehended when the girl is per- ever, to claim that the film has reached per-
suaded by an admirer to work with the in- fection in the handling of the subject. At
vestigators for the mine operators. The picture times there is a sophistication in treatment
is sophisticated in tone and lightened by which is not in keeping with Maeterlinck’s
comedy. Ithas nothing new in the way of lovely story. As the children go in search of
plot, but a trip through the mine and an the Blue Bird, representing happiness, they
ostrich race add interest. As usual the pretty seek first the past. This scene is one of the
lady crook reforms and wins the love of an simplest, most delightful of all and yet the
;
honest young man. thought of holding children to the past by

Adolescents, 12 to 16 Children, 8 to 12 making the happiness of those who have left
Ethically poor No this world depend upon the constant remem-
brance of those still living, may carry a sense
THE BLUE BIRD O O of pain and responsibility to imaginative
Shirley Temple, Johnny Russel, Spring By- children. The search for happiness in luxury
ington, Nigel Bruce, Russel Hicks, Laura is whimsical and delightfully amusing, and
Hope Crews, Gale Sondergaard, Eddie Col- few children can overlook its message. The
lins, Sybil Jason, Jessie Ralph, Helen Eric-
son, Cecilia Loftus, Al Shean, Gene Reyn-
scene in the woods is a spectacular technical
olds. Based on play by Maurice Maeter- achievement, but it is overdone, and younger
linck. Screen play by Ernest Pascal. Ad- children may be terrified by the suggestion
ditional dialogue by Walter Bullock. Di- that nature takes revenge upon human beings.
rection by Walter Lang. Music by Alfred
Neuman. Director of photography, Arthur The future is represented in a beautiful set-
Miller. 20th Century-Fox. ting filled with Hollywood’s loveliest children,
Children will probably catch the import of representing those who are waiting to be
born: the little girl tearfully waiting to be CALLING PHILO VANCE O O

called and constantly disappointed because James Stephenson, Margot Stevenson, Edw-
up to now her parents were too busy and did ard Brophy, Sheile Bromley, Ralph Forbes,
Donald Douglas. Based on "The Kennel
not want her; the little sister who will come Murder Case" by S. S. VanDine. Screen
to Mytle and Tyltyl’s home but cannot stay play by Tom Reed. Direction by William
long; and the boy and girl who are torn from Clemens. Warner Bros.
each other's arm and whose romantic idyl is Murder and the sale of aeroplane plans to a
over because they will not be born in the foreign country cause Philo Vance to put his
same age on earth. This particular scene is wits to work to find the guilty parties. Henry
in questionable taste, and the suggestion that Stephenson is, as usual, most convincing as
babies are at times unwilling to leave an ideal the suave, clever detective. The story is an
existence to enter the world and meet life’s entertaining one of the series.
difficult problems is not one to present to Questionable No
children.
Some of the characters, particularly Tylette CHASING TROUBLE O O
and Light are strictly “Hollywood,” but Shir- Frankie Darro, Marjorie Reynolds, George
ley Temple is a sturdy, charming little Mytle Cleveland, Mantan Moreland, Alex Callam,
whom children will love. Johnny Russel’s Milburn Stone. Screen play by Mary Mc-
Carthy. Direction by Howard Bretherton.
unself-consciousness and enchanting youth Monogram.
make his part outstanding. Others in the This is a “quickie” which, like many of its
cast, notably Spring Byington (
Mummy
Tyl), class, is meant for an unsophisticated audi-
Russel Hicks (Daddy Tyl), Cecilia Loftus ence. The technique belongs to a period of
and A1 Shean ( Grandma and Grandpa Tyl), about five years ago, but the plot has timely
and Laura Hope Crews and Nigel Bruce interest since it concerns a group of spies
(Mr. and Mrs. Luxury), bring naturalness engaged in blowing up munitions plants and
and reality to delightful roles. The musical airplane factories. The leader uses as his
background is designed to carry out the spirit tools, beautiful and innocent girls who con-
of childlike fantasy, and its beauty cannot fail vey signals by the hue, size, and composition
to touch youthful as well as adult audiences. of corsages they wear at his bidding. Why
Adolescents, 12 to 16 Children, 8 to 12 signals are necessary when the group meets
Yes Yes, unless very
sensitive freely at an apartment is not explained. A
newspaper man and “Cupid,” who delivers
the flowers and studies graphology, save the
BROADWAY MELODY OF 1940 O O day and bring the criminals face to face with
Fred Astaire, Eleanor Powell, George Mur- justice. Frankie Darro is a pert, bright-eyed
phy, Frank Morgan, Ian Hunter. Direction youth on the order of a younger James Cag-
of Norman Taurog. M. G. M. neys, Marjorie Reynolds is a personable
lass, and the colored boy, Mantan Moreland,
Movie goers know from experience what to
deserves and receives a number of laughs.
expect of a “Broadway Melody,” and in the
1940 issue their expectations will be more than Passable Might take it seri-
realized because it is probably the best of ously and be
the series. It is a cleverly knit piece of enter- alarmed
tainment combining dancing, singing, vaude-
ville and a plausible plot. Above all
acts, GOOSE STEP O O
Roland Drew, Steffi Duna, Greta Grand-
else, the dancing deserves kudos, for the
stedt, Alan Ladd. Screen play by Shepard
principals have outdone themselves in bring- Traube. Direction by Sherman Scott. Pro-
duced by Producers Producing Corporation.
ing their particular skill to the The
screen. Released by Producers Distributing Corpo-
plot is simple but effective. Two young men ration.
Using most of the tricks known to propa-
working in a cheap dance hall and hoping for gandists to fan hatred, this picture, formerly
a better job, are spotted by a producer. One titled “Hitler, Beast of Berlin,” comes to the
(George Murphy) is signed to play opposite screen under the new title of “Goose Step.”
a Broadway favorite. When his success and With harrowing reality it depicts the abuse
of Germancitizens of the Reich who have
too much liquor go to his head, the other been caught by the Gestapo plotting to over-
member of the team (Fred Astaire) pinch throw the present regime. Whether or not it
hits for him. From this point, on both fairly is true, it serves no good purpose by rehears-
drip nobility, and since nothing as light as ing before the public the sickening brutalities
practiced at a German concentration camp,
this could end other than happily, both re-
and such a picture should have no place upon
ceive acclaim in the end. the American screen.
Adolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12
Mature but passable Mature Absolutely no Frightful
GRANNY. GET YOUR GUN O O GREEN HELL O O

May Robson, Harry Davenport, Margot Douglas Fairbanks, Jr., Joan Bennett, John
Stevenson, Hardie Albright, Clem Bevans. Howard, George Sanders, Alan Hale, George
Original screen play by Kenneth Garnet, Bancroft, Vincent Price, Ray Mala, Peter
based on a story by Erie Stanley Gardner, Bronte. Original story and screen play by
Direction by George Amy. Warner Bros.- Frances Marion. Direction by James Whale.
First National. Universal.
May
Robson as an astute, belligerent, soft- Six men
of divergent types set out from the
hearted old Western pioneer woman, returns Brazilian border town of Tabatinga through
to Nevada with a granddaughter who is seek- the jungle in search of Inca temples, tombs,
ing a divorce and finds herself mixed up in and treasure. They locate mounds which
a murder mystery. She plays the role with the prove to be the ruins they seek and spend a
utmost zest and all the humor that could be year in excavation work. Up to this point
read into such a part. The film is very light the story is rather interesting both in setting
farcical entertainment with a Western flavor. and in the portrayal of the various men of
There are no unpleasant details of crime the expedition. In the unfolding of the
shown, and emphasis is entirely on the hum- plot, however, when a woman comes to the
orous situations. camp, the reactions of the men to her pres-
Adolescents, 12 to 16 Children, 8 to 12 ence, the implausible characterization given
Passable because of No the role by Miss Bennett and the sentimental,
humorous treatment
banal, dialogue turn an adventure story of
some novelty into an absurdly incredible
THE GRAPES OF WRATH O O love story with a spectacular and melo-
Henry Fonda, Jane Darwell, John Carradine, dramatic ending. Several scenes draw laugh-
Charley Grapewin, Doris Bowden, Russell ter certainly not intended by the producers.
Simpson, O. Z. Whitehead, John Qualen, A destructive tropical storm, the siege by
Eddie Quillan, Zeffie Tilbury, Frank Sully,
native head hunters, and adventurous hokum
Frank Darien, Darryl Hickman, Shirley Mills,
Roger Imhof, Grant Mitchell, Charles D. may find admirers among the less mature
Brown, John Arledge, Ward Bond, Harry audiences.
Tyler. Based on the novel by John Stein-
beck. Screen play by Nunnally Johnson.
Direction by John Ford. Produced by Darryl
Of doubtful interest Too exciting and
F. Zanuck. Associate producer Nunnally no value
Johnson. 20th Century-Fox.
It is impossible to imagine a more heart-
breaking story of poverty, injustice and de-
HE MARRIED HIS WIFE O
spair than John Steinback's “The Grapes of JoelMcCrea, Nancy Kelly, Roland Young,
Mary Boland, Cesar Romero, Mary Healy,
Wrath"; and the film, superbly acted, pho- Lyle Talbot. Screen play by Sam Heilman,
tographed and directed, is no less desolate. Darrell Ware, Lynn Starling and John
Although it omits the most shocking incidents O'Hara. Direction by Roy Del Ruth. 20th
Century-Fox.
and tones down the dialogue, it perserves the
spirit and the message of the book intact. In this utterly absurd “screw-ball” comedy,
In itswidest implications the tragedy of the divorce serves again as the springboard from
Joad family’s migration from Oklahoma to which we dive into a sea of diverting se-
California is a startling indictment of Amer- quences treating marital infelicity as the
ica’s inadequacy in handling the problem of supreme joke. This is one of Hollywood’s most
evicted sharecroppers, the shortsightedness overworked subjects for comedy, but except
of those who were responsible for allowing for one sequence where the heroine resorts
the situation in the “dustbowl” to develop, to smashing furniture, good direction, spark-
and the failure of the states to evolve a ling dialogue, an able cast, and really amus-
comprehensive plan to meet an emergency ing situations combine to give the picture
which might have been anticipated. But Stein- freshness and wit. The novel idea which fur-
beck’s masterly pen has created such a real- nished the motive for the plot is a divorced
istic and emotional picture of the Joad’s ex- man’s scheme to avoid alimony by maneuver-
periences in California that, as is always the ing his ex-wife into a second marriage.
case when propaganda is skilfully presented, Adolescents, 12 to 16 Children, 8 to 12
No No
one loses sight of the greater problem in
horrified acceptance of a single aspect. As
literary, pictorial, and histrionic art, the film HIGH SCHOOL O O
reaches pinnacles of perfection. Whether Jane Withers, Joe Brown, Jr., Lloyd Cor-
such a work is obligated to tell “the truth, rigan, Claire Du Brey, Lynn Roberts, Paul
the whole truth, and nothing but the truth,” Harvey, Cliff Edwards. Direction by George
Nicholls, Jr. 20th Century-Fox.
may be left to estheticians and moralists to
debate. This
film follows the precept that in order
to grow
into a desirable citizen and to adjust
No. Needs adult Impossible himself to various social patterns, a child
evaluation must have the companionship of his contem-
poraries. In the case of Jane Wallace, the because of an unhappy love affair with a
adjustment is a slow and painful process be- married man. Their lives thenceforth are
cause a succession of tutors, an indulgent linked when she turns to him for solace
father and friendly ranch hands have con- and help. He with her and mar-
falls in love
tributed toward her being a problem child. ries her although aware of her love for the
Her father decides to send her to high school. other man, and in order to provide her with
By the devious methods best known to chil- the material things to which she has been
dren of this age, her schoolmates divert accustomed, gives up his work at the clinic
Jane’s precocious, mischievous tendencies into to becomea society doctor. At this point the
channels which coincide with normal high film elaborates upon an idea traditional in
school life. The picture can be recommended movies that a financially successful doctor is
for children because its shafts are aimed at unethical if not a quack, and that hospitals
smart Alecs and their like, yet the preach- are graft-ridden institutions. When Dr.
ment is not so obvious as to lose entertain- Decker finally sees the error of his ways, he
ment value for them. Considering her years returns to labor among the poor. Although
before the camera. Jane Withers overacts certain situations are so trite as to be almost
consistently and is guilty of exaggerated fa- laughable, the picture probably will have
cial expression where restraint would have popular appeal with the glamorous Miss La-
been more telling. Other members of an ex- Marr and virile Mr. Tracy propping up the
cellent cast avoid this fault, especially Joe weak story.
Brown, a find in awkward, befreckeled, Adolescents, 12 to 16 Children, 8 to 12
Jr.,
Too sophisticated No
toothy adolescence.
Entertaining Ves LITTLE OLD NEW YORK O O
Alice Faye,
Fred MacMurray, Richard
Greene, Brenda Joyce, Andy Devine, Henry
THE INVISIBLE MAN RETURNS O O Stephenson, Fritz Field. Screen play by
Sir Cedric Hardwicke, Vincent Price, Nan Harry Tugend. Direction by Henry King.
Grey, John Sutton, Cecil Kellaway, Alan Darryl F. Zanuck.
Napier, Forrester Harvey. Screen play by So great and important a theme as Robert
Lester Cole and Kurt Siodmak. Story by Fulton’s invention of the steamboat might
Joe May and Kurt Siodmak, a sequel to well have received more serious treatment
"The Invisible Man" by H. G. Wells. Di-
rection by Joe May. Universal. than it is given in “Little Old New York.” In
this respect the picture falls short of its pos-
Camera tricks come into their own in this
fantastic melodrama. Cleverly imaginative sibilities. One follows the charming and
in plot, it gruesome, for it concerns
is still
brilliant young inventor, delightfully por-
trayed by Richard Greene, through the dis-
the experiments of a doctor who, moved by
pity, evolves a formula which creates invisi-
appointments and trials that beset him, not
the least of which are the ridicule and scof-
bility for a man
unjustly convicted of mur-
fing of those who stand in the way of prog-
der. He then
frantically tries to find an
antidote for the process which is causing in-
ress. While the hero wins admiration for
his persevering belief in himself and his
sanity in the victim. The film is interesting
ideas,, the picture lacks compelling appeal.
in its technical devices and holds attention
throughout. Its entertainment value is largely
The comedy relief, furnished by Alice Faye,
as the mistress of the inn where Fulton stays,
a matter of taste.
and by her admirer, played by Fred Mc-
Doubtful Terrifying Murray, is stressed to the point where it de-
tractsfrom the main theme. Henry Stephen-
son gives a first-class performance as the
I TAKE THIS WOMAN O O benign, sympathetic, patron who furnishes to
Spencer Tracy, Hedy LaMarr, Verree Teas- Fulton the necessary financial assistance for
dale, Kent Taylor, Laraine Day, Mona Bar- the development of his invention. The film
rie, Paul Cavanagh, Louis Calhern, Frances
Drake. Screen play by James Kevin Mc- does not pretend to accuracy in presenting
Guiness from an original story by Charles the events of Fulton’s life, but it has an at-
MacArthur. Direction by W. S. Van Dyke II. mosphere of authenticity. Unimportant in
M. G. M.
the field of historical films, it is nevertheless
“I Take This Woman” depends principally acceptable popular entertainment .
upon the beauty and appeal of Miss LaMarr, Adolescents, 12 to 16 Children, 8 to 12

backed by the strength of Spencer Tracy’s Ves Mature
ability and his popularity at the box office.
The tried and true formula of the unselfish MUTINY ON THE BLACKHAWK O O
doctor devoting his life to work in a slum Richard Arlen, Andy Devine, Constance
clinic withmedical research in his spare Moore, Noah Beery. Screen play by Michael
L. Simmons. Direction by Christy Cabanne.
moments, again used. Returning from an
is
Musical direction by Charles Previn. Pro-
expedition, Dr. Decker meets Georgi on board ducers, Universal.
ship and saves her from suicide attempted Illegal slave traffic, starvation and mutiny
s
on board a slave ship, a forced landing in well as for its dramatization of a widely
Lower California, and encounters with Mexi- read book.
can troops make an exciting action picture. Adolescents, 12 to 16 Children, 8 to 12
Though not authentic, the story parallels his- Excellent Entertaining in
part but tiring
toric happenings of the 1840’s closely enough and confusing for
to give it more than passing interest. It is a the younger ones
rather grim and unrelieved account of cruelty
and violence and deprivation, but well enough
THE SAINT'S DOUBLE TROUBLE O O
acted and directed to appeal to audiences
George Sanders, Helene Whitney, Jonathan
who are fond of red-blooded seagoing drama. Hale, Bela Lugosi Donald MacBride, John
Adolescents, 12 to 16 Children, 8 to 12 F. Hamilton, Thomas W. Ross, Elliott Sul-
No No livan. Screen play by Ben Holmes from the
story by Leslie Charteris. Direction by
Jack Hively. RKO-Radio Pictures, Inc.
PINOCCHIO O O This is another chapter in the movie series
Walt Disney production from the story by dealing with the amazing adventures of The
Collodi. Photographed in Technicolor. RKO.
Saint, former criminal, since turned detective.
Mr. Disney’s second feature-length car- It has an obscure, complicated plot about dia-
toon another triumph of imagination and
is
mond smuggling and murder which only
technical skill, bringing to the screen a be-
mystery story fans can follow.
loved children’s classic and presenting to the Children, 8 to 12
Adolescents, 12 to 16
public several new, delightful personalities No No
to take their places among other world-
famous Disney characters. Mr. Jimmy
Cricket, the whimsical little creature who SANTA FE MARSHAL O O
acts as narrator for the film and as con- William Boyd, Russell Hayden, Bernadine
science for Pinocchio, Cleo, the flirtatious gold Hayes, Marjorie Rambeau. Direction by
Leslie Selander. Paramount.
fish, and the playful kitten, Figaro, are as
lovable and as humorous as any of their Hopalong Cassidy, actually representing
older brothers in celluloid. That the picture, the law although masquerading as an ex-
with all its breath-taking perfection of color convict, succeeds, after a very narrow escape,
and drawing, is not quite so joyously enter- in rounding up a gang of murderers and
taining as one could wish, is probably due to thieves. The presence of a medicine show
the fact that the story itself deals mostly adds romance and humor to the situation.
with Pinocchio’ unhappy experiences and The picture is an average Western.
that one misses the light-heartedness and the Adolescents, 12 to 16 Children, 8 to 12
idyllic quality that have characterized so Yes Harmless
many of the Disney creations in the past.
Though in the end Pinocchio has changed
from a wooden puppet to a real little boy
SIDEWALKS OF LONDON O <0
through bravery, truthfulness and unselfish- Charles Laughton, Vivien Leigh, Rex Har-
rison, Larry Adler, Tyrone Guthrie. From
ness, during the picture one sees him lured the story "St. Martin's Kane" by Clemence
away from the lovable woodcarver by the Dane. Direction by Tim Whelan. Music by
wicked fox, imprisoned in a cage by Strom- Arthur Johnston. A Pommer-Laughton May-
flower Production. Released by Paramount
boli, a horrible monster of a man, locked up Studios.
at Pleasure Island in company with an ob- This production is so extremely British that
noxious youth, and tempted it maynot appeal to Americans who are un-
to drink, smoke,
familiar with its London setting and the
and play pool while he being
is slowly class of people to which its characters be-
transformed into the image of a donkey. The long. Charles Laughton, however, is well
sequences having to do with the rescue of liked by American audiences and in this film
Gepetto from the belly of the whale have is given the most human and sympathetic role
he has played since Ruggles. He is cast as
some lovely pictures of undersea life, but
Charles Staggers, a street entertainer who
the terrifying lunges of the
whale amid tow- makes his living “busking” (entertaining
ering waves are confusing, noisy, and mo- theatre patrons while they await admission).
notonous and would undoubtedly terrify a One day he sees a street waif snatch coppers
from his hat and steal a gold cigarette case
sensitive child. Pinocchio himself, though from a man near by. He follows her home,
a nice little fellow, has a part which gives becomes altruistically interested in her, and
him too opportunity to win the love of
little makes her a member of his troupe of enter-
his audience. The film as a whole, however, tainers. The
story then tells of the girl’s rise
is an enchanting piece of artistry well

to fame onthe stage, her delayed awakening
worth to a sense of gratitude, and the effects of her
seeing for its wealth of fascinating detail as conduct upon Charles. Mr. Laughton’s inter-
pretation of the character of Charles is ex- departs from the original character of the
tremely fine, Miss Leigh gives a thoroughly book and is not especially sympathetic. Miss
artistic performance as the cockney waif, and Best, in spite of sincerity, does not embue it
the supporting cast is excellent. Since the with vitality. Those who recall the book
plot is not unusual, interest depends largely and liked it will find that memory will en-
on the character portrayals and the atmos- large on the necessarily sketchy outline of
phere details. As in several previous films, the family’s adventures and accomplishments.
Mr. Laughton gives a stirring recitation of a They will invest the film with an aura others
familiar selection, this time Kipling's “If.” may not see, but is, in any event, a very
Adolescents, 12 to 16 Children, 8 to 12 pleasant idyl. The pertinent similarity of the
Mature and depressing No ills of that day, from which the Robinson’s
were fleeing, to those of today may afford
moderns the wish that they too might find a
SWISS FAMILY ROBINSON O O similar retreat in a land of such miraculous
Thomas Mitchell, Edna Best, Freddie
Bartholomew, Terry Kilburn, Tim Holt, plenty and rare beauty.
Baby Bobby Quillan, Christian Rub, John Adolescents, 12 to 16 Children, 8 to 12
Wray, Herbert Rawlinson. From the novel Good Good
by Johann David Wyss. Screen play by
Walter Ferris, Gene Towne, Graham Baker.
Direction by Edward Ludwig. Produced by
Gene Towne and Graham Baker. A "The
Play's the Thing" production. RKO. SHORT SUBJECT
The cinema version of Johann David MIGHTY HUNTERS O O
Wyss’ beloved story of the Swiss family who One reel. First a series of "Canyon
of
were shipwrecked and stranded on a tropical Kiddies" by Jimmy Swinnerton. "Merrie
island is really quite successful. There is an Melodie." Schlesinger Studio-Warner Bros.
interesting motivation for Mr. Robinson’s de- The well known “Canyon Kiddies” make
cision to emigrate to Australia which gives their film debut in this delightful single reel
point to their experiences. William Robinson, feature in which the diminutive Indians on a
pere, an idealist, is disheartened by the war “big hunt” find a startling surprise awaiting
fervor raging in England in the 19th century them. The story is splendid for children, as
and by the atmosphere of social decadence. it has no element of fear to distract them,
Seeing his sons growing up with undesirable and in addition the beauty and authenticity
traits fostered by contemporary social con- of the settings should develop a greater ap-
ditions, he sells his home and business and preciation of the beauty of nature. Mr.
with his rebellious family sets out for the Swinnerton is a widely known cartoonist, but
colony of Australia. The shipwreck en route he is also recognized as a successful painter
forces each member to become industrious, of desert scenes. Introducing a new tech-
self-reliant, and dependable; and family love nique in this film, he has used oil as a me-
and solidarity are reawakened during the dium in painting backgrounds and has faith-
year of isolation. Much of the spirit of the fully pictured actual scenes, adding authentic
book is kept and many familiar scenes are loveliness to a type of film most loved by
re-enacted. children. This innovation is comparable to
The film spectacular in setting and de-
is the work of publishers who in late years have
lightful theme and lightened by simple
in engaged famous artists to illustrate children’s
and engaging humor. Judicious cutting of a books, and it may be the first step forward in
few sequences would improve it but, without the march of progress toward more artistic
real dramatic conflict, the human story holds films for children. This short is a delightful
interest consistently. Thomas Mitchell and interlude on any program.
the boys are well cast. The mother’s role
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FEATURE FILMS
Blondie on A Budget
Charlie Chan in Panama
Dr. Erlich's Magic Bullet
The Farmer's Daughter

The Ghost Comes Home
The House of Seven Gables
The Marines Fly High
My Little Chickadee
Northwest Passage
Road to Singapore
Seventeen
Strange Cargo
Three Cheers for the Irish
Vigil in the Night
Women Without Names

Young as You Feel
Young Tom Edison

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LOS ANCELES BRANCH
Long Beach San Gabriel Valley Glendale Santa Monica Whittier
EDITORS
Vol. XV MARCH, 1940 No. 3
FEATURE FILMS
BLONDIE ON A BUDGET O O CHARLIE CHAN IN PANAMA O O

Penny Singleton, Arthur Lake, Larry Simms, Sidney Jean Rogers, Lionel Atwill,
Toler,
Rita Hayworth, Danny Mummert. Story by Mary Nash, Sen Yung, Kane Richmond.
Charles Molyneux Brown. Screen play by Based on the character created by Earl
Richard Flournoy. Based on Chic Young's Derr Biggers. Screen play by John Larkin
Comic strip. Columbia. Direction by Frank and Lester Ziffren. Direction by Norman
R. Strayer. Foster. 20th Century-Fox.
Like other Blondie pictures, this is very A party of tourists flying across the Panama
lightentertainment and has occasional touches Canal to Balboa are each and every one
of caricature as a throw-back to the source under surveillance by Charlie Chan as pos-
in the funnies. It is not overdone, however,
sible spies attempting to sabotage ships of
and the simple plot concerns things which
might happen to any young couple in the the U.S. Navy on their passage through the
suburbs. The current episode tells of the locks. This thought is not too heartening in
Bumpsteads’ struggles to live within a budget the present state of the world. Numerous
when Dogwood wants a trout club member-
murders, searching sallies, lock-ups, and
ship costing two hundred dollars and Blondie
yearns for a fur coat at approximately the chases result in great excitement and sus-
same price. Jealousy disrupts the household pense. At the conclusion, the least suspicious
when a former sweetheart of Dogwood ap- character is found guilty, per formula, but
pears on the scene, but this trouble also takes
one is left in mid-air because there is no
flight at the end. The two children, insuf-
ferable Alvin, and the appealing Baby Dump- explanation of the participation of others in
ling, as well as the comical dog, add to the Some of the Chan pictures have
the spy ring.
fun. seemed much better. Is it possible that we
Adolescents, 12 to 16 Children, 8 to 12 are growing weary of them?
Yes Family squabbles Adolescents, 12 to 16 Children, 8 to 12
not a good theme. Passable Too violent
DR. ERLICH'S MAGIC BULLET O O THE GHOST COMES HOME O O

Edward G. Robinson, Ruth Gordon, Otto Frank Morgan, Burke, Ann Ruther-
Billie
Kruger, Donald Crisp, Maria Ouspenskaya, ford, John Shelton, Reginald Owen, Don-
Albert Basserman. Original screen play by ald Meek, Nat Pendleton, Frank Albertson.
Heinz Herald and Norman Burnside. Di- Screen play by Richard Maibaum and
rection by William Dieterle. Warner Bros. Harry Ruskin, based on play by Georg
Kaiser. Direction by William Thiele.
If Warner Brothers had named this film M. G. M.
simply “Dr. Erlich” and had treated it as
This a comedy of small town life and
is
a biography of the medical genius whose
domestic tribulations and is concerned with
experiments with the use of analine dyes
people who for the most part do not enlist
it would still have been extremely interest-
audience sympathy. The plot hinges on the
ing; but in naming it for Dr. Erlich's dis-
reappearance of a man supposed to have
covery and in focusing interest upon a series
been lost at sea and who returns after in-
of infinitely painstaking experiments, they
surance has been collected for his death. He
have made medical research an exciting ad-
is a weak, “white rabbit” soul, continually
venture and the triumph of ideas more thrill-
abused by his associates and not respected
ing than any man’s personal problems could
even by his family. It is an unfortunate
possibly have been. One follows with in-
vehicle for Frank Morgan’s talents, and
terest the disappointments and achievements
BillieBurke seems miscast as a domineering
of the young Jewish doctor from his first
head of a household. There are a few laughs
experiments with the use of analine dyes
but the trouble seems to be in a disjointed
in diagnosis to his discovery years later of
story which does not have the human touch.
the “Magic Bullet.” It is significant, how-
ever, that the climax of the film is reached Adolescents, 12 to 16 Children, 8 to 12
through a sequence showing a succession Waste of time No
of numbered bottles on a shelf. Although it
is known beforehand that number 606 will •>
provide the answer, the audience sighs with

THE HOUSE OF SEVEN GABLES O O
genuine relief when the successful formula
is at last discovered. George Sanders, Margaret Lindsay, Vin-
cent Price, Dick Foran, Nan Grey. Based
Edward Robinson presents a restrained, on the novel by Nathaniel Hawthorne.
sensitive and thoroughly convincing portrait Adaptation by Harold Greene. Screen play
of Dr. Erlich. Ruth Gordon is just right in by Lester Cole. Direction by Joe May.
Universal.
the role of his self-effacing wife; Albert
Basserman is perfect as Dr. Koch, the older •Sometimes pictures such as this which are
scientist; and Madame Maria Ouspenskaya presented without the eclat of big stars and
isdelectable in a part that is all too brief. elaborately assembled settings are surpris-
The film is inspiring as well as absorbingly ingly satisfactory. Much of the feeling of
interesting. Hawthorne retained in this story of the
is
Adolescents, 12 to 16 Children, 8 to 12 Pyncheons, the strange, half-melancholy,
Mature, but interest- No interest, and shadowed mood with a touch of superstition
ing and worth while too mature
for high school age
and once in a while the warmth of human
kindness and love to make life endurable
in a harshly judging New England com-
THE FARMER'S DAUGHTER O O munity. An early Pyncheon had caused the
Martha Raye, Charlie Ruggles, Richard death of one Matthew Maule to satisfy his
Denning, Gertrude Michael, William Fraw- own greed, and the curse of the victim de-
ley. Screen play by Lewis R. Foster, based
on a story by Delmar Daves. Direction by scended upon the evil-doers of the Pyncheon
James Hogan. Paramount. line for many generations. It is still potent at
the time of this story, the first half of the nine-
Big-mouthed, raucous Martha
awkward,
teenth century when one brother tries to de-
Raye is darling of many movie-goers
the
stroy another to gain posession of the seven-
who may be disappointed to find her more
gables house and the deed to an immense
genteel and more comely than usual. The
land grant which he believes is hidden in
rest of the audience will not accept her
the walls. All parts are well played as if
with or without sugar coating. The play is a
the actors were always aware of the period
variation of the plot about an understudy
of history in which they move. George
who supercedes a temperamental leading
Sanders is a fine, lip-curling villain. Men-
lady, the variation consisting of the substitu-
tion should be made of the change of ap-
tion of a summer theatre for a Broadway
pearance of Margaret Lindsay and Vincent
playhouse. Charlie Ruggles is handicapped
Price who grow older very naturally due to
by banal lines and situations, and the other
both acting and excellence of make-up.
actors get through their parts somehow.
Yes, if they like Raye Not very suitable Yes Too sombre
THE MARINES FLY HIGH O O Toomey, Louis Hector. Screen play by Law-
Richard Dix, Chester Morris, Lucille Ball, rence Stallings and Talbot Jennings, based
Steffi Duna, John Screen play
Eldredge. on novel by Kenneth Roberts. Musical score
by Jerry Cady and Lf. Commander A. J. by Herbert Stothart. Direction by King
Bolton. Direction by George Nicholls, Jr.,
and Ben Stoloff. R. K. O. -Radio. Vidor. M. G. M.
Ahigh-sounding preamble states that this “Northwest Passage” limits itself to the
is a tribute to the brave men who brought a first half of Kenneth Robert's novel, Book 1.
stable government to a certain country be- It tells the story of how the Rogers’ Rangers,
—
low our border now guess which one. The in 1759, carried out a punitive expedition
film is one of those romantic, melodramatic against the marauding Indians, who, during
things with crossed love affairs, two men in the French and Indian Wars, massacred and
love with one girl and two girls in love tortured settlers in the wilderness of the
with one man, also wild pursuits of natives Northern Colonies. It is a story of magnificent
by airplanes and sieges in adobe huts. The achievement over natural and enemy haz-
natives bite the dust, but the white men ards, accomplished by superhuman courage
almost never get hit. Chester Morris is and stamina. The emotional tension mounts
cheeky but brave under fire and Richard Dix to a climax when those Rangers who have
behaves nobly in the crucial moments to gar- stood up under the strain of the terrible
ner his just reward; Steffi Duna plays the march reach the stronghold of the Abenakis
temptress, Lucille Ball the nice girl from and slaughter the entire encampment. The
home. heartbreaking return march is in the nature
Adolescents, 12 to 16 Children, 8 to 12 of an anticlimax, but it is none the less
Fair adventure film Better not moving, for it emphasizes again the bitter
struggles of our forefathers to master their
MY LITTLE CHICKADEE O O surroundings. The film is a fine historical
Mae West, W. C. Fields, Joseph Calleia,
document realistically presenting the de-
Dick Foran, Donald Meek, Fuzzy Knight, termined efforts of the pioneers in the mak-
Margaret Hamilton, Ruth Donnelly. Screen ing of this nation.
play by Mae West and W. C. Fields. Di-
rection by Edward Cline. Universal. Technicolor adds immeasurably to the im-
pressiveness of the picture. Backgrounds
It is our
private opinion, thus publicly
similar to the original virgin country of New
expressed, neither Universal nor the
that
York where the action took place were found
Hays Office can possibly be proud of “My in Idaho, and they are breathtaking in their
Little Chickadee.” We
thought, too, that there beauty. The magnificence of the landscape,
was a code which deftly steered ambitious however, does not dwarf the human element.
authors out of dangerous waters. Whatever Through all the hazardous adventures, the
Mae West and Mr. Fields may have to offer rugged simplicity of the acting gives a feel-
the entertainment world, their forte is cer-
ing of reality rarely felt in this type of film.
tainly not writing screen plays. The one
The role of Major Rogers is magnificently
they have evolved together not only is dull
played by Spencer Tracy. The character is
but also has such amazingly banal dialogue
virile, fearless, ingenious, and withal kind.
that one looks immediately for double mean-
The film gives a splendid example of respect
ings. If the idea of the film is to satirize
for authority and unquestioning acceptance
glorified Westerns, this significance lost
is
of discipline, even though it may involve
in the trite situations, while the lines and the seeming cruelty to the individual.
romantic scenes only emphasize the vulgari-
ties. Miss West’s first picture was a broad The cast includes more than fifty speaking
parts, and it is out any for
difficult to single
and laughable burlesque. It was not senti-
mental and it made no concession to reality. especial praise since they all fit so perfectly
But when the producers allow her to roman- into the picture. Robert Young in the taxing
ticize the character she insists on playing it

role of Langdon Towne, a fugitive from high-
becomes offensive. If one has never seen it handed Colonial justice, and Walter Brennan
possibly its crudeness will inspire startled as his loyal friend, give distinctive perform-
laughter but those who saw “She Done Him ances.
Wrong” can realize that that film was unique “Northwest Passage” is a great tale of
and that the role should now be laid away sensational adventure, terrible physical hard-
in lavendar forever. ships, and frontier cruelty. It is a visualized
Adolescents, 12 to 16 Children, 8 to 12 page of Colonial history showing the stamina
No No
and courage of the men who helped to build
NORTHWEST PASSAGE America, and well worth seeing.
(Book 1— it is
Rogers' Rangers) O O Adolescents, 12 to 16 Children, 8 to 12

Spencer Tracy, Robert Young, Walter Bren- Fine, unless too Too exciting
nan, Ruth Hussey, Nat Pendleton, Regis emotional
ROAD TO SINGAPORE O O and their idiosyncrasies and bitterly warped

Bing Crosby, Bob Hope, Dorothy Lamour, social attitudes are frankly and vividly pre-
Charles Colburn, Judith Barrett. Screen play sented. By force of his personality and his
by Don Hartman and Frank Butler, based super-human ability to guide them in their
on story by Harry Hervey. Direction by
Victor Schertzinger. Paramount. dangerous flight, the stranger, Cambeau,
gradually brings the group to an acknowl-
Bing Crosby and Bob Hope make an en-
edgment of their mis-spent lives and, to all
gaging team and bring fresh, spontaneous The theme is de-
but one, regeneration.
humor to simple little story of no great
a
veloped without preachment or sentimentality.
dramatic stature. Bing, as a laughter loving,
Cambeau, played by Ian Hunter, is serene,
adventurous playboy, heir to a huge steam-
gentle, mystical but powerful, and the sym-
ship concern, refuses to settle down to matri-
bolism is in keeping with the modern interpre-
mony and business. With an equally irre- tation of Christ’s character. Clark Gable, as
sponsible pal he escapes on a freighter and
Verne, has little opportunity to lighten the
disembarks on a South Sea Island. There
sombre effect, but he is capable in a less sym-
they become involved in typical musical
pathetic role than usually falls to his lot.
comedy escapades which are both jolly and
Joan Crawford brings sincerity and dramatic
tuneful. The personalities of the two
verity to a drab role. The other characters
comedians put over this bit of entertainment
are all unique, brutal, clear cut, and splen-
which provides pleasant relaxation from
didly presented. The storm scene is theatrical
serious reflections.
but it makes a stunning background for an
Yes Yes emotional climax.
4
The theme will carry a significant message
SEVENTEEN O O for many, but for others the unusual sur-
Jackie Cooper, Betty Field, Otto Kruger, roundings, violent action, and vicious char-
Ann Shoemaker, Norma Nelsch. Based on acters will make it seem less applicable to
Booth Tarkington's story. Screen play by
Agnes Christine Johnston and Stuart Palmer. present day life. It is a powerful and uncon-
Direction by Luois King. Paramount. ventional film, most suitable for adult ap-
Brought down to date from the horse-and- preciation.
buggy days, Tarkington’s “Seventeen" has a Adolescents, 12 to 16 Children, 8 to 12
Too drab and mature No
certain universality of appeal which makes
it plausible today, although the moderniza- THREE CHEERS FOR* THE IRISH O O
tion is not brilliantly successful. It is prob-
Priscilla Lane, ThomasMitchell, Dennis
ably a play which is more amusing to the Morgan, Virginia Grey, Irene Hervey, Alan
parents of the seventeeners than to those who Hale, William Lundigan, Frank Jenks, Henry
are feeling the first pangs of love and jeal- Armetta. Original screen play by Richard
Macaulay and Jerry Wald. Direction by
ousy, living through experiences which seem Lloyd Bacon. Warner Bros.-First National.
all important. Jackie Cooper fills the part
of William Baxter in a very natural man- Loud and noisy buffoonery and slapstick
ner; Betty Field is attractive but rather too combined with really human comedy provide
obvious as the immature siren. On the whole laughs for all ages. However either the film
it is light and pleasing comedy but not out-
play is badly written or the direction is at
standing. fault, for the theme might have held real
Adolescents, 12 to 16 Children, 8 to 12 appeal had it been toned down to a more
Yes No real interest natural pitch. After twenty-five years on the
police force Patrolman Casey is retired
STRANGE CARGO O O without warning to give place to a younger
Joan Crawford, Clark Gable, Ian Hunter, man and, to make the pill harder to take,
Peter Lorre, Paul Lucas, Albert Dekker, J. a Scotchman! Casey returns home to an
Edward Bromberg,Eduardo Cianelli, John
Arledge, Frederick Worlock, Bernard Ne- anniversary celebration given by his daugh-
dell, Victor Varconi. Based on book "Not ters and his friends, all of whom are expect-
Too Narrow, Not Too Deep" by Richard ing him to announce his promotion. The
Sale. Screen play by Lawrence Hazard.
Directed by Frank Borzage. Produced by adjustment to his changed position and his
Joseph L. Mankiewicz. M. G. M. later interest in ward politics are human
A darkly sombre setting of a penal colony and entertaining in spite of the shouting, the
in South America and the brutal characters brawling, and the absurdly fostered antag-
consistent with the setting, make a surprising onism between the Irishman and the Scotch-
background for the spiritual motif of this man which makes the basis of the plot.
plot. A mysterious and Christ-like stranger Thomas Mitchell and Alan Hale play exag-
joins a group of prisoners determined to gerated characters which are difficult to
escape through the jungle to the sea and recognize. Dennis Morgan is a pleasant con-
freedom. They encounter terrible hardships. trast, awholly delightful suitor for Priscilla
The characters of the men and the one Lane, who, with Virginia Grey and Irene
woman involved are clearly individualized, Hervey, completes the pleasant family group.
In spite of obvious faults, “Three Cheers for YOUNG AS YOU FEEL O O

the Irish’’ is amusing and offers light enter- Jed Prouty, Spring Byington, Joan Valerie,
Russell Gleason, Ken Howell, George Ernest,
tainment for many. June Carlson, Florence Roberts, Billy Mahan,
Adolescents, 12 to 16 Children, 8 to 12 Helen Ericson, Harry Shannon. Based on
Yes Unobjectionable the play "Merry Andrew" by Lewis Beach.
Screen play by Joseph Hoffman and Stanley
Rauh. Direction by Malcolm St. Clair. 20th
VIGIL IN THE NIGHT O O Century-Fox.
Carole Lombard, Brian Aherne, Anne Shir- Here are the Joneses again with new joys
ley, Julian Mitchell, Robert Coote, Brenda
Forbes, Peter Cushing, Doris Lloyd. From and new troubles, not very brilliant, not
the novel by A. J. Cronin. Screen play by very original but so familiar that criticizing
Fred Guiol, P. J. Wofson, Rowland Leigh. them is like talking about the family next
Direction by George Stevens. R. K. O.
door At this particular time Father Jones
A. Cronin's novel presented a dreary
J. is persuaded to sell his drug store and re-
and yet heroic picture of ill equipped English
tire. After a few days of enforced idleness
nursing institutions. The film, using this
he is willing to take the entire tribe to see
background, highlights the personalities
the Fair, but New York proves so full of
rather than the situations and becomes a night clubs, champagne and parasites that
study of a woman’s passionate devotion to the family is glad to go home again. Good
her profession and of her fierce loyalty to a and bad qualities of the production strike a
frivolous younger sister, which causes her
fairly equal balance, but if it is supposed
to assume the blame for an act of criminal
to represent a typical American family one
negligence on the girl’s part. Unfortunately
could wish the worthwhile traits of its char-
her self sacrifice seems unjustifiable, and acters were portrayed in a less comic-strip
audience sympathy is strained to the utmost fashion.
to accept as necessary the situations which
arise to attest the heroine’s fine character Yes Not much in-
and emphasize the high ethics of the medical terest
and nursing profession.
Miss Lombard in a straight dramatic role YOUNG TOM EDISON O O
is excellent, as is also Anne Shirley. Brian Mickey Rooney, Fay Bainter, George Ban-
Aherne in the character of a physician who croft, Virginia Weidler, Eugene Pallette,
Victor Kilian, Bobbie Jordan, J. M. Kerri-
has dedicated his life to service is most gan, Lloyd Corrigan, John Kellog, Clem
convincing. The film though interesting will Bevans, Eily Malyon, Harry Shannon. Di-
have a limited appeal because the theme is rection Norman Taurog. M. G. M.
by
not significant enough to outweigh its de- “Young Tom Edison” is the kind of bio-
pressing qualities. graphical picture which will be greatly en-
Adolescents, 12 to 16 Children, 8 to 12 joyed by Americans of all ages, for it depicts
Too emotional and Unsuitable the boyhood of a man who represents almost
mature
everything that Americans like best to
idealize: grit, ingenuity, intellectual integ-
WOMEN WITHOUT NAMES O <>
rity,and the ability to succeed against great
Ellen Drew,Robert Paige, Judith Barrett,
John Miljan, Fay Helm. Based on a play odds. Mickey Rooney makes the young genius
by Ernest Booth. Screen play by William R. a lovable, understandable boy whose pre-
Lipman and Horace McCoy. Direction by cociousness never seems abnormal, although
Robert Florey. Paramount.
it was sadly misinterpreted by many of the
In the extended list of prison films the townspeople until an act of heroism won him
producers have come a long way from the their approbation. The
incidents of his life
adage: “It primary function of a pic-
is the which were used picture, if not en-
in the
ture to entertain.’’ Morbid, harrowing, tirely accurate, are all based on fact; and
nerve-shattering, these films add nothing but the hokum, obviously introduced for the sake
depression to a world which has too much of dramatic effect, is probably a necessary
suffering and despair. “Women Without addition to this type of picture if it is to have
Names” has a hackneyed, stupid plot. It is wide audience appeal. The whole cast is ex-
the old
tear-jerker about innocent people cellent: Fay Bainter is ideal as the mother;
framed into prison and the shadow of the Virginia Weidler is a most delightful little
death house. Most of the scenes are enacted sister; George Bancroft is admirable as the
behind the bars. At the end comes an escape father whose failure to understand his son
from prison so melodramatic as to be farcical, is nicel" balanced by his love for his family
a visit to a wicked district attorney who hes- and his faith in his wife’s motherly wisdom.
itates to free the prisoner lest he damage his Upon Mickey Rooney’s shoulders rests the
political chances, and the intervention of an greatest responsibility, and he deserves un-
intrepid newspaper editor who bares the stinted praise for an intelligent, restrained
truth. and consistent characterization.
Pernicious Very bad Excellent Good
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MOTION
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REVIEWS
APRIL
19 4 0
FEATURE FILMS
And One Was Beautiful
Beyond Tomorrow
Bill of Divorcement
Black Friday
The Courageous Dr. Christian
Dr. Cyclops
Florian
Free, Blond and Twenty-one
Honeymoon Deferred
The House Across the Bay
Invisible Stripes
It's a Date
It All Came True
Laugh it Off
Little Orvie
Music in My Heart
My Son, My Son
Primrose Path
Rebecca
Shooting High
Star Dust
Too Many Husbands
Virginia City
Viva Cisco Kid
SHORT SUBJECTS
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March of Time No. 8, Vol. VI
Canada at War
Old Hickory
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Vol. XV APRIL, 1940 No. 4
FEATURE FILMS
AND ONE WAS BEAUTIFUL O O BEYOND TOMORROW O O

Robert Cummings, Laraine Day, Jean Muir, Harry Carey, C. Aubrey Smith, Chas. Win-
Billie Burke. Based on the story by Alice ninger, Alex Melesh, Maria Ouspenskaya,
Duer Miller. Screen play by Harry Clork. Helen Vinson, Rod LaRocque, James Hous-
Direction by Robert B. Sinclair. M. G. M. ton, Jean Lawrence. Direction by A. Edward
This is an interesting study in contrast of Sutherland. Screen play by Adele Coman-
character between two sisters: Helen who dini, from an original story by Mildred Cram
and Adele Camandini. Academy Produc-
uses her angelic countenance to obtain selfish
tions. RKO release.
ends and to escape from unpleasant duties;
“Beyond Tomorrow” is added to the list
and Kate who is not so beautiful of face but
of recent pictures dealing with the supernat-
has qualities of strength and fairness and fine
ural and is probably the least successful of
appreciation of the real things of life. There
the group. If the standard set by the first part
is rivalry between them for the love of a
of the picture had been maintained, it might
young man who is forced to pay for a serious
have been a remarkable film, since the mood
accident caused by the selfish sister. The story
for spiritual adventure is subtly maintained
is slightly forced, which might be remedied
and all episodes are beautifully handled, but
by skilful cutting, but the directing is un-
somewhere in midfield it drifts into hack
usually good, and the film becomes a very
writing with involved and unconvincing de-
human portrayal due to the fine acting of
velopment of plot, and the spirits do not al-
Laraine Day and Jean Muir. Billie Burke
ways succeed in remaining ghostly. The three
adds a charming note as the mother of the
old men of the tale, killed in an airplane ac-
two girls.
cident, later return to earth to become guar-
Possibly Too mature dian ghosts of a young couple whose affairs
need mending. Photography deserves praise, THE COURAGEOUS DR. CHRISTIAN <0 O
especially the night scenes with rain and snow Jean Hersholt, Dorothy Lovell, Robert Bald-
outside, firelight within, and lights shining win, Tom Neal, Vera Lewis, Maude Eburne.
Original screen play by Ring Lardner, Jr.,
dimly through the windows. Music increases and Ian McLellan Hunter. Direction by
the emotional appeal, and the acting, which is Bernard Vorhaus. RKO-Radio.
universally good, carries the story through Dr. Christian again crusading,
is this time
some weak moments. to movethe inhabitants of a slum district
Adolescents, 12 to 16 Children, 8 to 12 along the river bank to a more salubrious
Mature theme No interest
location uptown, and he is so much in earnest
that he is willing to marry an unappealing,
BILL OF DIVORCEMENT O O ageing woman to secure the necessary real
Maureen O'Hara, Adolphe Menjou, Fay estate; in the end he is saved from the con-
Bainter, Herbert Marshall, Dame May
Whitty, Patric Knowles, C. Aubrey Smith, sequences of this exaggerated altruism. The
Ernest Cossart, Kathryn Collier, Lauri Beatty. film is crowded with people who fail to add
Screen play by Dalton Trumbo from the a commensurate amount of interest, and the
play by Clemence Dane. Musical score by
Roy Webb. Direction by John Farrow. events are melodramatic and a bit shoddy. As
RKO-Radio. usual, Jean Hersholt is the brave, kindly old
The current “Bill of Divorcement” is a doctor; and Vera Lewis and Maude Eburne
remake of the film, released by R. K. O. in add a delicious strain of comedy.
1932, with Katherine Hepburn, John Barry- Adolescents, 12 to 16 Children, 8 to 12
Passable Too much of the
more and Billie Burke in the cast. Although
seamy side of life
thenew cast may not altogether satisfy those
who saw the former picture, their ability is
DR. CYCLOPS O O
marked and their performance rates high
(Technicolor)
praise. The theme of the play is hereditary Albert Dekker, Janice Logan, Thomas Coley,
insanity. Dread of perpetuating the taint Charles Halton, Victor Kilian, Frank Yacon-
causes a young girl to renounce marriage. elli. Produced by Dale Van Every. Original
screen play by Tom Kilpatrick. Direction
The story is artistically constructed and the by Ernest B. Schoedsack. Paramount.
subject is handled in a restrained and in-
telligent manner. Although an unhappy emo-
The unusual achievement of the use of
Technicolor along with trick photography
tional atmosphere is inherent in the theme,
gives this film novelty. There is a certain
it is somewhat alleviated in the closing scene
fascination in watching miniature human be-
by the suggestion that the girl will eventually
ings scuttle about trying to escape from a
find satisfaction and happiness in helping her
father.
madman who, in conducting an experiment
with radium, has reduced them to a little
Mature and depressing No over a foot in height, but otherwise the film
has little interest. The actors, with the ex-
ception of Albert Dekker, are very ama-
BLACK FRIDAY O O teurish, and the picture has no charm either
Boris Karloff, Bela Lugosi, Stanley Ridges, in incident or in character delineation to
Anne Nagel, Anne Gwynne, Virginia Brissac,
Edmund MacDonald, Paul Fix. Original offset its unpleasantly morbid atmosphere.
screen play by Kurt Siodmak and Eric Taylor. Adolescents, 12 to 16 Children, 8 to 12
Musical direction by H. J. Salter. Direction Insufficent interest No
by Arthur Lubin. Universal. %
Pseudo science, hypnotism, and a Dr. Jekyll FLORIAN O O
and Mr. Hyde theme provide material for Robert Young, Helen Gilbert, Charles Co-
this melodrama. The transplanting of por- burn, Lee Bowman, Reginald Owen, Lucile
Watson, Irina Baronova, Soke Sakall, and
tions of a criminal’s brain to the brain of a Florian. Screen play by Noel Langley,
conventional college professor brings about Geza Herczeg and James K. McGuinness.
amazing consequences. The picture com- Based on novel "Florian" by Feliz Salten.
Direction by Edwin Marin. Produced by
mences with a scene in the death chamber of Winfield Sheehan. M. G. M.
a prison where a man about to be electro-
“Florian” has aroused anticipation because
cuted hands his diary to a newspaper re-
of the aura of glamour which has always
porter. Then are shown the events leading
surrounded the Spanish Riding School of
up to the prisoner’s death. Interest is derived
Vienna. There, through centuries, the fa-
from the working out of a purely hypothethical
mous Lippizan horses of the Imperial Stables
problem. The film is well acted and as con-
have been trained and exhibited and few
vincing as stories of this sort ever are. In
visitors have failed to see and marvel at the
type it is on the order of the so-called horror
magnificent sight. In all the fading glories
film with its morbid atmosphere and scenes
of the Austrian Empire this one ceremony
of violence.
still seems to be respected, and it was hoped
Morbid and ethically Impossible that the film would recreate the actual
confusing technique of training which the horses un-
dergo. However, this is overshadowed by telmaid, furnishes the humor and most of the
emphasis on plot, and in the exhibition of common sense. The film is moderately enter-
Robert Young in his relation to the horse taining though not particularly pleasant in
Florian who is the real hero of the story. retrospect.
True, there are beautiful scenes of racing Adolescents, 12 to 16 Children, 8 to 12
stallions, mares and the fields, and
colts in Misleading No
there is Florian going through his intricate
paces in the ring. These make the film worth HONEYMOON DEFERRED O O
while. But the human story of the love of Edmund Lowe, Margaret Lindsay, Elisabeth
Risdon, Chick Chandler, Cliff Clark, Anne
the commoner, Anton, for the Duchess Diana Gwynn, Julie Stevens, Joyce Compton, Jerry
lacks vitality, and the plot is routine. There Marlowe, Joseph Sawyer. Screen play by
are swift passages of time, for the story be- Roy Chanslor and Eliot Gibbons. Musical
direction by H. J. Salter. Direction by Lew
gins before the World War, rushes through
Landers. Universal.
the war, the revolution in Austria, and then
This is a mystery melo-
run-of-the-mill
to America in a way which necessitates a
lively imagination to follow. There is also
drama done comic vein with no originality
in
a scene of cruelty to Florian which is un-

in plot or characterization. A mysterious
death occurs, and a bridegroom is recalled
called for and out of place in so fictional a
melodrama. from his honeymoon to solve the question
Anton is not a good one for of whether it is murder or suicide. The hu-
The role of
Robert Young, and Helen Gilbert is a cold morous angles are somewhat forced and in
poor taste.
and unemotional heroine. Charles Coburn is
very good as Hofer, the veterinarian devoted No No
to Florian as well as Reginald
to Anton.
Owen’s makeup as Emperor Franz Joseph is
remarkable in giving a visual impression of THE HOUSE ACROSS THE BAY O O
the monarch, but the part itself is not im- George Raft, Joan Bennett, Lloyd Nolan,
pressive, and little of the fascination of Im- Gladys George, Walter Pidgeon, June Knight,
perial Vienna is caught by the production.
Peggy Shannon, Edward Fielding, Eda Mc-
Daniels, William Wayne, Joseph Sawyer.
The film derives interest from the excellent Original story by Myles Connolly. Screen
photography of magnificent animals and from play by Kathryn Scola. Musical score and
direction by Werner Janssen. Direction by
the attention it attracts to the famous Lip-
Archie Mayo. Walter Wanger Production.
pizan strain of horses which incidentally are
now being bred in California. you can sympathize with the wife of a
If
gangster who loves her husband so sincerely
Yes Story confusing that she sends him to Alcatraz to keep him
safe from underworld enemies; if you can
applaud the gangster when he escapes from
FREE, BLOND AND TWENTY-ONE O O prison to strangle his loving wife because
Lynn Bari, Mary Beth Hughes, Joan Davis, he mistakenly believes that she framed him
Henry Wilcoxon, Robert Lowery, Alan Bax- and is carrying on an affair with another
ter, Katherine Aldridge, Helen Ericson, Chick man, you may find this film emotionally
Chandler, Joan Valerie, Herbert Rawlinson. satisfying. It is a good example of senti-
Screen play by Frances Hyland. Musical di- mental trash rather effectively disguised by
rection by Samuel Kaylin. Direction by a fine cast and expensive mountings.
Ricardo Cortez. 20th Century-Fox. Adolescents, 12 to 16 Children, 8 to 12
Most objectionable Impossible
Thedoings of New York’s career girls
sometimes less flatteringly called “gold dig-
gers,” is a subject about which the average INVISIBLE STRIPES O O
person knows little or nothing except as it George Raft, Jane Bryan, William Holden,
is rather glamorously revealed in movies and
Humphrey Bogart, Flora Robson, Paul Kelly,
Lee Patrick, Henry O'Neill, Frankie Thomas,
magazine stories. Whether or not “Free, Moroni Olsen, Margot Stevenson, Marc
Blond and Twenty-one” is accurate, it ap- Lawrence, Joseph Downing, Leo Gorcey,
pears to have some resemblance to real life, William Haade, Tully Marshall. Story by
Jonathan Finn, based on book by Warden
for the characters behave fairly logically Lewis E. Lawes. Direction by Lloyd Bacon.
and consistently. With the background of a Musical direction by Leo E. Forbstein.
“hotel for women” this film depicts a group Warner Bros.
of young women of various types, among This is one of several stories written by
whom are Jerry (Mary Beth Hughes) and prison wardens. It treats of the problem of
Carol (Lynn Bari). Jerry goes crooked all the paroled prisoner, who tries unsuccess-
the way through and finally involves herself fully to go straight. It is grim, realistic and
in an underworld scandal. Carol falls in depressing in the extreme. The principal
love with a worth while young doctor and characters are the ex-convict, Cliff Taylor,
settles down. Joan Davis as Nellie, the ho- his mother, and his weakling brother Tim.
The mother played by Flora Robson is a fine, tricboarders, heavy taxes, and its mortgage.
staunch character, who tries valiantly to help Their respective children seem more of a
Cliff to rehabilitate himself and Tim to keep liability than otherwise. Into this strangely
out of difficulties, but when Tim gets into assorted household comes a gangster to find
trouble and suspicion is directed towards a hideout, and the denouement is a vindica-
Cliff, the tragic ending is inevitable. The tion of the efficacy of wishful thinking.
acting is extremely good, and the picture is The characters introduced are individual-
better than average of its type. ized and are very amusing. Una O'Connor
Adolescents, 12 to 16 Children, 8 to 12 is seen as Maggie, former cook, who with
No No vitriolic sharpness defends her rights to
“Miss Minerva’s” gift. Jessie Busby, as Mrs.
IT'S A DATE O O Taylor, former maid, lives serenely secure in
Deanna Durbin, Kay Francis, Walter Pidgeon, a world where her “stories” all end happily;
Eugene Pallette, Henry Stephenson, Cecilia Grant Mitchell as Rene Salmon, a remittance
Loftus, Samuel Hines, S. Z. Sakall, Fritz man, writes atrocious poetry; Brandon Ty-
Feld, Harry Owens and his Royal Hawaiians.
Original story by Jane Hall and Frederick nan as Mr. Van Diver, is a gentle soul living
Kohner. Screen play by Norman Krasna. in the past. Felix Bressart as the Great
Produced by Joe Pasternak. Direction by Boldoni, is a relic of vaudeville days; Zasu
William Seiter. Universal.
Pitts as Miss Flint, is an old maid with a com-
Deanna Durbin is unusually fortunate in plex about men. All of them are as out of
being placed in pictures which suit her per- date as are the magnificent furnishings of
sonality and which, while recognizing the the ancient house. Ann Sheridan is Maggie’s
romantic growth of a normal young girl, do worldly wise and hard-boiled daughter,
not overstress This is a sparkling, de-
it. chorus girl out of a job. Jeffrey Lynn is
lightful comedy in which Deanna is cast as Mrs. Taylor’s son, Tommy, a struggling com-
Pamela Drake, the ambitious daughter of a poser entangled with the underworld. Hum-
popular actress, who is unwittingly placed in phrey Bogart is Grasselli, a gambler, tough
the position of being her mother’s rival for and brutal, who finds the friendly solicitude
an important stage role. Her way of attempt- of his fellow boarders strangely embarrassing
ing to step aside in favor of the mother who and beyond his power to handle by his usual
does not know what has happened is the methods. All these characterizations are
basis of ridiculously funny situations so clever.
cleverly presented that they seem quite within It is ridiculous fun with appropriate and
the realm of possibility. The story is ex- sometimes racy dialogue, hilarious situations,
cellent, and the cast enters into the action and a musical climax which is skilfully in-
with zest and ability. Kay Francis, Walter troduced. Suspense is well handled. How
Pidgeon and Cecilia Loftus are perfectly literally it follows Louis Bromfield’s original
chosen, and of the others, S. Z. Sakall is plot we are unable to say, but the adaptation
notable as the Viennese playwrite. The beau- has achieved a satirical, farcical effect, and
tiful songs are an integral part of the story it moves rapidly after a rather slow begin-
and Harry Owens and his Royal Hawaiians ning. It is light, amusing entertainment best
are a popular addition. It is a charming, suited for adult enjoyment.
exceptionally entertaining comedy about Adolescents, 12 to 16 Children 8 to 12
pleasant, kindly people, and is a welcome Not recommended: No
contrast to the more sophisticated releases no value
current today.
Excellent Yes LAUGH IT OFF O O
Constance Moore, Johnny Downs, Marjorie
IT ALL CAME TRUE O O Rambeau, Edgar Kennedy, Hedda Hopper,
Ann Sheridan, Jeffrey Lynn, Humphrey Janet Beecher, Cecil Cunningham. Story by
Bogart, Zasu Pitts, Una O'Connor, Jessie
Lee Loeb. Screen play by Harry Clork.
Busley, John Litel, Grant Mitchell, Felix
Bressart, Charles Judels, Brandon Tynan, Direction by Albert S. Rogell. Universal.
Tommy Reilly, The Elderbloom Chorus,
White and Stanley, and the Lady Killers' Age declares a dividend in this film, when
Quartet. Screen play by Michael Fessier four old ladies in a home for aged vaudeville
and Lawrence Kimble, from a novel by actresses find the funds of the institution have
Louis Bromfield. Dance numbers directed
by Dave Gould. Musical director Louis been mismanaged and decide they are still
Forbstein. Director Lewis Seiler. Warner capable of making a living. They enlist the
Bros. -First National. services of a young lawyer, nephew of one
Theplot of this ludicrous farce is built of the quartet, and manage to go back on
upon the premise that if you really believe the stage where they prove that they are
in fairy tales they may come true. Two still able to please their public. The four
elderly family servants have inherited a women have distinct individualities, and
Mid-Victorian mansion and with it, its eccen- there is plenty of good comedy. The picture
isenhanced by the music of Johnny Downs the production verges on melodrama, but the
and Constance Moore and the dancing of acting is so convincing and the direction so
Paula Stone. sensitive that one forgives a certain amount
Adolescents, 12 to 16 Children, 8 to 12 of sentimentality in the leading roles and
Yes Probably would follows with unswerving interest the develop-
not appreciate
the elderly ment of the tragic theme. The story is based
women on the premise that a parent’s unwise and
*« too indulgent love destroys the moral fibre
of his child and leads inevitably to tragedy.
LITTLE ORVIE O <>
Here we see the thesis worked out in the
John Sheffield, Ernesf Truex, Dorothy Tree,
Ann Todd, Emma Dunn, Daisy Mothershed, case of a father who has suffered poverty
Fay Helm, Virginia Brissac, Paul Burns, Del in his youth and who is determined to lavish
Henderson, Fern Emmett, Edgar Dearing, upon his son all the material indulgences
Ray Turner. From the novel by Booth Tark-
ington. Musical score by Paul Sawtell. Di-
that he himself has been denied. The son
rection by Roy McCarey. RKO-Radio Pic- grows up to be a profligate, a liar, and a
tures, Inc. weakling, and ruins not only his own life
The story of how Little Orvie persuaded but the lives of many with whom he comes
his parents to allow him to adopt a dog makes in contact.
the kind of screen entertainment that can be Excellent character delineation makes the
thoroughly enjoyed by people of various ages. story convincing. All the characters who
Booth Tarkington's sympathetic un-
It reflects make up the intricate human background are
derstanding of boy psychology and amusingly vividly real, and the important roles are ex-
pictures the individual foiblesand virtues of ceptionally well interpreted. The changes
a pleasant family group. John Sheffield as which have been made in adapting the
Orvie is a natural appealing little boy. novel to the screen are in most instances
Adolescents, 12 to 16 Children, 8 to 12 probably an improvement. The father, played
Entertaining Yes by Brian Aherne, is a more likable and sym-
palhethic person, and a number of incidents
MUSIC IN MY HEART O O of the book are presented in a manner that
Tony Martin, Rita Hayworth, Edith Fellows, makes them more acceptable to general con-
Alan Mowbray, Eric Blore, George Tobias, cepts of morality. Only in the finale does the
Joseph Crehan, George Humbert. Original film depart from plausibility. The fate of
story and screen play by James Edward
Grant. Direction by Joseph Santley. Co- young Oliver in the book, though possibly
lumbia. too shocking for film audiences, is certainly
Two young people miss a boat: a singer more logical than the screen ending.
on his way to deportation and a young girl Adolescents, 12 to 16 Children, 8 to 12
Requires adult experi- No
on her way to marry a millionaire. After ence to evaluate
this interesting introduction the plot becomes
attenuated and concerns itself with an as-
sorted group of people who live in Mary’s PRIMROSE PATH O O
home. There are some amusing impersona- Ginger Rogers, Joel McCrea, Marjory Ram-
tions. The story serves chiefly as a con- beau, Henry Travers, Queenie Vassar, Joan
necting thread for the songs of Tony Martin Carroll, Vivienne Osborne, Carmen Morales.
Screen play by Allan Scott and Gregory
and the music of Andre Kostelanetz, which is La Cava, adapted from play by Robert L.
excellent. Those who are fond of music and Buckner and Walter Hart. Direction by
uncritical of other elements in a picture will Gregory La Cava. RKO.
find many moments of pleasure. The credit sheet does not mention the fact
Adolescents, 12 to 16 Children, 8 to 12 that “February Hill’’ by Victoria Lincoln is
Yes Too slow the novel from which this film has been made.
Readers of the book will recognize the outline
of the plot as well as the people whose earthy
MY SON, MY SON O O
characters form the skeleton which the new
Madeleine Aherne, Louis Hay-
Carroll, Brian
ward, Laraine Day, Henry Hull, Josephine modifications follow. It is the story of a girl
Hutchinson, Sophie Stewart, Bruce Lester, from “Primrose Hill,” a miserable, pathetic
Scotty Beckett, Brenda Henderson, Teddy part of town shunned by respectable people.
Moorwood. From the novel by Howard
Spring. Musical direction by Edward Ward. Her mother is a prostitute as was also her
Direction by Charles Vidor. Edward Small coarse and cynical grandmother, and her
Production. college bred father is a drunkard, sunk so low
HowardSpring’s long and emotional novel in degradation that he accepts the miserable
is condensed into a screen drama
skilfully living made possible by her mother’s pro-
which in spite of its sombre theme bids fair fession. The girl leaves home when she falls
to be even more popularly appealing than in love, and by deceiving the boy about her
the original. There is still a spendthrift family, succeeds in getting him to marry her.
amount of material in the elaborate plot, and But her past catches up with her and tragedy
.
almost sets her unwillingly upon the “Prim- to the time when the narrator, a charming,
rose path.” It is a sordid pitiful, realistic unsophisticated girl, meets Maxim de Winter,
picture of women unwilling to face a difficult the owner of the estate. Their unusual ro-
economic situation and deliberately choosing mance is pictured, their return to Mandalay,
an unsocial means of livelihood. However, it and the dread problem which arises because of
is very well acted, and its honesty is com- the sinister influence of the spirit of Rebecca, a
mendable for it does not cast a rosy glamour woman who was dead before the story opens.
on the lives of these unfortunate people. Through the eyes of the second wife the
Mamie Adams, the mother, is excellently character of this woman is gradually re-
plaved by Marjorie Rambeau. Queenie Vas- vealed as the gig-saw bits of the plot fit into
sar’s role is thoroughly repellent, but she place and climax in startling melodrama.
plays it in an arresting manner. A little child, Joan Fontaine is perfectly cast. With none
caught in the mire of circumstance, is an un- of the artificial glamour usually allotted to
happy feature of the story. film heroines, she is exquisitely natural and
The plot mainly the love story of two
is unsophisticated. She gives exactly the im-
young persons who cannot escape from their pression suggested by the novel. In dress,
sordid background. Ginger Rogers, as the makeup, and behavior she is the simple,
girl, sacrifices glamour for a simple dramatic charming girl, overawed by the formality and
role which she plays exceptionally well. Joel magnificence of the household she has en-
McCrea is well cast. Henry Travers brings tered, and beaten down by the menace she
the one pleasant note into a singularly depress- cannot analyze. Lawrence Olivier, also, is
ing story. The producers evidently wished the exceptionally fine in the role of de Winter,
film to be judged without regard to the novel, a man defeated by the tragedy he cannot
but those familiar with the book will miss escape.
the deeper insight into character which it The character roles are particularly well
brought out, as well as the curiously affec- played with Judith Anderson enacting the
tionate family relations which held mother, magnificently malevolent housekeeper and
daughter and grandmother together in a Florence Bates giving a clever and original
fierce loyalty. Some of the characters of the performance as the vulgar Mrs. Van Hopper
novel have been omitted and the plot is Others are also noteworthy. The photography
changed in many details, but the film achieves is very fine and the atmospheric score a
maturity in its portrayal of the subject matter. beautiful expression of the varying moods.
Adolescents, 12 to 16 Children, 8 to 12 Those who have read and liked the book
No: no value No will find this an ideal projection of the story
and will be relieved by the slight change in
the ending which lightens the tragedy. The
RECECCA O O production is an exceptionally interesting ex-
Laurence Joan Fontaine, George
Olivier, ample of coordinated talents.
Sanders, Anderson, Nigel Bruce,
Judith Adolescents, 12 to 16 Children, 8 to 12
Reginald Denny, C. Aubrey Smith, Gladys Mature Too mature
Cooper, Florence Bates, Leonard Cary, Leo
G. Carroll. From the novel by Daphne SHOOTING HIGH O <0
du Maurier. Screen play by Robert E. Sher-
Jane Withers, Gene Autry, Marjorie Weaver,
wood and Joan Harrison. Adaptation by
Robert Lowery, Katherine Aldridge, Hobart
Phil MacDonald and Michael Hogan. Mu- Cavanaugh, Jack Carson, Hamilton McFad-
sical score by Franz Waxman and Leo
den, Charles Middleton. Original screen play
Forbes. Direction by Alfred Hitchcock.
by Lou Breslow and Owen Francis. Musical
David Selznick Production. United Artists.
direction by Samuel Kaylin. Direction by
“Rebecca” is an arresting and extraordi- Alfred E. Green. 20th Century-Fox.
nary film again displaying the fine discern- Jane Withers is cast in another of her pert
ment so often found in Selznick Productions. roles in this slap dash western melodrama.
The story is unusual. Taken from the novel As Jane Pritchard, daughter of the mayor
by Daphne du Maurier, it is a psychological of a small western town, she plays match-
study which has been adapted to the screen maker for the benefit of her older sister,
with utmost fidelity to the author’s concept. patches up a feud of long standing between
The casting is flawless, and the direction two of the leading families of the community,
catches perfectly the mood of mystery and helps persuade the townspeople to welcome a
menace which motivates the plot. motion picture company into their midst, and
The opening scenes are of Mandalay, a later assists the sheriff to run the leading
beautiful English castle, while a woman’s man out of town. Added to these exploits
haunting voice describes its exquisite beauty are trick riding and the singing of cowboy
as it stood mellowed by the years, proud and songs by Gene Autry, and a bank robbery.
lovely, with its terraced lawns and gardens Adolescents, 12 to 16 Children, 8 to 12
sloping to the sea. Then the action cuts back Passable Not recommended
STAR DUST O O VIRGINIA CITY O O

Linda Darnell, John Payne, Roland Young, Errol Flynn,Miriam Hopkins, Randolf Scott,
Charlotte Greenwood, William Gargan, May Humphry Bogart, Frank McHugh, Alan Hale,
Seth Hughes, Mary Healy, Donald Meek. Guinn "Big Boy" Williams, John Litel.
Screen play by Robert Ellis and Helen Original screen play by Robert Buckner.
Logan. Based on a story by Jesse Malo, Direction by Michael Curtiz. Music by Max
Kenneth Earl and Ivan Kahn. Direction by Steiner. Warner Bros. -First National.
Walter Lang. Music and lyrics by Mack Here is pictured an incident which is said
Gordon. 20th Century-Fox. to have had a basis of fact in events that
The inside facts about the making of stars took place during the last year of the Civil
by Hollywood are always interesting, and War in 1864. Southern sympathizers in the
“Star Dust” is no exception to the rule. It mining camp at Virginia City, Nevada, at-
is a bright and unpretentious story about a tempted to send out five thousand dollars in
talent scout who searches the highways and gold to replenish the fast dwindling resources
byways for new faces, only to contend against of the Confederate Army. The failure of the
indifference, stupidity, jealousy and politics attempt coincided with the ending of the
in a studio. The boys and girls arrive with war. Errol Flynn, in the role of Union
high hopes, submit to casual training and secret service man, and Randolf Scott as a
hours of makeup and tests, and are sent Confederate officer try to outwit each other,
home again as new ones come to take their and the action provides fast moving, exciting
places. It all seems possible, and it is melodrama. The rowdy camp life and its
human and entertaining. Linda Darnell is followers are pictured with the glamour
a very pretty girl whose acting is nicely which the passing years seem to demand, and
acceptable. John Payne also is convincing the attractive cast invests the film with a
in his boyish role. Roland Young is good, as bright lustre. Though it is a typical action
always, but Charlotte Greenwood is superla- film, not entirely credible in every incident
tive. Scenes of Hollywood will please those and having a love story which lacks vitality,
who do not live within its limits, a good it is nevertheless entertaining except for the
musical score and catchy tunes enliven the many brutally realistic shots of horses fall-
film, and the whole effect is very gay and ing. The outdoor photography is very beau-
entertaining. tiful, and a fine musical score adds to the
Adolescents, 12 to 16 Children, 8 to 12 emotional effect.
Good If it interests Adolescents, 12 to 16 Children, 8 to 12
Exciting, and probably Too stimulating
entertaining for many
TOO MANY HUSBANDS O O VIVA CISCO KID O O

Jean Arthur, Fred MacMurray, Melvyn
Douglas, Harry Davenport, Dorothy Peter- Cesar Romero, Jean Rogers, Chris-Pin
son, Melville Cooper. Columbia. Martin, Minor Watson, Stanley Fields, Nigel
When a young explorer, legally declared de Brulier, Harold Goodwin, Francis Ford,
dead, returns from a desert island and finds Charles Judies. Suggested by character cre-
his wife happily married to his best friend, ated by O. Henry. Musical direction by
unlike Enoch Arden, he moves in with the Samuel Kaylin. Direction by Norman Foster.
couple and confronts the lady with the neces- 20th Century-Fox.
sity of choosing between her two husbands. The Cisco Kid, exponent of chivalrous
This is situation around which “Too
the banditry, still roams the plains followed by
Many Husbands” is written. It is supposed his faithful amigo. In this episode he as
to be humorous and sometimes is, owing to usual rescues a lady in distress, falls in love
the clever lines and the fact that Jean Arthur —
with her but only temporarily, and goes on
does an excellent piece of acting as the ab- his the law still on his trail. The
way with
surdly irresponsible young woman who not lady’s father is a member of a gang of
only can’t make up her mind which husband robbers, and before the Cisco Kid departs
she prefers but won’t even try to. The set- he sees that the gang is dispersed, the bad
tings are on a luxurious scale, complete with father reformed, and the safe future of the
butler, and Jean Arthur looking exception- girl assured. The picture has its quota of
ally pretty and modish seems hugely to enjoy thrillsand beautiful scenery and it moves
her role,but the picture is not altogether along at a good pace. It will probably be
successful in sustaining its mood. It drags a enjoyed by anyone who likes routine western
bit here and there, and sometimes the audi- melodrama.
ence is allowed to feel that the situation is Adolescents, 12 to 16 Children, 8 to 12
intrinsically more pathetic than amusing. Yes Doubtful
Sophisticated, but well No interest
enough handled
SHORT SUBJECTS
BUSY LITTLE BEARS O O OLD HICKORY O O
This was justly given the Academy award The events of the life of Andrew Jackson
for the best one reel short of the year. It is from the war of 1812 through the rest of his
a delightfully original account of the antics career are recounted in this fine Technicolor
of three little bears, a different sort of nature film which adds knowledge and under-
to the
study with beautiful natural surroundings. standing of American history. It touches on
The bears have an innate appeal and hold his wife, his temporary social ostracism and
the interest of the audience as effectively as carries throughout the picture his belief in a
trained entertainers. They fish and search united America, for which he was willing to
for honey, romp and get into real mischief make all sacrifices.
when their love of adventure leads them into Adolescents, 12 to 16 Children, 8 to 12
a human habitation. Very good Yes
Entertaining Delightful
TEDDY, THE ROUGHRIDER O O
MARCH OF TIME NO. 8 VOL. VI This is a vivid account of the life of the
first famous Roosevelt, his political beliefs,
CANADA AT WAR O O his active career, his leadership of the army
An exceedingly interesting if at times grim and his own Rough Riders. He explains his
presentation of Canada’s preparation for a views of trade and preparedness and gives
part in the present world war is depicted in his reasons for seizing the Canal Zone. It
this number of the March of Time. Canada’s ends with an affecting sequence on the death
man power is shown in training for service of his son, Quentin, in the World War. The
machine gunning, gas warfare,
in the fields of film is done in Technicolor, and Sidney
submarine and radio branches with none of Blackmer gives a capable performance as
the pomp and none of the gay deviltry of the Theodore Roosevelt.
preparations for the last war. Everything Adolescents, 12 to 16 Children, 8 to 12
is being done to protect the home shores from
Yes Very good
invasion. The inclusion of President Roose-
velt'sspeech advocating our defense of Can-
ada if attacked seems somewhat unnecessary.
Like other March of Times this has a wealth
of information and is reviewed in a power-
ful manner.
Yes Better not
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Buck Benny Rides Again
Dark Command
The Doctor Takes a Wife
Double Alibi
Flight Angels
Forty Little Mothers
If I Had My Way
Irene
I Was An Adventuress
Johnny Apollo
The Light of the Western Stars
My Favorite Wife
One Million B. C.
On Their Own
The Saint Takes Over
Saturday's Children
Til We
Meet Again
TorridZone
Turnabout
20 Mule Team
Two Girls On Broadway
Typhoon
SHORT SUBJECTS
America's Youth
The Flag Speaks
Home Movies
Medico
Miracle at Lourdes
Northward Ho
Patent Dog Washer
Puss Gets the Boot
The Riveter
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LOS ANGELES BRANCH
EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. Georce Ryall Mrs. Laura O. Vruwink
The Women's University Club, 943 South Hoover Street, Los Angeles, California
Vol. XV MAY, 1940 No. 5
FEATURE FILMS
THE 3ISCUIT EATER O O BUCK BENNY RIDES AGAIN O O
Billy Lee, Cordell Hickman, Promise (the Jack Benny, Ellen Drew,
Eddie Anderson,
dog), Helene Millard, Richard Lane, Lester Andy Devine, Phil Harris, Dennis Day, Vir-
Matthews, Snowflake. Based on a story by ginia Dale, Lillian Cornell, Theresa Harris.
James Street. Screen play by Stuart An- Dance routines by Merriel Abbott dancers.
thony and Lillie Hayward. Direction by Screen play by William Morrow and Edmund
Stuart Heisler. Paramount. Beloin, from a story by Arthur Stringer.
Because of its simplicity of treatment and Produced and directed by Mark Sandrich.
Paramount.
real understanding of both dogs and small
Radio fans of Jack Benny will be de-
boys, this is one of the most charming pic-
lighted by this “Saga of the West” in which
tures of its kind ever made. Billy Lee and
Jack fabricates a story about a western ranch
the colored boy, Cordell Hickman, are abso-
and his prowess as a big ‘he man’ to a girl to
lutely natural, and so too is the dog, Promise,
who, during the first part of his life, is an
whom he is attracted and then finds that he
must live up to his claims. The settings are
object of scorn because he is a “biscuit eater”
elaborate and beautiful, the comedy
or no-good egg-sucker. A runt to begin is fast
and furious, and several remarkably good
with, he is trained by the boys until he is
specialty numbers are interpolated into the
prize-winning material for the Georgia Hunt.
action. The Indian adagio dance is especially
The film has especial interest because it is
spectacular. Rochester is important in the
taken at the pointer kennels in Albany,
fun and Eddie Anderson, in this role, proves
Georgia, with fine authentic backgrounds of
himself to be skillful in dancing as well as
the South. Perhaps the ending should be soft-
in comedy. Carmichael makes several hil-
ened, perhaps several details could be less
frightening for children, but on the whole it
arious appearances as well. The cast is ex-
cellent, amusing, and the whole
the story is
is a delightful and unusual picture.
Adolescents, 12 to 16 Children, 8 to 12 provides an entertaining hour of fun.

Excellent Not for the Adolescents, 12 to 16 Children, 8 to 12
sensitive Good Good
DARK COMMAND O O er, the press and the police are the familiar
Claire Trevor,John Wayne, Waited Pidgeon, ingredients of this film. It is passably enter-
Roy Rogers, George Hayes, Porter Hall, taining because of its lively tempo and well-
Marjorie Main, Raymond Walburn. Based
on the novel by W. R. Burnet. Directed by maintained suspense.
Raoul Walsh. Republic. Adolescents, 12 to 16 Children, 8 to 12
When the Civil War broke out, Kansas, Fair Better not
because of its location, was one
of the states
in which feeling was nearly equally divided
FLIGHT ANGELS O O
betw’een the North and the South, and since
Virginia Bruce, Dennis Morgan, Wayne
the blame for violent raids could easily be Morris, Ralph Bellamy, Jane Wyman, Margot,
attributed to either of the two factions, Stevenson, Dorothea Kent, John Litel. Origi-
nal story by Jerry Wald and Richard Ma-
guerilla warfare flourished. “Dark Com- cauly. Screen play by Maurice Leo. Direc-
mand" tells the story of this period and of an tion by Lewis Seiler. Warner Brothers,
adventurer who led a guerilla band. It does First National.
not, however, succeed in creating an at- This is a romantic tale about an airplane
mosphere that might be considered peculiar stewardess in love with a pilot who has a girl
to that particular time and place. The scen- at every stop. The pilot is grounded because
ario follows the mode of a stereotyped west- of failing eyesight, and his emotional break-
ern melodrama, and the characters, because up furthers the plot. The humor is farcical
of their uninspired parts, are only a little and may not greatly appeal to the young
better than the conventional puppets of rou- women who make up the personnel of the
tine westerns. airline hostesses, but they must credit the
Adolescents, 12 to 16 Children, 8 to 12 public with ability to discount the “movie
Passable No touch." It is a light, fairly entertaining pro-
gram film with a routine plot.
THE DOCTOR TAKES A WIFE O O Adolescents, 12 to 16 Children, 8 to 12
Loretta Young, Ray Milland, Reginald Gard-
Passable No great interest
ner, Gall Patrick, Edmund Gwenn. Story by
Aleen Leslie. Screen play by George Seaton
and Ken Englund. Direction by Alexander
Hall. Columbia Pictures.
FORTY LITTLE MOTHERS O O
Eddie Cantor, Judith Anderson, Rita John-
Here we have return to bedroom farce,
a son, Diane Lewis. Bonita Granville, Ralph
noisy, boisterous and, in the end, incongru- Morgan, Nydia Westman, Baby Quintanilla.
Screen play by Dorothy Yost and Ernest
ously romantic and sentimental. A woman
Pagano, based on story by Jean Guitton.
writer and a brain specialist unwillingly pre- Direction by Busby Berkeley. Produced by
tend, for financial reasons, that they are mar- Harry Rapt. M-G-M.
ried. They live together in bickering uncon- It has become the custom for babies to
geniality in a small apartment and find that steal pictures these days, so that we
are not
the publicity attending the arrangements surprised to find wee Baby Quintanilla doing
brings insoluable difficulties because of the it again. However this fact does not dis-
interest of their friends, relatives, newspaper parage the rest of the cast of this amusing,
reporters and the doctor's fiancee. The action albeit sentimental, farce. Eddie Cantor as a
is broad, the dialogue is racy, and the char- former Phi Beta Kappa man of the 1916
acters unfortunately lose audience sympathy Class of Samford, after twenty odd years is
because of their behavior so that no one cares jobless. In a plausible enough way he sud-
much what happens to them. The cast handle denly finds himself responsible for a baby’s
the plot very well under the circumstances, care and equally unexpectedly appointed to a
and Ray Milland shows a new deftness in his teaching job in a girl’s private school. Of
acting. Edmund Gwenn is particularly good course the baby’s presence must be kept secret
as the doctor’s doting parent. The produc- but he is discovered and the entire student
tion may have general appeal but it is a re- body become self-appointed “little mothers.”
turn to a type of entertainment which we had When the martinet who heads the school
hoped was obsolete. finds out, the fat is in the fire.
Adolescents, 12 to 16 Children, 8 to 12 Eddie Cantor plays a straight role simply
No. No and convincingly. Miss Anderson, lately seen
in “Rebecca,” is a good head-mistress of the
DOUBLE ALIBI O O school and Nydia Westman is droll in an
Wayne Morris, Margaret Lindsay, William eccentric role as her slightly addled assist-
Gargan, Roscoe Karns, Robert E. Keane, ant. The school girls are pretty and youth-
James Burke. Screen play by Harold Buch-
man, Roy Chanslor, Charles Grayson, based ful. Excusable license is taken in picturing
on a story by Frederick C. Davis. Musical school life, for it is all light, diverting enter-
direction by H. J. Salter. Direction by tainment which should appeal to family audi-
Philip Roson. Universal.
ences.
A murder, romance, three suspects, a
a
newspaper woman, a humorous photograph- Good Yes
IF I HAD MY WAY O O them being an attractive woman who is sup-

Bing Crosby, Gloria Jean, Charles Win- posed to charm rich young men and then
ninger, El Brendel, Allyn Joslyn, Claire persuade them to buy jewels which have been
Dodd, Nana Bryant; also Blanche Ring, stolen by her confederates. Eventually, of
Eddie Leonard, Trixie Friganza, Julian El-
tinge, Grace LaRue, Paul Gordon. Screen course, she falls in love with one of her in-
play by William Counselman and James V. tended victims and everyone starts double-
Kern. Produced and directed by David crossing everyone else. The plot is a bit too
Butler. Universal.
implausible even for such lightweight enter-
Thecombined efforts of Bing Crosby, tainment.
Gloria Jean and El Brendel make this tuneful
triflepleasing entertainment. The story is Too much crime and No
inconsequential. The two men are bridge sophistication
workers whose pal is Golden
killed as the
Gate bridge nears completion. They assume JOHNNY APOLLO O O
responsibility for his young daughter and, Tyrone Power, Dorothy Lamour, Edward
through El Brendel’s clumsy bungling, find Arnold, Lloyd Nolan, Charley Grapewin,
Lionel Atwill. Screen play by Samuel G.
themselves owners of a debt-ridden night Engel and Hal Long. Direction by Henry
club. Their way of financing it is fantastic Hathaway. 20th Century-Fox.
but effective. Interest is added by the ap-
“Johnny Apollo’’ is an absorbing picture
pearance of several old time stage and vau- but due to its maudlin sympathy for unde-
deville favorites in the night club scenes.
serving men, it is by no means a good one.
It is gay, melodious and light and has appeal
When a noted stockbroker embezzles the
because it does not take itself seriously. money of people who trust him, his son,
Yes Yes spurned by college friends, turns to gangster
activities as his only means of livelihood, par-
ticipating in large scale robberies and indi-
IRENE O O rectly in murder. Eventually he lands in the
Anne Neagle, Ray Milland, Roland Young,
same prison with his father and in time both
Alan Marshall, May Robson, Billie Burke,
Arthur Treacher, Marsha Hunt. Screen play go free to enjoy implying that while
life,
by Alice Duer Miller from the musical crime doesn’t pay the time, in some in-
all
comedy "Irene." Produced and directed by stances the profits are high. Efficient acting
Herbert Wilcox. R. K. O.
on the part of Edward Arnold as the father
"Irene” is a light Cinderella story about a
and a vivid characterization of the son, alias
shop girl who becomes a fashion model
little
Johnny Apollo, by Tyrone Power, are not
and then masquerades as a prominent visitor
sufficient to make a triumph of unconvinc-
from Ireland. In the end she wins her man
ing roles. Due to high suspense, realistic de-
and her place in the sun. The familiar music
tails, strong atmosphere and a masterly hand
has been woven into the charming score, and
in the direction, the picture has strength and
the theme song, delightfully presented, is fol-
for that reason will be doubly harmful in its
lowed by a swing burlesque which is highly
influence on youth.
entertaining. The picture opens slowly and
some of the dialogue and comedy is forced. Pernicious Impossible
However, Miss Neagle is very effective in the
title role; she has beauty and charm and she
is graceful and lovely in her dance scenes.
THE LIGHT OF THE WESTERN STARS O
Billie Burke is amusing in one of her fluttery, Victor Jory, Jo Ann Sayers, Russell Hayden,
Morri Ankrum, Noah Beery, Jr., Ruth
confused roles. Roland Young and May Rob- Rogers. Based on the story by Zane Grey.
son are excellent. It is light, airy, pleasant Screen play by Norman Houston. Direction
entertainment. by Lesley Selander, Paramount.
Adolescents, 12 to 16 Children, 8 to 12 In a frontier saloon Gene Stewart drinking
Entertaining for girls If interested uproariously, wagers that he will marry the
especially
firstwoman who comes to town. She happens
to be a cool and critical Easterner who spends
I WAS AN ADVENTURESS O O the succeeding months learning to like moun-
tains and sagebrush and the wild and woolly
Zorina, Richard Greene, Erich Von Stro-
heim, Peter Lorre, Sig Rumann, Fritz Feld. inhabitants, while Gene fights his way to so-
Screen play by Karl Tunberg, Don Ettlinger, briety and victory over his many enemies.
and John O'Hara, based on an original pro-
duction by Gregor Rabinovitsch. Musical Wallace Beery, Jr., takes the part of Poco, a
direction by David Buttolph. Direction by young Mexican whose devotion to his master
Gregory Ratloff. 20th Century-Fox. is so sincerely portrayed that his is the best
This is an extremely frothy comedy which performance in the film. The first scenes are
compensates in part for its deficiencies in plot unnecessarily slow, but the tempo increases
by offering one beautiful ballet in a lovely as the play goes on. Much of the action is
setting with Zorina as the premiere danseuse. typical of Western pictures, and there is the
The story involves a trio of swindlers, one of usual splendid outdoor photography; those
who like this class of films will find this one wall the history of the tough, brute-like Rock
interesting but not outstanding. People who learned the gentle, kindly ways
Adolescents, 12 to 16 Children, 8 to 12 of the Shell People through the romance of a
Passable Too much drinking young woman from one tribe with a young
and shooting
man from the other.
MY FAVORITE WIFE O O Passable Too noisy and
Irene Dunne, Cary Grant, Randolph Scott, brutal
Gail Patrick, Ann Shoemaker, Scotty Beck-
ett, Mary Lou Harrington, Donald MacBride,
Granville Bates, Pedro de Cordoba, Hugh ON THEIR OWN O O
O'Connell. Story by Bella and Samuel Spe- Spring Byington, Ken Howell, George Ernest,
wack. Direction by Garson Kanin. A Leo June Carlson, Florence Roberts, Billy Mahan,
McCarey production. R. K. O. John Qualen. Story by Val Buryon, Jack
Based on the Enoch Arden theme, which Jungmeyer, Jr. and Edith Skouras, Direc-
tion by Otto Brower. 20th Century-Fox.
seems to have a popular revival at present,
this farce-comedy is hilariously entertaining.
The family drug store which has supported
the Jones household for many years and was
As in most drama of this type, the plot is
flourishing in the last picture, finally goes
strained at times, but this
is balanced by bril-
on the rocks along with Pa’s health, and the
liant lines and
mirth provoking situations
tribe move out to a bungalow court in Cali-
which the director has pointed up to the
fornia. This venture is successful due to the
limit, and by a clever musical score which
emphasizes the humor. Among the high lights shrewdness of Mother Jones in advertising
are the courtroom scenes with a superlative
for children and pets. The picture is per-
fectly wholesome and quite humdrum with
performance by Granville Bates as the Judge.
a good deal of slap-stick, but those who fol-
The play opens with Nick (Cary Grant)
petitioning the Court establish the
low the fortunes of the Jones clan will admire
to legal
their courage and versatility in this latest
death of his wife who was shipwrecked seven
crisis.
years before. He then remarries. Preposter-
ously, on the same day, the wife returns from
Yes Yes
a desert isle. Nick immediately becomes em-
broiled in a subtle battle of wits while the
two women battle for sole possession of their THE SAINT TAKES OVER O O
George Sanders, Wendy Barrie, Jonathan
mutual spouse, and his peace of mind is not Hale, Paul Guilfoyle, Morgan Conway. Screen
helped when he discovers that his wife was play by Lynn Root and Frank Fenton. Di-
not alone during her enforced exile. The rection by Jack Hively. R.K.O. -Radio.
children, too, are intrigued by the strange The Saint, Quixotic detective who
that
behavior of their father and by the presence makes use of his former
criminal career,
of the lovely lady whom they cannot identify. appears on the scene to help out of a bad
A pertinent comment may be made that the predicament his friend and erstwhile enemy,
cast behave like gracious, well-bred people Inspector Fernack. Fernack has been impli-
throughout their fantastic experiences. cated by a gang of race-track operators who
The story is very skilfully told, and the have been “fixing” the races. Strangely enough
performances are decidedly clever. Mr. these men are murdered one after another
Kanin has deftly brought out all the comedy soon after The Saint arrives, although he is
and gives us a kindly, merry entertainment. not responsible for their fate. This is better
Adolescents, 12 to 16 Children, 8 to 12 than most of the series, with some good dia-
Sophisticated Mature fair acting, and enough humor to
A logue,
offset the grim account of fraudulent dealing
ONE MILLION B. C. O O and death.
Victor Mature, Carole Landis, Lon Chaney, Adolescents, 12 to 16 Children, 8 to 12
Jr., Mamo Clark, Nigel de Brulier. Original Questionable No
screen play by Mickell Novak, George Baker
and Joseph Frickert. Direction by Hall
Roach and Hal Roach, Jr. Hal Roach-United SATURDAY'S CHILDREN O O
Artists.
John Garfield, Anne Shirley, Claude Rains,
Imagination runs riot in a film world of Roscoe Cams, Lee Patrick, Dennis Moore,
prehistoric monsters with blood-curdling George Tobias, Elizabeth Risdon, Berton
Churchill. Screen play by Julius J. and
sound effects and noteworthy trick photog- Philip G. Epstein, based on a play by Max-
raphy. Since the age of reptiles preceded by well Anderson. Directed by Vincent Sher-
many eons the age of man with articulate man. Warner Brothers.
speech, this picture which makes the two “Saturday’s Children” apparently have a
periods coincident is not exactly authentic, but long and dreary way to go in life if Maxwell
it has some remarkable effects. An introduc- Anderson’s prize play is right. It is not a
tion shows mountain climbers seeking refuge happy picture, although the ending gives one
from a storm in a cave, where an old scholar faith that love will find a way for two young
reconstructs from ancient paintings on the people struggling against economic hard-
ships. Anne Shirley plays the girl who falls crooks, as well as Eric Blore, who has been
in love and, at the suggestion of a worldly elevated from his usual butler role to “owner
sister, tricks the young man into marriage. of half New Zealand,” all add color and
Their combined pay checks barely cover the interest to the film. Photography has smooth-
necessities of life. When she is cut from the ness and richness of tone, settings are luxuri-
payroll and his wages are lowered, he bit- ous and the direction is of the highest order.
having allowed marriage to in-
terly resents Adolescents, 12 to 16 Children, 8 to 12
terfere with a promising job in the Philip- Too sophisticated No
pines which he had planned to accept. Her
understanding father’s attempted sacrifice
brings the young couple to an acceptance of
TORRID ZONE O O
James Cagney, Ann Sheridan, Pat O'Brien,
life’s deep responsibilties, if not to its brighter
Andy Devine, Helen Vinson. Original screen
opportunities. Whatever philosophy the stage
play by Richard Macaulay and Jerry Wald.
play outlined seems lost in the picture. The
Directed by Wiliam Keighley. Warner Bros.
characterizations are not profound and no
promise is assured of a lasting solution of Whoever has been thinking that produc-
their problem, for the economic situation re- tions like “Torrid Zone” were safely dead
mains unsolved. It simply leaves two young and buried will be shocked to find that at
people who are about to have a baby accept- least one has been disintered. The “S. A.”
ing the need for each other with the fond of ten years ago seems to have changed its
hope that something may turn up eventually name to “fourteen carat oomph,” but it still
to assure them of a livelihood. Anne Shirley can’t make a dull picture exciting. Ann Sheri-
and Claude Rains are well cast, but John dan is cast as a de luxe tramp who lands at
Garfield is not at his best in this role. The a banana plantation with the intention of
family life presented is unpleasant and little singing in one of the bars, but the bad tem-
seems to be gained by living, however ob- pered manager of the plantation (Pat
jectively, through the experiences unfolded. O’Brien) suspects, as does the audience, jthat
Adolescents, 12 to 16 Children, 8 to 12 she will not limit her activities to singing
No No and he orders her deported. Incidents show-
ing how and why he fails to get rid of her
make up the entire picture and are never
'TIL WE MEET AGAIN O O very interesting, although James Cagney and
Merle Oberon, George Brent, Pat O'Brien,
Ann Sheridan deliver some amusing wise-
Geraldine Fitzgerald, Binnie Barnes, Frank cracks.
McHugh, Eric Blore, Henry O'Neill, George Adolescents, 12 to 16 Children, 8 to 12
Reeves. Story by Robert Lord. Screen play Bad No
by Warren Duff. Direction by Edmund
Goulding. Warner Bros.
In 1932 Warner Brothers made the first TURNABOUT O O

version of this story with Kay Francis and
Adolphe Menjou, Carole Landis, John Hub-
William Powell under the name of “One bard, William Gargan, Verree Teasdale,
Way Passage.” Now as then an unusual
it is Mary Astor, Donald Meek. Screen play by
Mickell Novak, Berne Giler and John Mc-
picture. Two people meet by chance in a
Clain, based on the novel "Turnabout'' by
bar in Hong Kong, both under sentence of Thorne Smith. Direction by Hal Roach.
death, the man convicted on a murder charge, Hal Roach-United Artists.
the girl stricken by an incurable disease of The absurd idea which is the basis of this
the heart. Concealing the facts from each
rather risque farce hardly furnishes enough
other, they cross the ocean on a great liner, material for a feature-length picture. How-
spending halcyon days together, while their ever, considering the fact that Thorne Smith’s
love takes on a rare quality of imperisha- book had its repetitious moments, the film is
bility, defiant of death itself. Because of the
an improvement on the original. A young
leniency of his jailer and the presence of two couple who wished that they might change
confederates on the ship, Dan Hardesty cher- places have their wish granted, in that each
ishes the hope of escape to make a new life
takes the other's form while their voices and
for himself and Joan, until he learns that her personalities remain the same. The results
days are drawing to an end. are ludicrous and sometimes shocking both
Although one melodramatic scene suggests to the other characters of the picture and to
that violent impulses have not been completely Because of its originality and
the audience.
eradicated from Dan’s soul, the part as its highly spiced innuendoes, the film will no
played by George Brent is very satisfying. doubt draw curious audiences who may or
Merle Oberon has a fragile loveliness which may not be disappointed. It belongs to the
give a poignant appeal to the part of Joan. class of films which violate taste rather than
Pat O’Brien as the peace officer, Geraldine ethics.
Fitzgerald as Joan’s friend, Binnie Barnes Adolescents., 12 to 16 Children, 8 to 12
and Frank McHugh of the fraternity of Not recommended No
20 MULE TEAM O O dancing and repartee. Lana Turner, Joan

Walace Beery, Leo Carrillo, Marjorie Ram- Blondell and George Murphy all have attrac-
beau, Anne Baxter, Douglas Fowley, Noah tive personalities and raise the entertainment
Beery, Jr. Screen play by Cyril Hume, E. E.
Paramore and Richard Maibaum, based on content of a pleasant but not too important
a story by Robert C. DuSoe and Owen At- production.
kinson. Direction by Richard Thorpe. Adolescents, 12 to 16 Children, 8 to 12
M-G-M. Fair Too mature
The
best part of this picture is the photog-
raphy of Death Valley with beautiful views
of the mountain rims, the salt flats, the allu-
TYPHOON O O
Dorothy Lamour, Robert Preston, Lynne
vial fans, and the shifting sand dunes. The Overman, J. Carrol Naish, Chief Thunder-
theme of the search for a commercially profit- cloud, Frank Reicher, John Rogers, Paul
able grade of borax ore and the use of the Harvey, Norma Nelson, Jack Carson, Screen
play by Allen Rivkon, based on a story by
famous 20-mule teams in bringing it to the Steve Fisher. Musical score by Frederick
railroad hold the promise of an unusually Hollander. Direction by Louis King. Para-
interesting film, which unfortunately is not mount.
realized. The plot is pure hokum and old It may interest audiences to know that
time melodrama of the daughter-saved-f rom- Miss Lamour wears a lava lava instead of a
the-city-slicker type. It is naive enough not sarong in her current jungle romance, and
to be objectionable, but there is too much that Robert Preston’s drapery is called a
killing and even too much Wallace Beery, pareu. Aside from these innovations, and
whose acting is commendable in smaller doses. the fact that Paramount seems to have aban-
Leo Carrillo, Marjorie Rambeau and Anne doned all attempts to make this latest tropical
Baxter succeed fairly well in making flesh- drama seem plausible, there is nothing un-
and-blood people out of stereotyped characters. expected about “Typhoon.” The heroine is
Adolescents, 12 to 16 Children, 8 to 12 the child of a drunken sea captain who, in a
Fair Too brutal terrificstorm, snaps out of the d.t.’s just in
time to lash his daughter to a raft upon
which she floats to safety. Ten years later
TWO GIRLS ON BROADWAY O O we find her in a jungle “pent house” on an
Lana Turner, Joan Blondell, George Mur-
East Indian island and attended by an as-
tonishingly pleasant chimpanzee named Coco.
Fields and Jerome Chodorov. Direction by Romance commences when she finds Johnnie,
M-G-M.
Jack Cummings.
a rum-soaked beach-comber, and rehabili-
This is an old theme brought up to date, tates him on cocoanut milk. So much for the
with snappy music and costumes and a good plot, which is not so distressing as it sounds.
deal of comedy. The older sister, Molly, is A fabulous East Indian villain who wears
almost too unselfish to be true, as she comes black pearls in his ears is a blood-curdling
to New York to protect her younger sister
menace, and the magnificent technicolored
and ends by donating to Pat her lover as typhoon makes a gorgeous climax. For any-
well as her bid for fame and fortune on the one who is in the mood for extravagant ad-
stage. However, the story serves mainly as venture the picture is good fun.
a framework for the accomplishments of the
various members of the cast in singing and Entertaining Strenuous
SHORT SUBJECTS
AMERICA'S YOUTH O O American youth is still the happiest, healthiest

The March of Time, No. 9, Volume 6. and best cared for in the world.
“Time” presents facts compiled
by the Yes Little interest
National Youth Survey: what young people
from sixteen to twenty-four are thinking THE FLAG SPEAKS O O
about marriage and recreation and the all- This inspiring short gives the history of the
important and elusive job, and what they are American flag, and expresses the high ideals
doing about these things. The effect of en- of democracy which it typifies. It is so well
vironment on the individual is shown, as done that no one can fail to be thrilled by
well as the help given by the Y. M. C. A., the beauty of the scenes and the impressive
the Y. W. C. A. and other organizations, words of John Nesbit.
and the work of the universities. The findings Adolescents, 12 to 16 Children, 8 to 12
are hopeful, that in spite of discouragements Excellent Excellent
HOME MOVIES O O lar pictures, with emphasis on Northwest

Passage, where the site had to be cleared
Robert Benchley pokes fun at the numer-
and an entire village built on the banks of
ous home movie enthusiasts and is funnier
the Payette Lakes in Idaho, with various
than ever. Anyone who has indulged in this
structures which did not appear in the film,
hobby will recognize the mistakes and inep-
such as dormitories, hospital, recreation
titudes of the amateur. The picture reaches
rooms, etc.
a climax when he blows up his cherished
film by lighting a cigarette. Very Yes
Adolescents, 12 to 16 Children, 8 to 12 Interesting
Yes Yes
MIRACLE AT LOURDES O O PATENT DOG WASHER O O

M-G-M miniature. Walt Disney-R.K.O. release.
Most modern doctors realize that faith Donald Duck rigs up an automatic wash-
often plays an important part in the cure of ing machine for dogs. When the first cus-
physical ills; the chief examples of mass heal- tomer misses his bath, the machine turns on
ing of this kind occur at the River Ganges Donald Duck and does a thoroughly hilari-
and at the famed shrine at Lourdes. The ous job. Good spontaneous fun for all ages.
story told here is made more dramatic by the
fact that the patient, a paralytic, is the wife PUSS GETS THE BOOT O O
of a young doctor whose skill and that of his M-G-M cartoon.
colleagues is powerless to cure her. She The characters are three in this ingenious
prays at the shrine at Lourdes, and some and really humorous Technicolor cartoon:
time later, when her husband is in danger the cat, the mouse and the menacing feet of
from a runaway horse, she screams and re- an old colored servant. One
pleased to is
gains the use of her limbs. Interpretation is see the little mouse win, although the rules
left to the audience. were not written by the Marquis of Queens-
Adolescents, 12 to 16 Children, 8 to 12 bury.
Interesting Mature Adolescents, 12 to 16 Children, 8 to 12
Interesting Fun
MEDICO O O
Passing Parade Series. M-G-M. THE RIVETER O O
The part radio plays in carrying expert Walt Disney-R.K.O. release.
medical information to ships at sea which This is a cartoon of Mickey when he enters
are too small to afford doctors is explained in the building trade, sometimes a little hair-
“Medico.” When this word is flashed across raising when he swing from girders on the
the air waves all lanes are cleared for the top of a sky-scraper.
emergency. Even advice to a sea captain on Adolescents, 12 to 16 Children, 8 to 12
Yes Might frighten the
delivering a baby is supplied by remote younger ones
control.
Yes Mature TUG BOAT MICKEY O O
Walt Disney-R.K.O. release.
NORTHWARD HO! O O This is an amusing cartoon of Mickey and
M-G-M miniature. his crew who try to go to the rescue of a
This is a super trailer, showing the great steamer in distress, but somehow cannot get
amount of work involved in great spectacu- there. Full of laughs, especially for children.
SUBSCRIPTION ORDER
BLANK
19
Name
Address.
U. S. POSTAGE
LOS ANGELES, CALIF.
PAID
Los Angeles, Calif.
MOTION
PICTURE
REVIEWS
JUNE
19 4 0
FEATURE FILMS
Alias the Deacon

Brother Orchid
Charlie Chan's Murder Cruise
Curtain Call
Dr. Kildare's Strange Case
Earthbound
Edison, The Man
Four Sons
French Without Tears
Grandpa Goes to Town
La Conga Nights
Lillian Russell
Lucky Cisco Kid
Manhattan Heartbeat
Opened By Mistake
Our Town
Phantom Raiders
Sandy Is a Lady
Ski Patrol
Susan and God
Those Were the Days
Waterloo Bridge
The Way of All Flesh
Wolf of New York
Women in War
You Can't Fool Your Wife

ENDORSED BY
A QUALITY MAGAZINE
For Boys and Girls
STORY PARADE
S tories—Verse—S ongs—Plays
Crafts and Hobbies—Puzzles
MOTION PICTURE
REVIEWS Tran ns

BROWN
eAicuim/nih-
Telephone DRexel 2022, or write Wilsliirc at Alessandria
LOS ANGELES
THE WOMEN'S UNIVERSITY CLUB Vine Street near Hollywood Bled*

HOLLYWOOD
943 Hoover Street
Los Angeles, California Wilshtre at Rodeo

asvraiv mills
MOTION • PICTURE • REVIEWS

LOS ANCELES BRANCH
Mrs. Palmer Cook, Gen’l Co-Chairman Mrs. Laura 0. Vruwink, Gen’l Co-Chairman
EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall Mrs. Laura 0. Vruwink
A ddress all communications to
Vol. XV JUNE, 1940 No. 6
FEATURE FILMS
ALIAS THE DEACON O O farce and brutal realism with a spiritual

Bob Burns. Mischa Auer, Peggy Moran, Den- touch added for good measure. The title
nis O'Keefe, Edward Brophy, Thurston Hall. suggests a bit of cynicism. Edward G. Rob-
Based on the stage play by John B. Hymer inson in the role of a gangster who becomes
and LeRoy Clemens. Screen play by Nat
Perrin and Charles Grayson. Direction by Brother Orchid in a monastery, is, to say
Christy Cabanne. Universal. the least, thought provoking. The plot con-
Bob Burns in this film is a card sharper cerns a “public enemy,” certainly qualified to
posing as a deacon, who redeems himself have a numeral after his name, who retires
partially by causing discomfiture of the to seek “class.” When his cultural adventure
crooked financier.
local Such ethics, using ends in bankruptcy he attempts to reassume
religion as a cloak for gambling, are slippery leadership of his gang. They repudiate him
to say the least. The story is replete with and attempt to murder him. Saved by monks
old time melodrama, and whatever bid the in a monastery he finally decides, after an
picture makes for entertainment is based on interim of settling old scores, to enter the
the comedy of Bob Burns, who manages to sanctuary and join the life of service. Many
make the Deacon a likeable reprobate with a of the farcical scenes are lively and amusing,
few qualities of gold. Those who like his but the brutal realism is a shocking contrast.
particular brand of humor will find him as The handling of the sequences in the mon-
funny as ever. astery is facetious and a bit difficult to ac-
Adolescents, 12 to 16 Children, 8 to 12 cept even in a farce. The incongruity may
No. Bad Standards No be intentional but we question its good taste.
Robinson is good in his role which has no
BROTHER ORCHID O O hint of Dr. Ehrlich in characterization. Ann
Edward G. Robinson, Ann Southern, Humph- Southern is amusing as an unmoral nitwit,
rey Bogart, Donald Crisp, Ralph Bellamy, and Ralph Bellamy has his familiar part as
Allen Jenkins, Charles D. Brown, Cecil Kel- a simple, self-sacrificing romanticist into
laway. Screen play by Earl Baldwin, based
on a Collier's Magazine story by Richard which he manages to inject humor and per-
Connell. Direction by Lloyd Bacon. Warner sonal charm. The film’s general popularity
Bros.-First National. is questionable.
The constant search for novelty in movies Adolescents, 12 to 16 Children, 8 to 12
has resulted in an amazing combination of No No
CHARLIE CHAN'S MURDER CRUISE O O EARTHBOUND O O

Sidney Toler, Marjorie Weaver, Lionell At- Warner Baxter, Andrea Leeds, Lynn Bari,
will, Sen Yung, Robert Lowery, Don Beddoe, Charley Grapewin, Henry Wilcoxon, Eliza-
Leo Carroll, Cora Witherspoon, Kay Linaker. beth Patterson, Russel Hicks, Christian Rub.
Based on Earl Derr Biggers' Charlie Chan Screen play by John Howard Lawson and
Stories. Direction by Eugene Forde. 20th Samuel G. Engel. Based on story by Basil
Century-Fox. King. Music by Alfred Newman. Photog-
raphy by Lucien Andriot, A. S. C. Direc-
Several murders by strangling take place tion by Irving Pichel. Producer Sol. Wurt-
among the members of a cruising party, and zel. Twentieth Century-Fox.
Charlie Chan comes aboard the ship at Hono- “Earthbound” has strange theme which
a
lulu to solve the mystery. Although the plot is not so presented as it might
effectively
is complicated, the director keeps interest have been had the motivation of the charac-
by focusing the attention on one character, ters been more clearly defined at the begin-
and then another, in quick succession, mak- ning. Nick and Ellen are happily celebrat-
ing each one seem individual. Sen Yung is ing their fifth wedding anniversary in the
amusing but rather amateurish as Number Swiss Alps when their second honeymoon is
Two Son. Sidney Toler gives a good im- abruptly interrupted by a wire calling Nick
personation of Chan, bland, witty and wise. to Paris on business. There he is shot by a
Ethical values are negative, as there is mere- former inamorata. His spirit is then bound
ly the solution of a puzzle. to earth until the shocking affair is cleared
Adolescents, 12 to 16 Children, 8 to 12 and the guilt placed.
Yes Too exciting and This trip into the supernatural is not with-
involved
out interest, especially Nick’s effort to reach
through to his wife and help her get the evi-
CURTAIN CALL O O dence which will clear an innocent man.
Barbara Read, Alan Mowbry, Helen Vinson, But his involvement with the other woman
Donald MacBride. Based on story by How- is not sufficiently explained. A strange char-
ard J. Green. Screen play by Dalton Trumbo. acter, the only one who can communicate
Directed by Frank Woodruff. R. K. O.
Radio Pictures, Inc. with him, guides him to an understanding
of his selfish life, and not until Ellen is will-
The old gag about a playwright whose
ing to face facts and clear the situation in
tragedy was so bad that it became success-
spite of the scandal it might create, can she
ful as a farce is used here with minor varia-
receive help from her former husband. Hu-
tions to make a fairly entertaining picture.
Bickerings between a director, a producer
mor lightens this sombre picture, and some
scenes are well handled. Christian Rub gives
and a temperamental leading lady involve a
the best performance in a character bit.
green young authoress in experiences which
convince her that she had better return to No value and Unsuitable
her native small town and a humdrum fi- doubtful interest
ance. Since the laughs are usually at some
one’s expense, the humor is not of the most
pleasing variety.
EDISON, THE MAN O O
Spencer Tracy, Rita Johnson, Charles Co-
Adolescents, 12 to 16 Children, 8 to 12 burn, Henry Travers, Lynne Overman, Gene
Not recommended No Lockhart, Felix Bressart. Screen play by
Talbot Jennings and Bradbury Foote. Orig-
inal story Dore Schary and Hugo Butler.
DR. KILDARE'S STRANGE CASE O O Directed by Clarence Brown. John W. Con-
sidine, Jr., Production. M. G. M.
Lew Ayres, Lionel Barrymore, Laraine Day,
Shepperd Strudwick, Nat Pendleton, Walter The foreword thrown on the screen is a
Kingsford, Alma Kruger. Directed by Har-
old S. Bucquet. Screen play by Harry Rus-
quotation from Emerson: “The true test of
kin and Willis Goldbeck. M. G. M. civilization is not in the census, nor the size
Dr. Kildare, engaging young exponent of

of cities, nor the crops —
no, but in the kind
of man the country turns out.” Thomas Alva
the latest in medical science, who is always
rushing in where more experienced doctors
Edison has exemplified this American ideal.
fear to venture, this time employs his knowl-

The picture “Edison, The Man” will rank
edge to cure a patient of insanity by ad-
among the finest of the biographical films.
It is a reverent and human portrait of a
ministering insulin shock. Audiences who
great man, of his faith in an idea, of his
are fond of Lew Ayers, hospital scenes, and
persistence in overcoming all obstacles and
operations will find much to interest them in
every defeat, the dramatic achievement of
this film. Nevertheless many may question
his vision, and his rise from poverty and
the advisability of supplying the public with
debt to wealth and an acknowledged posi-
medical information which even though ac-
tion as one of the world’s greatest scientists.
curate may be extremely misleading to the
layman.
The picture opens with a replica of Old
Independence Hall where Thomas Edison, at
Needs adult No eighty-two, is being honored on the occasion
evaluation of the Golden Jubilee of light in 1929. It
then cuts back, as the speakers are supposed of the role of Frau Bernle, who loses three
to highlight the story of his life. His first sons, her home, her friends, and almost
opportunity comes when a stock ticker breaks everything that has seemed worth living for,
down during a market flurry. Edison re- yet bravely sets forth to try to make a new
pairs it and is offered a job. However, pre- home in America for the sake of her one
ferring to experiment on a newer type, he remaining son and a grandchild. Quaint
is sent to the Western Union shop where he native costumes and the customs and modes
ultimately perfects the instrument and sells of living in a foreign land are interestingly
it for $40,000, thus getting his first financial pictured and compensate in some measure
start for further experiments. This money for the artificiality of mixed accents and
goes, other successful patents are sold, and faces too familiar to American audiences to
money received is used also toward experi- be altogether convincing in a supposedly
ments on the electric light globe. He is re- foreign cast. Whatever propaganda the pic-
fused loans, and his professional standing is ture contains may be construed as a preach-
questioned, but his loyal assistants stand by, ment against war rather than as an incite-
and after prodigious effort and persistence, ment to America to interfere in European
he achieves success. This is a dramatx affairs.
episode in the film, followed by an equally Adolescents, 12 to 16 Children, 8 to 12
thrilling one when the lighting system is in- Depressing No
stalled in a portion of New York City.
Throughout is woven a tender love story of FRENCH WITHOUT TEARS O O
Edison’s courtship and marriage to Mary Ray Milland, Ellen Drew, Janine Darcey,
Stilwell who stood unfalteringly beside him David Tree, Roland Culver, Guy Middle-
ton, Kenneth Morgan, Margaret Yarde, Tony
through all his trials. Gable, Jim Gerald. Screen play by A. Grun-
The wealth ofavailable material about wald and Ian Dalrymple from the play by
Mr. Edison made an accurate biography Terence Rattigan. Direction by Anthony
Asquith. A David E. Rose production. Para-
possible, and the events of his life needed
mount British Productions, Ltd.
little dramatizing. The action ends when
Mr. Edison is thirty-five, although we have A
novel situation is treated amusingly in
this film taken from the stage play of the
seen him first as an old man at the banquet.
The moving finale comes when, in accepting same name. The scene is a “boarding
school” in France established oddly enough
the plaudits for his scientific accomplish-
for grown up, even middle aged, English
ments, he prays that science may not super-
boys, would-be diplomats, who wish to learn
cede humanity.
the French language in a hurry. They all
Spencer Tracy brings simplicity, sincerity
and great humanness to the role. It is one seem to be having a delightful time going on
of his finest performances among the many
bicycle picnics and to village carnivals, when
he has given the screen. The entire cast is a young woman arrives in their midst and
upsets their routine completely. There is hu-
exceptional. The screen play is dignified and
the direction very fine. It is a dramatic and
mor in the lines as well as in the situation
educational production which is always in-
and the cast is most pleasing and capable.
teresting and extremely entertaining. Adolescents, 12 to 16 Children, 8 to 12
Very sophisticated No
Excellent Excellent
GRANDPA GOES TO TOWN O O
James Gleason, Lucille Gleason, Russel Glea-
son, Harry Davenport, Lois Ranson, Tommy
FOUR SONS O O Ryan, Maxie Rosenbloom, Noah Beery. Di-
Don Ameche,
Eugenie Leontovich, Mary rection by Gus Meins. Republic.
Beth Hughes, Alan Curtis, George Ernest, Grandpa saves his family from dire con-
Robert Lowery, Lionel Royce, Sig Rumann,
Ludwig Stossel, Christian Rub, Torben
sequences when a rumor of a gold strike,
Meyer, Egon Brecher, Eleanor Wesselhoeft, which they unintentionally started, turned a
Directed by Archie Mayo. Original Screen deserted mining camp into a boom town. It
Play by John Howard Lawson. Story by I. A.
is a pleasant family fare.
R. Wylie. Produced by Darryl F. Zanuck.
Twentieth Century-Fox. Adolescents, 12 to 16 Children, 8 to 12
Yes Yes
This picture shows the Nazi “Fifth Col-
umn” activities in Czecho-SIovakia and the
German occupation of a hitherto peaceful LA CONGA NIGHTS O O
village with its distressing aftermath of di- Hugh Herbert, Dennis O'Keefe, Constance
Moore, Ferike Boros, Frank Orth, Eddie Quil-
vided allegiance, bereavement, and desola- lan, Sally Payne, Armida, Joe Brown, Jr.
tion as seen through the eyes of a Czech Direction by Lew Landers. Universal.
mother. Without resorting to sensationalism An incoherent and attenuated plot deals
or hysteria the film presents a deeply mov- with the transformation of a boarding house
ing realization of what the present war has into a night club, giving the cast an oppor-
already meant to European mothers. Miss tunity to indulge in vaudeville skits and
Leontovich gives a masterly interpretation rhumba dancing. Hugh Herbert goes through
his stunt of impersonating all the female role he plays make a sympathetic character
members of his family. While there are a out of a notorious outlaw, who no doubt,
few good sequences, on the whole it is a would prove to be a most uncomfortable per-
noisy and unprofitable performance with son to meet off the screen.
slapstick and cheap ridiculous situations. Adolescents, 12 to 16 Children, 8 to 12
Adolescents, 12 to 16 Children, 8 to 12 A matter of taste Questionable value
Poor Unsuitable %
MANHATTAN HEARTBEAT O O
LILLIAN RUSSELL O O Robert Sterling, Virginia Gilmore, Joan
Alice Faye, Don Ameche, Henry Fonda, Ed- Davis. From a novel by Vina Delmar. Screen
ward Arnold, Warren William, Leo Carrillo, play by Harold Buchman, Clark Andrews,
Helen Westley, Dorothy Peterson, Ernest Jack Jungmeyer, Jr., and Edith Skouras.
Truex, Nigel Bruce, C. Allister, Lynn Bari, Direction by David Burton. 20th Century-
Weber & Fields, Eddie Foy, Jr., Una O'Con- Fox.
ner, Joseph Cawthorn, Elyse Knox, Joan There is nothing very new in the story of
Valerie, Alice Armand. Directed by Irving
Cummings. Screen play by William Anthony a boy and a girl who fall in love, marry, and
McGuire. Musical direction by Alfred New- face the crisis of having a baby, but in this
man. 20th Century-Fox. picture there is a certain naturalness of
No more difficult assignment could be given treatment plus several good characterizations
to ayoung film star than that of impersonat- which make it seem worth while. The two
ing a famous actress who still lives in the leads are attractive young Robert Sterling
memory of older film audiences. “Lillian and Virginia Gilmore. Joan Davis as the
Russell" casts Alice Faye in such a role. The wife’s friend has the most original part. The
film abounds in local color, lavish sets, elabo- wild experience towards the end when Johnny
rately picturesque costumes, meticulously au- substitutes for the test pilot of a plane, is a
thentic backgrounds and properties, and mod- typical Hollywood touch, and one wishes
ernized revivals of old tunes. It is like that there might have been a more normal
other musical films of recent years which solution. It is good entertainment if one is
have attempted to revive the late eighties not in too critical a mood.
and early nineties, especially in its episodic Adolescents, 12 to 16 Children, 8 to 12
story and its failure to awaken more than Little interest No
passing interest in the fortunes of a leading
character who moves through glamorous OPENED BY MISTAKE O O
scenes untouched by time or emotion. It is Charles Ruggles, Janice Logan, Robert
nevertheless pleasing both to the eye and to Paige, William Frawley, Florence Shirley,
the ear and, aside from the opening sequence, Byron Foulger. Direction by George Arch-
ambaud. Paramount.
is handled in good taste.
Adolescents, 12 to 16 scarcely seems necessary to blacken the
It
Children, 8 to 12
Possibly interesting No interest hero’s reputation at the outset by making him
irresponsible and definitely dishonest, since
the beginning has practically nothing to do
LUCKY CISCO KID O O with the plot, and the hero turns out to be
Cesar Romero, Mary Beth Hughes, Dana a decent and fairly intelligent person as the
Andrews, Evelyn Venable, Chris-Pin Martin, reels go by. They go very fast indeed in
Willard Robertson, Joseph Sawyer, John
the mad pursuit of the right owner of a trunk
Sheffield. Original story by Julian Johnson.
Direction by H. Bruce Humberstone. Twen- containing the body of a murdered woman.
tieth Century-Fox. There are several original and colorful situa-
Cesar Romero adds another to his success- tions. Charlie Ruggles as assistant sleuth
ful “Cisco Kid" melodramas in this film supplies the comedy' in his best manner. It is
packed with action, intrigue, romance and a program picture, not outstanding, but guar-
comedy. Costumes of the gay nineties, in anteed to keep anyone from taking a snooze.
which the action is laid, add a note of color
Needs some adult No
to the settings, and picturesque desert coun-
evaluation
try furnishes good background. The Kid,
a bandit, narrowly escapes lynching when
someone appropriates his name in a crime in OUR TOWN O O
which he is definitely not involved. He then William Holden, Martha Scott, Fay Bainter,
Beulah Bondi, Thomas Mitchell, Guy Kibbe,
assumes a Robin Hood role, robbing the rich Stuart Erwin, Frank Craven, Doro Merande,
to relieve the poor, and at last uncovers a Philip Wood, Ruth Toby, Charles Trow-
local criminal gang among the respected bridge. Screen play by Thornton Wilder,
citizens.
Frank Craven and Harry Chandlee, adapted
from a play by Thornton Wilder. Photog-
This Western action melodrama provides raphy by Bert Glennon, A. S. C. Music by
exceedingly light entertainment. The ethics Aaron Copland. Direction by Sam Wood.
are questionable, the law is held up to ridi- A Sol Lesser Production. United Artists.
cule, and the good looks and personal charm “Our Town” is an unconventional and ar-
of the “hero” as well as the Good Samaritan resting picture. It catches the poignant poetic
;
beauty of Thorton Wilder’s play, and the PHANTOM RAIDERS O O

combination of realism and fantasy is deeply Walter Pidgeon, Florence Rice, Donald
moving. The stage play was given on a bare Meek, Joseph Schildkraut, John Carroll, Nat
Pendleton, Steffi Duna. Direction by Jacques
stage, without sets or props. One’s own im- Tourneur. M. G. M.
agination furnished the background. How-
ever the great realism of the screen made this
A ring of crooks who operate by sinking
ships off the coast of Mexico by radio-con-
impractical and the settings have added in-
trolled time bombs finally meet their nemesis
creased artistry to the production. It is the
in the person of the detective, Nick Carter.
story of simple, human
people in a small
Destruction of steamers, entailing a heavy
New England town in the early nineteen
loss of life is not a pleasant basis for a
hundreds, the daily routine of living, birth,
although the mystery is handled in an
—
marriage, death the real drama of life, not
story,
interesting way and there is a certain amount
the spectacular. It points out the appealing
of comedy relief. Joseph Schildkraut makes
significance of commonplace events and sends
one forth with an increased awareness of an unusual and colorful villain and Walter
the importance of each day and the deeper
Pidgeon a suitable Nick Carter. There is a
light love interest which might be dispensed
meaning of life itself.
and credit with, as neither of the women adds much to
It is a beautiful adaptation,
must be given all who collaborated on the the picture.
production. Frank Craven introduces the No indeed
Too ruthless
audience to Grover’s Corners and interrupts
the action to explain the passage of time with
the changes in the town and its inhabitants SANDY IS A LADY O O
throughout the years. By retaining this Baby Sandy, Mischa Auer, Nan Grey, Tom
technique much of the beauty of the original Brown, Eugene Pallette, Billy Gilbert, Ken-
lines has been preserved. It is intimate and neth Brown, Billy Lenhart. Story and screen
play by Charles Grayson. Direction by
warmly human. One feels as though one Charles Lamont. Universal.
were a part of the little town and were
Baby Sandy fills a large part of this fea-
talking to a friend about friends. The set-
ture length filmand always holds her audi-
tings recreate a past which will never come
ence by her sweetness and natural charm.
again, the unmechanized age when women
cooked on ranges, baked their own bread, The story, which is not too strong, relates
the adventures of a baby who escapes from
made clothes, gossiped over the fence, and
her juvenile caretakers while her mother
found their relaxation at church socials. It
brings a faint nostalgia for days when living
goes marketing and finds her way into many
strange and dangerous places. When she
seemed less complex.
climbs along a steel girder sixteen stories
Martha who played in the stage
Scott,
version also, is Emily, and she gives an ex-
above the ground, it is realistic enough to
ceptionally sensitive performance as the in-
bring a pang to the heart of anyone con-
nected with small children. It is mainly
nocent young girl. Others in the cast are per-
farcical, however, and the two other chil-
fectly chosen: William Holden as the boy,
dren, Kenneth Brown and Billy Lenhart, as
Thomas Mitchell and Fay Bainter as the
parents of George, Guy Kibbee and Beulah well as Mischa Auer and Billy Gilbert add
substantially to the fun. If several parts
Bondi as the parents of Emily. The lesser
which are out-and-out slapstick, were de-
roles are equally outstanding. The slight
leted, it would improve the film.
change in ending will seem happier to many Adolescents, 12 to 16 Children, 8 to 12
Yes Might frighten
since it omits the feeling of frustration which young children
the death of Emily had given. >
There are a number of scenes which stand
PATROL O O
SKI
out unforgettably: the touching love scene Luli Deste, Philip Dorn, Samuel S. Hinds,
in the drug store; the talk between father Stanley Fields, Edward Norris, Hardie Al-
bright, Kathryn Adams. Direction by Lew
and son; the wedding preparations; the Landers. Universal.
women coming home from choir practice These are days when it is difficult for
and Emily on the border line, seeing her many endure even the most exceptionally
to
well done war film. “Ski Patrol” is well
beautiful farm and reliving her fourteenth
done. It has fine photography and direction.
birthday. Her will to live, to appreciate life The story is one which might have hap-
to the utmost is a challenge to all of us who pened, and it is treated with understanding,
may perhaps see only too dimly the beauty to and pity for those of all nations who must
die in the horrors of battle. The main char-
be found each day.
acters are three boys, Finnish, Russian and
Mature Too mature to American, who win honors on the Olympic
interest ski teams of 1936 and a few years later par-
—
ticipate in the war in Finland. While the THOSE WERE THE DAYS O <0
Russians are shown as brutal and ruthless William Holden, Bonita Granville, Ezra
in their attack on the tiny country, it is a
Stone, Judith Barrett, Baughan Glaser.
Based on the stories "At Good Old Si-
(
Russian as an individual, who proves himself wash") by George Fitch. Screen play by
capable of heroic sacrifice at the end. The Don Hartman. Direction by Jay Theodore
most interesting sequences show the descent Reed. Paramount.
of parachute troops and the tactics of the ski A very light, gay, exaggerated story tells
patrols in the snow and ice of the mountains. of student life in the early nineteen hun-
Adolescents, 12 to 16 Children, 8 to 12 dreds, as recalled by a judge who acquired
Too terrible Very bad for
a college prankster for a son-in-law. Petey
them
Simmons, an egotistical freshman, finds him-
self in a mounting tide of trouble, from which
SUSAN AND GOD O O he can find no escape except making love to
Joan Crowford, Frederic March, Rita Quig- the judge’s daughter; this plan backfires. The
ley, Ruth Hussey, Rose Hobart, John Carroll,
Nigel Bruce, Bruce Cabot, Constance Col- action is a little slow but those who remem-
lier, Norma Mitchell. Based on the play by ber the costumes and the hair dressing and
Rachel Crothers. Screen play by Anita Loos. the songs of that time will experience a
Direction by George Cukor. Hunt Strom-
berg Production. M. G. M. nostalgia for those good old peaceful days.
When Susan Trexel becomes interested in Young moderns will wonder if life could
a new religious cult on one of her frequent ever have been like that.
jaunts to Europe, she returns to her neglected Adolescents, 12 to 16 Children, 8 to 12
Amusing Little interest
family enthusiastically to thrust her “discov-
ery of God” upon her gay and shallow social
clique. They are irritated by her preach- WATERLOO BRIDGE O O
ments. Her husband and young daughter are Vivien Leigh, Robert Taylor, Lucile Watson,
greatly in need of spiritual motivation in Virginia Field, Maria Ouspenskaya, C. Au-
their lives and, believing her sincere, they brey Smith. Screen play by S. N. Behrman,
Hans Rameau, and George Froeschel. Based
make an effort to remodel their way of living.
on the play by Robert E. Sherwood. Sidney
But Susan, completely absorbed in her own Franklin Production. Direction by Mervyn
exhibitionism, is indifferent —
even hostile LeRoy. M. G. M.
and ignoring them, sets busily to work run- With the sickening reality of totalitarian
ning disastrously the lives of her resentful war in Europe, it is well that Robert Sher-
friends. In the end the idealism of which she wood’s play of the last great war has no
prattles becomes a boomerang. In spite of scenes of the battlefield and that it possesses
herself, she is lifted out of the chaos caused enough of the flavor of times past to make
by her selfishness and vanity, and her hus- it bearable. It tells the story of two young
band and daughter are made happy in the people who meet on Waterloo Bridge and
security of a normal home. seek shelter from an air raid, a British officer
It is a sophisticated comedy which sharply and a wistful, childlike ballet dancer who
ridicules those casual and shallow thinkers expects little of life and for that reason finds
who parade the form but do not express his love almost too wonderful to believe. Into
the principles of religion. Whether the de- the few hours remaining before he leaves for
nouement gives a feeling of sincerity will France, is crowded more happiness than
depend upon individual reaction, but not many find in a lifetime. Later ignored by
intended as a criticism of any sect or trend his family and believing him dead, she feels
in thinking, the plot emphasizes the necessity that nothing matters and turns to a way of
for honesty and living up to the rules in a livelihood which can only bring tragedy.
practical application to meet the needs under- The ethics are clearly defined, and the girl,
lying human relations. Satire is at times as the man, and his mother all suffer, not only
effective as preachments. because of the obvious defiance of social
The film version follows very closely the standards, but also for those subtler cruelties
story as produced on the stage and loses which society does not always recognize in
none of its pungency of characterization in human relationship.
the hands of the competent cast. Miss Craw- The screen version has been changed from
ford’s performance shows her in a new type the original but is still an appealing and
of role which should do much to enhance emotional love story. The girl is idealized
her popularity. Fredric March gives a fine to a greater extent, and by making the man
interpretation as does Rita Quigley. The come from a higher social class, the well
others are little more than background to known barrier of English “family tradition”
this trio. The direction is notably good. The is introduced to glamorize the tragedy. It is
picture will appeal to the more sophisticated gratifying to see Vivien Leigh in a part the
audience taste. antithesis of Scarlett, and to find that she
Adolescents, 12 to 16 Children, 8 to 12 does it equally well. She is lovely as the
Very sophisticated No emo-
estatic young girl and has a deeply
Needs adult
evaluation tional appeal in the serious scenes, the more
effective because of her truly English re- and make the father’s lonely existence seem
straint. Robert Taylor proves himself a even more tragic.
much finer actor than he has been in the
Very emotional No
past and his performance, vital but never
overdone, should rank him with the best.
Virginia Field gives a fine interpretation as WOLF OF NEW YORK O O

Kitty, and Maria Ouspenskaya, Lucile Wat- Edmund Lowe, Rose Hobart, James Stephen-
son and C. Aubrey Smith are worthy of spe- son, Jerome Curran, William Demarest, Ed-
cial praise. Photography, musical back- ward Gargan. Original story by Leslie T.
White and Arnold Belgard. Direction by
ground, and acting and direction combine
William McCann. Republic.
to present a finished product.
This is an unpretentious but entertaining
mystery story, well acted and directed.
Too mature and No
emotional Adolescents, 12 to 16 Children, 8 to 12
Yes Mature
THE WAY OF ALL FLESH O O WOMEN IN WAR O O

Akim Gladys George, William
Tamiroff, Elsie Janis, Wendy Patric Knowles,
Barrie,
Henry, John Hartley, Marilyn Knowlden, Mae Clark, Dennie Moore, Dorothy Peter-
Betty McLaughlin, James West, Darryl Hick- son, Barbara Pepper. Original screen play
man, June Hedin, Norma Nelson, Tommy
by Hugh Herbert and Doris Anderson.
F.
Bupp, Muriel Angelus. Screen play by Len-
Direction by John Auer. Republic Studios.
ore Coffe. Based on story by Lajos Biro
and Jules Furthman. Directed by Louis King. The Great War of today, or as it was in
Paramount. 1939, is the background for this story, but
Still an effective emotional drama, though except for the emotional stress which any
perhaps rather old-fashioned in its senti- suggestion of its possibilities makes upon an
mentality, “The Wayof All Flesh” comes audience, the actual scenes of conflict do not
again to the screen. Those who saw Emil give an impression of great reality. The
Jannings in the leading role and who re- title more aptly applies to the spiritual
member his characterization as one of the struggle between the women in the group:
unforgettable screen portraits will find Akim one girl’s battle against the prejudice of the
Tamiroff less impressive, although he gives a women with whom she is thrown; the ef-
first class performance. forts of her mother to affect discipline in
Paul Kriza, played by Akim Tamiroff, is her; and the girl’s final spiritual regenera-
the model husband and father, a respected tion. This has definite human interest. It is
citizen in his home town, and the holder of not a glorification of women’s part in war,
a responsible position in a bank. He is sent but rather an individual case study. Pamela,
to New York on a business mission to de- a daughter of a broken family, who has never
liver some securities. He unwittingly falls known her mother, and who has no respect
into the hands of a confidence gang, succumbs for either parent, is tried for manslaughter.
to the flattery of an unscruplous woman, The audience appreciates her innocence, but
makes merry, and comes to, minus his beard, she is her own worst enemy at the trial be-
his securities, and his self-respect. When he cause of her apparent lack of feeling and
reads a newspaper account of his heroic and her bitter outbursts which give rise to terrible
honorable death, after what has really hap- publicityand general prejudice. Her mother
pened, he realizes he cannot return to his unknown to her, is an army nurse. She
home and family. Thenceforth his life is one saves Pamela by enlisting the sympathy of the
of wandering expiration of his sins. While Court in the plan of having her enrolled
it is undoubtedly salutary to believe that vice in a Red Cross unit en route to the front.
is always punished, to the mature mind aware The conflict of personalities, the sane de-
of human frailty, the price paid by Krisya votion of the mother, and the girl’s regenera-
for his brief weakness seems disporportion- tion are interestingly portrayed. The disre-
ate. The scenes of family life are delightful gard of military rules may perhaps be over-
looked for the human touch. Wendy Barrie YOU CAN'T FOOL YOUR WIFE O O
Lucille Ball, James Ellison, Robert Coote,
is excellent as Pamela. She displays a sym- Virginia Vale, Emma Dunn, Elaine Shepard,
pathetic understanding of the conflict emo- William Halligan, Oscar O'Shea. Screen play
by Jerry Cady from a story by Richard Car-
tions demanded by the role, and successfully roll and Ray McCarey. Musical score by
Roy Webb. Directed by Ray McCarey. R. K.
avoids sentimentality. It is a pleasure to see
O. Radio Pictures, Inc.
Elsie Janis on the screen. Her screen tech- To drive away wartime blues this absurd,
nique falters at times, but she is sincere, and somewhat risque farce may prove effective.
definitely an asset. Others In it a young married couple, about to part
her personality is
because of a dreadful mother-in-law, are
in the cast are good, especially Mae Clark reconciled in spite of the blundering assist-
in a tragic part. The film is interesting and ance of the husband's well-meaning business
not too emotional in spite of the background acquaintance. The plot which may have bor-
of war.
rowed some of its angles from “The Guards-
man” is an entertaining one, and the cast is
unusually good for such an unpretentious
Questionable value No picture.
Adolescents, *2 to 16 Children. 8 to 12
No No
INDEX . . . JANUARY through JUNE, 1940

A G
Adventure Diamonds
in February The Ghost Comes Home March
Alias the Deacon June Gone With the Wind January
All Women Have Secrets January Goose Step February
And One Was Beautiiul April Grandpa Goes to Town June
Granny Get Your Gun February
B The Grapes of Wrath February
Balalaika January Green Hell February
Beyond Tomorrow April Gulliver's Travels January
Bill of Divorcement April
The Biscuit Eater May H
Black Friday April He Married His Wife February
Blondie on a Budget March Henry Goes Arizona January
The Blue Bird February High School February
Broadway Melody ol 1940 February His Girl Friday January
Brother Orchid June Honeymoon Deferred April
Brother Rat and a Baby January The House Across the Bay April
Buck Benny Rides Again May The House of Seven Gables March
The Hunchback of Notre Dame January
C
Calling Philo Vance February I
Charlie Chan's Murder Cruise June If I Had My Way May

Charlie Chan in Panama March The Invisible Man Returns February
Charlie McCarthy. Detective January Invisible Stripes April
Chasing Trouble February Irene May
A Child Is Born January It's a Date April
City of Chance January It All Came True April
Congo Maisie January I Take This Woman February
The Courageous Dr. Christian April I Was an Adventuress May
Curtain Call June
J
D Johnny Apollo May
Dark Command May Judge Hardy and Son January
Dr. Cyclops April
Dr. Kildare's Strange Case June L
The Doctor Takes a Wife May La Conga Nights June
Dr. Erlich's Magic Bullet March Laugh It Off April
Double Alibi May The Light of the Western Stars May
The Light That Failed January
E Lillian Russell June
The Earl of Chicago January Little Old New York February
Earthbound June Little Orvie April
Edison. The Man June Lucky Cisco Kid June
Everything Happens at Night January
M
F Manhattan Heart Beat June
The Farmer's Daughter March The Marines Fly High March
The Fighting 69th January Married and in Love January
Flight Angels May Mexican Spitfire January
Florian April Music in My Heart April
Forty Little Mothers May Mutiny On the Blackhawk February
Four Sons . June My Favorite Wife May
Free, Blondand Twenty-one April My Little Chickadee March
French Without Tears June My Son, My Son April
N Twenty Mule Team May

Northwest Passage March Two Girls On Broadway May
Two Thoroughbreds January
O Typhoon May
Of Mice and Men January
One Million B. C May V
On Their Own May Vigil in the Night March
Opened by Mistake June Virginia City April
Our Town June Viva Cisco Kid April
Phantom Raiders June
Pinocchio February W
Primrose Path April Waterloo Bridge June
R The Way of All Flesh June
Wolf of New York June
Raffles January Women in War June
Rebecca April Women Without Names March
Remember the Night January
Road to Singapore March Y
S Young As You Feel March
Sandy Is a Lady June You Can't Fool Your Wife June
The Saint's Double Trouble February Young Tom Edison March
The Saint Takes Over May
Santa Fe Marshal February SHORT SUBJECTS
Saturday's Children May
Seventeen March America's Youth May
The Shop Around the Corner January The Blue Danube . January
Shooting High April Busy Little Bears April
Sidewalks of London February The Flag Speaks May
Slightly Honorable January Home Movies May
Ski Patrol June March of Time No. 5, Volume VI,
Susan and God June "Crisis in the Pacific" January
Star Dust April March of Time No. 8, Volume VI,
Strange Cargo March "Canada At War" April
Swanee River January Medico May
Swiss Family Robinson February Mighty Hunters February
Miracle At Lourdes May
T Northward Ho! May
Old Hickory April
Those Were the Days June Patent Dog Washer May
Three Cheers for the Irish March Puss Gets the Boot May
'Til We Meet Again May The Riveter May
Too Many Husbands April Teddy, the Roughrider April
Torrid Zone May Tug Boat Mickey May
Turnabout May


19
Name
Address.
U. POSTAGE
The Women's University Club S.

LOS ANGELES, CALIF.
PAID
Los Angeles, Calif
MOTION
PICTURE
REVIEWS
JULY
19 4 0
FEATURE FILMS
All This and Heaven Too

Andy Hardy Meets Debutante
Anne of Windy Poplars
The Captain a Lady
Is
Meets the Women

Dr. Christian
Cross Country Romance
The Ghost Breakers
Girl in 313
Love, Honor, and Oh, Baby
Maryland
Millionaires in Prison
The Mortal Storm
My Love Came Back
New Moon
Private Affairs
Safari
Street of Memories
Three Faces West
Tom Brown's School Days
Untamed
You're Not So Tough
SHORT SUBJECTS
Information Please
Seige

ENDORSED BY
MOTION * PICTURE « REVIEWS

LOS ANCELES BRANCH
EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. Georce Rtall Mrs. Laura O. Vruwink
Vol.XIV JULY, 1940 No. 7
FEATURE FILMS
ALL THIS AND HEAVEN TOO O O ginning and end of the picture give a sug-
Bette Davis, Charles Boyer, Jeffrey Lynn, gestion of a happier life for Henriette in the
Barbara O'Neill, Virginia Weidler, Helen New World.
Westley, Walter Hampden, Henry Daniell, Every part is well played. Bette Davis
Harry Davenport, Geo. Coulouris, Montagu
Love, Janet Beecher, June Lockhart, Ann
shows quiet strength and beauty and deep
Todd, Richard Nichols, Fritz Leiber. From tenderness, Charles Boyer has full under-
the novel by Rachel Field. Screen play by standing of the French nobleman’s character,
Casey Robinson. Music by Max Steiner. Di- and in every way from his appearance to his
rection by Anatole Litvak. Jack L. Warner
Production. Warner Bros. lightly slurred accent isclose to perfection.
Seldom has a novel been transferred to the
Barbara O’Neill gives a vivid impression of
screen so successfully as Rachel Field’s story the self-tortured duchess. If Jeffrey Lynn
of her own great-aunt, Henriette Desportes,
seems negative, it perhaps because he is
is
who served as governess in the family of the linked to the main plot as an observer. The
Due de Praslin almost a hundred years ago numerous children good with-
in the cast are
and became an unhappy adjunct in the trial out exception; Virginia Weidler is a
little
of that nobleman for the murder of his wife. seasoned actress, June Lockhart has a wistful
“Do you come into this household by your appeal, and Richard Nichols as the four-
own free will?” asks the ancient servitor
year-old Reynold is an exquisite child who
when she enters the massive doors and looks like a little French boy and talks like a
ascends a staircase where the shadows from real child.
It is a long picture, and the pace is leisurely
the windows project a pattern of spider webs
upon the wall. It is a household of surging but not too slow if one is to appreciate the
passion and hatred, and in it the young gov- fine composition of the scenes, the mellow
erness marks lighting, the rich strains of Max Steiner’s

off a circle of serenity and
strength, providing a refuge for the four music which heighten the emotional effect.
children and the duke himself. In the end Great praise is due Anatole Litvak, who also
the baleful influence of the duchess is too directed “Mayerling.” Here, as in that film,
strong for them and results in the tragedy there is a haunting beauty of another land,
which echoes through France and has some another time, and of a love strong enough to
bearing on the downfall of the king. For- be remembered when the hearts that held it
tunately the latter part of the book, which are gone.
lacked vitality, is omitted, although the be- Mature No
2
ANDY HARDY MEETS DEBUTANTE O O Louise

Clork.
Forsslund.
Direction
Screen play by Harry
by Robert B. Sinclair.
Lewis Stone, Mickey Rooney, Cecilia Parker, M.-G.-M.
Fay Holden, Judy Garland, Ann Rutherford,
Diana Lewis, Sara Haden. Direction by Geo. This remake of an old silent film is de-
B. Seitz. M.-G.-M. signed for the comedy which arises when a
Andy is still having “girl-trouble,” and in hardy sea captain, after cheating in order to
claiming acquaintance with New York’s No. 1 be able to buy a place for his wife in an Old
debutante, he almost takes on more than he Ladies’ Home, finds himself in it too, and
can handle. It is little Betsy Booth, whom known as “Old Lady 31.” His embarrass-
Andy overlooks in his scheme of life, who ment acute, and the sentimental attentions
is
allows him to save his face with the home- of the other inmates sting him to revolt. For-
town school gang and to ruin their plan to tunately an opportunity arises which allows
make him ridiculous. Betsy is delightfully him to recapture his manly esteem and per-
played by Judy Garland. Mickey Rooney’s mit a melodramatic solution of his financial
acting is more subdued than it used to be in difficulties.
the earlier Hardy films, and he presents a It is a naive presentation in which Charles
more normal youth. However, his role seems Coburn carries the load to make it entertain-
at suspiciously unsophisticated, and
times ing. He is well cast. Although excellent
when the manager
of Club Sirocco suggests actresses appear in character roles, the story
that Andy needs a sound spanking there were is too obvious in treatment to have other than
those in the audience who were heard to slight interest.

murmur a fervent “Amen.” While the pic- Adolescents, 12 to 16 Children, 8 to 12
ture drags in places, this scene is definitely No appeal Boring
not slow. On the contrary!
However, the film fare.
is Lewis
good
CROSS COUNTRY ROMANCE O O
Gene Raymond, Wenry Barrie, Hedda Hop-
Stone is splendid, as usual, as the ideal father per, Billy Gilbert, George P. Huntley, Berton
who tries to explain to the dejected adoles- Churchill. Direction by Frank Woodruff.
cent that “class, money, and society” are not RKO-Radio.
necessary in America where brave men The cinema audience will recognize the
fought to give all citizens equal opportunity pattern of “It Happened One Night,” which
in a democracy. has recurred at intervals ever since that
Adolescents, 12 to 16 Children, 8 to 12 highly successful picture was made. In this
Good Yes variation the spoiled heiress escapes on her
wedding day in a flimsy concoction of un-
ANNE OF WINDY POPLARS O O derthings and pursues a serious-minded young
Anne Shirley, James Ellison, Henry Travers, doctor across the continent in his auto trailer.
Patric Knowles, Slim Summerville, Elizabeth It is funnier than one anticipates. As the
Patterson. From the novel by L. M. Mont-
gomery. Direction by Jack Hively. RKO young doctor, Gene Raymond has more dig-
Radio. nity than usual, which makes him more at-
A
change of scene carries Anne, formerly tractive and at the same time more vulnerable
of Green Gables, to a small town ruled by a to the sallies of Wendy Barrie, who handles
stiff-necked family by the name of Pringle her part with accent on real comedy. Billy
who bitterly resent her appointment as vice- Gilbert has a laughable scene at the lunch
principal. It requires patience, zeal, even counter. On the whole the picture has enough
heroism, to win a place in their esteem. The good points to make it acceptable in the light
film has a modicum of the quaintness and entertainment field.
charm which endeared L. M. Montgomery Adolescents, 12 to 16 Children, 8 to 1
No! Features No
stories to young readers of three decades ago, irresponsibility
and Anne Shirley and the little girl, Joan
Carroll, perform their parts with sincerity, DR. CHRISTIAN MEETS THE WOMEN O
but the plot lacks probability, and most of Jean Hersholt, Dorothy Lovett, Edgar Ken-
the characterizations are vague. Considering nedy, Rod LaRocque, Frank Albertson, Mari-
the number of people on the sets and the lyn Merrick, Maude Eburn. Original screen
play by Marion Orth. Direction by William
number of local events recorded, the picture McGann. RKO-Radio.
is singularly lacking in dramatic force. A quack doctor with a quick reducing
Adolescents, 12 to 16 Children, 8 to 12 method wins over the women of Dr. Chris-
Yes Passable
tian’s small town. The serious illness of a
young girl who has followed the get-thin
THE CAPTAIN IS A LADY O O diet too assiduously calls for prompt help,
Charles Coburn, Beulah Bondi, Virginia Grey, and Dr. Christian’s sound theories and ability
Helen Broderick, Billie Burke, Dan Dailey, awaken the townspeople to their folly. The
Jr., Helen Westley, Marjorie Main, Cecil
Cunningham. Based on the play "Old Lady story lacks the wit and subtlety of effective
31" by Rachel Crothers, and the novel by satire, and the melodramatic climax is out of
mood with the farcical tone of the previous LOVE, HONOR, AND OH, BABY O O
scenes. It may entertain the adolescent audi- Wallace Ford, Kathryn Adams, Mona Bar-
rie, Donald Woods, Warren Hymer, Marc
ence, but it will hardly impress with its “mes- Lawrence, Hobart Cavanaugh. Screen play
sage,” for although that message is a by Clarence Upson Young, adapted from
wholesome warning against quackery, its de- original story by Elizabeth Troy. Direction
by Charles Lamont. Universal Studios.
livery is tiresome.
The title has practically nothing to do with
Passable Uninteresting the plot of this film, but it serves as well as
any other for the series of ridiculous situa-
THE GHOST BREAKERS O O tions it embellishes. The hero, jilted in love,
Bob Hope, Paulette Goddard, Richard Carl- hires a gang to put him out of his emotional
son, Paul Lukas, Willie Best, Pedor de Cor- misery so that the suicide clause in his in-
doba, Virginia Brissac, Noble Johnson, An- surance policy may be evaded. When un-
thony Quinn. Screen play by Walter DeLeorj
based on play by Paul Dickey and Charles
expected events cause him to change his mind
W. Goddard. Direction by George Marshall. about the plan much footage is spent con-
Musical score by Ernst Toch. Paramount. vincing the gang to let him alone. Enjoyment
Escapist literature has a place in life and will be a matter of taste.
certainly in a world gone mad, escapist films Adolescents, 12 fo 16 Children, 8 to 12
should play a helpful role as well. “The No No
Ghost Breakers” good example. It has
is a
MARYLAND O O
thrills a plenty: a haunted house, skeletons, Walter Brennan, Fay Bainter, Brenda Joyce,
ghosts, sliding panels, murders, Zombies! Charles Ruggles, Sidney Blackmer, Ben Car-
You don’t believe in Zombies? Neither do ter, Ernest Whitman, Hattie McDaniel, John
Payne, Marjorie Weaver. Original screen
we. But we saw one and it scared us stiff. play by Ethel Hill and Jack Andrews. Direc-
If seeing is believing —
we believe. How- tion by Henry King. Twentieth Century-
ever, in spite of the spine chilling action, it Fox. Photographed in technicolor.
is one of the funniest films ever. Bob Hope The story of “Maryland” is not a new one,
is an A-l comedian. He has the fine balance for again we have a proud old Southern
of combining comedy with natural, unexag- family reared in the tradition of wealth and
gerated acting, which makes the humor more gracious living, whose life seems destined to
startlingly funny. The dialogue is hilarious, center around their love of fine horses. They
and the mystery is lightened throughout by are divided through tragedy with the recon-
comic situations in which Willie Best plays ciliation dependent upon a horse race, this
an important role. Paulette Goddard is a time the Hunt Cup Race, the famous Mary-
lovely heroine who really does not need to land Steeplechase. However, it is rather well
disrobe so frequently to attract attention. told and it is pictured in beautiful color with
But that is a minor criticism in an hour of the lovely Maryland countryside as back-
exciting, jolly fun. The musical score is ground. Ingenious comedy lightens the de-
cleverly devised to enhance moods. pressing effect which the bitterness of Char-
Adolescents, 12 to 16 Children, 8 to 12 lotte Danfield gives the plot. Charlotte loses
Very funny Terrifying for her husband when, at her insistence, he rides
Many. Depends on
individual maturity a favorite, high tempered colt in a fox hunt
and is killed. She disposes of her stables,
GIRL IN 313 O O orders the colt shot, and refuses to allow her
Florence Rice, Kent Taylor, Lionel Atwill, son to ride at all. Years later the horse is
Katharine Aldridge, Mary Treen, Jack Car- discovered alive. When Charlotte’s son wishes
son. Original story by Hilda Stone. Screen
play by Barry Trivers and Clay Adams. Di- to ride Cavalier, son of the once famous
rection by Ricardo Cortez. Twentieth Cen- Maryland Maid, the climax develops.
tury-Fox. The settings are beautiful and lavish.
This is a routine, B class picture with a Walter Brennan plays a somewhat similar
rather complex story about a charming girl role to that which he played in “Kentucky,”
detective who joins a band of jewel thieves but it is not so rich a part and thus less in-
to trick them into revealing their activities. teresting. The colored players, notably Ben
She is saved at the zero hour when her affili- Carter as Shadrach, steal the picture, and the
ations become known to the criminals. false A revival meeting, though perhaps overem-
note is injected by having her fall in love phasized, is the high light of the film. Fay
with one of the gang. She promises to wait Bainter is excellent in an unsympathetic role,
for him to serve his richly deserved sen- the young people are adequate, but the thrill
tence. The direction is obvious and unin- of the actual 1940 Maryland Steeplechase is
spired. Florence Rice plays her role capably. constantly interrupted by close-ups of John
The film will appeal to the more naive who Payne bobbing up and down on something,
still believe that Sherlock Holmes is a mem-
and the illusion of reality is shattered by
ber of British Scotland Yard. irrepressible laughter.
No No Entertaining Yes
MILLIONAIRES IN PRISON O O possibilitiesof sharp contrast in social be-

Lee Tracy, Linda Hayes, Raymond Waiburn, havior. He
rarely lapses into the crudity of
Morgan Conway, Truman Bradley, Virginia showing brutality, but lets the imagination
Vale, Cliff Edwards, Paul Guilfoyle, Thurston of the audience come to its own conclusion.
Hall. Screen play by Lynn Root and Frank
Fenton from a story by Martin Mooney. The cast was chosen with inspired percep-
Direction by Ray McCarey. RKO-Radio. tion. Frank Morgan as the professor whose
convictions would not permit him to be less
Among the numerous program fillers, this
than himself, gives a remarkable portrayal.
production will more than hold its own. It
Robert Young as a political zealot of Ger-
is a farce, rather curiously combined with
many’s new order, makes no compromise with
drama, set within a prison to which five
an unsympathic role. Margaret Sullavan,
millionaires have been sentenced simulta-
with sincerity and winsome beauty, capably
neously. Two are apparent morons inter-
handles what might have been a mousy role
ested only in clothes and food. They are
in less sensitive hands.
victims of an unscrupulous lawyer who got
them into their fix. Two are real crooks who The film ends with a Utopian epilogue ad-
try to continue their illegal business methods vising that this mortal storm will end only
inside the penitentiary. The fifth is a once when man walks with God. It is strong fare,
prominent physician paying the penalty of skilfully disguised by technical perfection,
too high living which climaxed in man- but it is no program for an escaptist.
slaughter. The comedy is absurd but amus- Adolescents, 12 to 16 Children, 8 to 12
ing, and the drama consists in the clever Very mature Emotionally
disturbing
machinations of a trusty which result in the
rehabilitation of the doctor and the thwart-
ing of the crooks. The serious moments are
interesting and the farcical situations innocu- MY LOVE CAME BACK O O
ous and laughably absurd. The characteri- Olivia de Havilland, Jeffery Lynn, Eddie Al-
zations by the men are good. bert, Jane Wyman, Charles Winninger,
Adolescents, 12 to 16 Children, 8 to 12 Spring Byington, Grant Mitchell, S. Z. Sakall.
Inoffensive, but of Unsuitable William Orr, Mabel Taliaferro. Screen play
no value by Ivan Goff, Robert Buckner and Earl Bald-
win from a story by Walter Reisch. Direc-
tion by Kurt Bernhardt. Musical director,
Leo Forbstein. Warner. Bros.
THE MORTAL STORM O O A talented, impecunious young violinist is

befriended by a wealthy patron of the arts,
Margaret Sullavan, James Stewart, Robert
Young, Frank Morgan, Robert Stack, Irene who secretly buys her a scholarship in a
Rich, Maria Ouspenskaya, Bonita Granville. conservatory of music and escorts her to
Based on book by Phyllis Bottome. Screen musical events. This platonic relationship is
play by Claudine West, Anderson Ellis and
George Froeschel. Direction by Frank Bor- misunderstood but the situation is wisely
zage. M.-G.-M. handled by the wife of the philanthropist,
“The Mortal Storm’’ is a tragic reminder who realizes that Amelia is naively innocent
that down through the centuries, under the and is in love with a young man: also that
aegis of what is speciously referred to as her middle-aged husband is only seeking to
civilization, man has been making human recapture the illusion of youth. The basic
sacrifice to appease his changing gods. conflict is between classical and swing mu-
The story, based on the book by Phyllis sic, and the musical score cleverely blends
Bottome, tells of Professor Roth and his
charming family who have enjoyed a gra- the two. The young students of the Conserva-
cious, affectionate, tolerant life until dramatic Heads of the school

tory finally convince the
changes begin to evidence themselves when that modern rhythm may have a place in
Hitler comes to power in 1933. The patriotic their teaching.
enthusiasm of the professor’s foster sons for
It is delightfully light and entertaining,
a greater Germany leads them to join the
Nazi party, but soon subversive changes take combining music, comedy and romance, and
place in their mental attitudes which distort though the trusting simplicity of Amelia seems
normal values. There follows a disintegra- a little incomprehensible in this modern day,
tion of moral fibre which the sound members
still the sophistication admirably handled.
is
of the group cannot stem, and the family is
broken up. It is a bitter commentary on all Credit is due to Kurt Bernhardt for his direc-
ideologies of intolerance and nihilism. tion and to Leo Forbstein for the musical
Frank Borzage directs with delicate dis- arrangement. The cast is good.
cernment the various emotional attitudes of Adolescents, 12 to 16 Children, 8 to 12
his actors and does not miss the dramatic Amusing If interested
NEW MOON O O SAFARI O O

Jeanette MacDonald, Nelson Eddy, Mary Bo- Douglas Fairbanks, Jr., Madeleine Carroll,
land, Grant Mitchell, H. B. Warner. Based Tullio Carminati, Lynne Overman, Muriel
on Operetta "New Moon." Screen play by Angelus, Billy Gilbert. Screen play by Del-
Jacques Deval and Robert Arthur. Music mar Daves. Based on story by Paul Hervey
by Sigmund Romberg. Musical direction by Fox. Direction by Edward H. Griffith. Para-
Herbert Stothart. Direction by Robert Z. mount.
Leonard. M.-G.-M.
There is a great deal of triangle and not
This light operetta is a far cry from the much safari in this mildly entertaining film.
serious problem dramas of today or the Two beautiful women, exquisitely coifed
smart, sophisticated comedies, and it offers a and gowned, accompany a wealthy Baron on
refreshing contrast. It has been considerably a hunting expedition to darkest Africa. Doug-
elaborated from the original stage produc- las Fairbanks, Jr. (for some reason still kept
tion, and is delightful in its gay improbability in the jungle by producers) becomes the
and its romantic fantasy. At the time of the guide, and one woman deserts the party when
French Revolution, a shipload of bondsmen they start into the interior. Thus the triangle
come to New Orleans to be auctioned off to —Linda (Madeleine Carroll, the Baron (Tul-
the plantation owners. Aprincely sympa- lio Carminati), and the handsome guide.
thizer with the revolutionary cause is among Linda, in order to make herself more desir-
the men. The romance between him and the able to her suitors, feigns interest in the guide,
lovely Marianne de Beaumanoir travels the but the boorish behavior of the Baron turns
usual difficult road to ultimate happiness. her love from him to the other man.
Nelson Eddy and Miss MacDonald have It is diverting enough hokum with one out-
greatly improved their acting technique and standing performance by Lynn Overman,
are delightful. The settings are beautiful whose Jock McPhail dominates all his scenes
and costumes exquisite. The musical score is and lends color, vitality and spice to an oth-
lovely with its tuneful familiarity. erwise routine melodrama. In spite of the
Adolescents, 12 to 16 Children, 8 to 12 obvious faults, the humor, the charm of the
Sentimental: but good No objections if leads, and the beauty of Miss Carroll, in con-
interested trast to primitive backgrounds, provide mod-
erate enjoyment for those in not too critical
a frame of mind.
PRIVATE AFFAIRS O O No value; a weak Too violent in
adventure tale action: no
Nancy Kelly, HughHerbert, Roland Young,
Robert Cummings, Montagu Love, Jonathan
Hale, Florence Shirley, Mary Forbes, Gran-
ville Bates. Screen play by Charles Gray-
son, Leonard Spigelgass and Peter Molne. STREET OF MEMORIES O O
Based on story, "One of the Bullertons," by
Walton Green. Direction by Albert S. Lynne Roberts, Guy Kibbee, John McGuire, Ed
Rogell. Universal. Gargan, Hobart Cavanaugh, Jerome Cowan,
Charles Waldron, Sterling Holloway, Origi-
An obscure stock exchange clerk who, in nal screen play by Robert Lees and Frederic
his youth, was disinherited by his wealthy I. Rinaldo. Direction by Shepard Traube.
Twentieth Century-Fox.
socialite father for marrying the girl of his
choice, tries to help his daughter marry the What this film lacks in a plot device is
man she loves against her grandfather’s more than balanced by its human qualities
wishes. He pretends to be an important mem- and by the fact that it is concerned with a
ber of the Board of the Stock Exchange, and social problem with which society must eventu-
the bluff wins him an executive position. The ally reckon. No remedy is offered, but it is
plot concerns his efforts to promote business interesting and thought provoking.
among the elite of Boston, and also to pre- Joe Mason, one of the great army of un-
vent them from being swindled by his boss. employed youth, is found wandering on Main
Incidentally his father is won over, and his Street, Los Angeles. His struggles to get
daughter’s affairs end happily. work, his conflict with the police, and his
The audience feels little sympathy for the despairing hopelessness are ended when he
series of rather silly situations. The direc- is located by his wealthy father and is found
tion shows no originality, and the picture to have been a victim of amnesia. The young
seems to have been hastily produced. Roland principals in the cast are new to the screen,
Young gives an amusing characterization, but their sincerity and the finished support of
but the broadly farcical, inconsequential story Guy Kibbee, Hobart Cavanaugh and others
provides very light entertainment. succeeds in putting the theme across surpris-
ingly well in spite of certain unrealities.
No value No value nor Adolescents, 12 to 16 Children, 8 to 12
interest Depends on maturity No
2
THREE FACES WEST O O tually existed. The adaptation of the novel

John Wayne, Sigrid Gurie, Charles Coburn, for the screen is dignified and sincere. It
Wolfgang z.ilzer, Spencer Charters, Sonny describes the experience of a senstive, fine
Bupp. Original screen play by F. Hugh
Herbert and Joseph Moncure. Direction by
boy who is loyal to the ideals of the school
Bernard Vorhaus. Republic. impressed upon him by his father, a former
Two social problems are presented in this student. His adjustment to the high standards
film: one, that of the foreign refugee who asks of behavior demanded by the Head Master
a place in the American scheme of living; the conflict with those of the students who bully
other, that of the American farmer who meets and haze the younger classes. He is almost
frustration in the dust bowl and seeks the expelled, suffers humiliation by the other boys
right to move to more fertile lands. The but emerges ready for Oxford, a splendid ex-
refugees, a skilled Viennese doctor and his ample of fine, honorable youth, a triumph for
daughter, are disheartened by the aspect of the honor system.
the town to which they have been sent after a Sir Cedric Hardwicke presents an exception-
“We, The People," broadcast. Economic dis- ally faithful portrait of Dr. Thomas Arnold
tress, bitter cold, winds which destroy crops as history records him.He is reported to have
and soil, a severe epidemic among the in- been a stern, uncompromising man whose ap-
habitants (which the physician attempts to pointment to the position of Head Master at
stem amidst insanitary conditions), and the Rugby was revolutionary since he insisted on
intolerance of the small town people toward creating the honor system to make Rugby not
foreigners, contribute to their unhapnv situa- only a place of classical learning, but a school
tion. They are no sooner settled than the where character could be trained to prepare
whole town migrates to the forests of Ore- youths for the responsibilities of life. It was
gon, and they are aided bv one of the farmers a plan to eradicate the vice and corruption
who leads the trek. The difficulty of this ex- existing in English schools at that time. His
pedition carries out the idea first presented experiment changed educational methods. He
by “Grapes of Wrath.” In addition, there is said to have been a man whose religious
are dissensions, bitterness and ugly fights idealism made him austere and severely in-
among the group, finally alleviated by the tolerant of lapses in conduct, a man who won
Viennese, who pleads with the migrants to respect but who was singularly tactless in
pioneer and struggle toward a new goal. dealing with others. This is the impression
The film is novel in subject matter and in- Sir Cedric Hardwicke gives. Americans will
teresting in that it presents the contribution miss the endearing human qualities of “Mr.
in skilland knowledge which European refu- Chips,” the beloved school master in an-
gees may
offer our country. It is unfortunate other recent picture of school life, but under
that the provocative material could not have the stern exterior of Dr. Arnold is glimpsed
been handled in a more forceful and con- a gentler side, and Sir Cedric’s characteriza-
vincing manner. It is episodic and without tion is noteworthy in apparently recreating
dramatic appeal. Californians will be grate- an accurate impression of a real man. The
ful that thehero pleads that the migration be boys are excellent. Jimmy Lyndon with his
not toward this state, but the greater economic irregular, guileless features is a happy choice
problem of reclamation of the wasted land is for Tom. In contrast to the more sophisti-
still untouched. cated East, Freddie Bartholomew, the dif-
ferences in character and standards and their
Very mature and No interest consequent incompatibility are understand-
possibly no interest able. Billy Halop again plays the role of a
lawless boy, but with an impeccable English
TOM BROWN'S SCHOOL DAYS O O accent and Rugby uniform, he gives a very
Cedric Hardwicke, Freddie Bartholomew,
Sir interesting picture of a gentleman’s son who
Jimmy Lyndon, Billy Halop, Hughie Green, has to learn to play the game according to
Josephine Hutchinson, Polly Moran, Ernest the rules. The physical cruelty of the hazing
Cossart, Alec Craig, Ian Fulton, Gale Storm.
From the novel by Thomas Hughes. Screen scenes is pretty strong. Though perhaps with-
play by Walter Ferris, Frank Cavett, Gene in the realm of reality, these scenes might
Towne and Graham Baker. Musical score by have been subtly suggested rather than pic-
Anthony Collins. Direction by Robert Stev-
enson Produced by Graham Baker and tured in all their brutal phases. The bru-
Gene Towne. RKO-Radio. tality lessens the entertainment value and
“Tom Brown’s School Days” is one of the prevents the film from being acceptable for
earliest school stories written, and it is still all ages.
rated as one of the best. Its author, Thomas There are sly touches of humor in the pic-
Hughes, attended Rugby under the renowned ture,and Polly Moran helps greatly in this.
Dr. Arnold, and his story was so vivid a The musical interesting and two
score is
picture of the school and its life that there famous 17th century ballads are sung during
was an impression that his fictional hero ac- the school action: “Barbara Allen,” when
2
Tom sings at the dinner table and is pelted be sacrificed at the end, a far-fetched although
with bread during the usual school hazing, spectacular denouement. Akin Tamiroff as
and “The Lincolnshire Poacher,” by the the guide outclasses all others in acting;
whole school. These, according to Bruno Patricia Morison is effective in a full-blooded
Usher, noted music critic, have been favor- part, but Ray Milland is less successful than
ites with English peasantry for generations. in sophisticated surroundings.
The settings and customs and background of Adolescents, 12 to 16 Children, 8 to 1
Rugby are exceedingly interesting and the Unsuitable theme No

skilful direction of Robert Stevenson gives a
feeling of authenticity to an unusual picture. YOU'RE NOT SO TOUGH O O
Adolescents, 12 to 16 Children, 8 to 12 Billy Huntz Hall, Bernard Punsley,
Halop,
Good but brutal in Not advised Gabriel, Bobby Jordan, Nan Grey, Rosina
parts Ga Ili, Henry Armetta, Cliff Clark. Original
:* story by Maxwell Aley. Direction by Joe
May. Universal.
UNTAMED O O This tells the story of a gang of migrant,
Ray Milland, Patricia Morison, Akim Tami-
roff,William Frawley, Jane Darwell. Based
tough boys, living by their wits, who return
on the story "Mantrap,” by Sinclair Lewis. the kindness of a woman rancher by means
Screen play by Frederick Hazlitt Brennan of violence and trickery in competition with
and Frank Butler. Direction by George Ar- union produce workers.
chainbaud. RKO-Radio.
The film is singularly daring in giving the
Partly because the background of the north
impression that California marketing organi-
Canadian country is so beautifully portrayed
zations are unfair to ranchers. It also sug-
in Technicolor, with its great forests, wide
gests discrimination against foreign born resi-
lakes, towering mountains and raging snow- dents, and the solution of the economic
storms, the rather melodramatic story of the
problem is through violence on the part of
main characters seems less important. The youthful hobos who thus win a false sympathy
story has a triangle plot of a French Cana-
which they do not deserve. Billy Halop is a
dian guide and tranper, his young wife, whose
versatile actor who is being typed by thor-
high spirits make her the center of gossip in
oughly unpleasant roles. The part of Mama
the backwoods as effectively as on Main
Posito, played by Rosina Galli, is saccharinely
Street, and the doctor who comes to regain
sentimental. It is a picture which presents un-
his health and remains to dedicate his life to
healthy, subversive propaganda, particularly
the service of mankind. An attempt is made
dangerous at this time.
to make all three seem equally noble, with the
result that one of the contending men must Bad No
SHORT SUBJECTS
INFORMATION PLEASE O O SEIGE O O
Deems Taylor, Guest Expert. RKO-Pathe. Reelisms. RKO-Pathe.
This popular radio program is equally This is a record of what one
pictorial
entertaining in films. It is educational, in- newspaper correspondent actually saw in the
and highly amusing, and those ap-
telligent
siege of Warsaw. The realistic brutality it
portrays and the commentator’s interpretation

pearing apparently have personalities which
excite further hatred of Germany’s methods.
show to advantage in either medium. Chil- Parents must decide the suitability for indi-
dren as well as adults enjoy the wit and vidual adolescents. It will undoubtedly in-
information. There have been eight shorts spire a feeling of insecurity in younger
released to date in the series. children.
Story Parade
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I Married Adventure
The Lady in Question

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One Crowded Night
Pastor Hall
Pride and Prejudice
Queen of Destiny
The Ramparts We Watch
Sailor's Lady
The Sea Hawk
South of Pago Pago
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Stage to Chino
Sing, Dance, Plenty Hot
Sporting Blood
They Drive By Night
The Villain Still Pursued Her
We Who Are Young
When The Daltons Rode
Young People

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EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall Mrs. Laura 0. Vruwink
Vol.XV AUGUST. 1940 No. 8
FEATURE FILMS
BOOM TOWN O -0 The film isoverlong and there are times

Clark Gable, Spencer Tracy, Claudette Col- when both dialogue and action seem deliber-
bert, Hedy Lamarr, Frank Morgan, Lionel ately to violate good taste.
Atwill, Chill Wills, Marion Martin, Minna Adolescents, 12 to 16 Children, 8 to 12
Gombell. Screen play by John Lee Mahin. No
Based on a story by James Edward Grant.
No
Directed by Jack Conway. Produced by Sam
Zimbalist. Metro-Goldwyn-Mayer. THE BOYS FROM SYRACUSE O O
People who enjoy the epic type of film will Allan Jones, Martha Raye, Joe Penner,
Rosemary Lane, Charles Butterworth, Irene
probably get their money’s worth out of Hervey, Alan Mowbray, Eric Blore, Samuel
“Boom Town.” The stampede for oil in Texas S. Hinds. Based on the stage play written
and Oklahoma is a good two-fisted American and produced by George Abbott. Screen
play by Leonard Spigelgass, Charles Gray-
theme, and Clark Gable and Spencer Tracy son and Paul Gerald Smith. Direction by A.
are a fine pair of hot-headed prospectors, Edward Sutherland. Universal Pictures.
hijacking equipment, making and losing for- This is a streamlined, boisterous travesty
tunes over night, even taking a fling at buck- on “Comedy of Errors,” acted with spirit
ing big business among the New York oil and abandon. The twin brothers, unknown
barons, and always ready either to share to each other, come to Ephesus seeking their
their last cent or to black one another’s eyes. lost father, who is under sentence of death
The scenes of bringing in oil gushers and there (for failure to pay income tax). The
fighting fire in the oil fields are exciting, and familiar complications arise as, with their
the feverish activity of life in a boom town twin servants they play hide-and-seek with
is convincingly recreated. Combined with each other and with the law. In the end their
the action drama is a story well known to fate is settled by a singing contest, one of
movie goers, of one man’s marriage to the several rollicking specialty numbers which
other’s ideal girl, in which Gable figures as the punctuate the show. The humor is broad and
husband, Claudette Colbert as the wife, and slapstick and some of the dialogue is in ex-
Tracy as the faithful, though jilted admirer tremely bad taste. Whether the film is clever
who stands by through the years and keeps or just rowdy is a matter of one’s point of
the marriage from going on the rocks when- view.
ever the husband forgets his marriage vows. Adolescents, 12 to 16 Children, 8 to 12
Hedy Lamarr is cast as a fabulous temptress. No No
THE BRIDE WORE CRUTCHES O O CHARLIE CHAN AT THE WAX MUSEUM O

Lynne Roberts, Ted Worth, Edgar Kennedy, Sidney Toler, Sen Yung, C. Henry Gordon,
Robert Armstrong, Lionel Standers, Grant M
arc Lawrence, Joan Valerie, Marguerite
Mitchell. Original screen play by Ed Verdier Chapman, Ted Osborn. Michael Visaroff.
and Allan Drady. Direction by Shepard Original screen play by John Larkin based
Traube. Twentieth Century-Fox. on character created by Earl Derr Biggers.

Directed by Lynn Shores. Twentieth Cen-
Johnny Dixon, a likeable youth fresh out of tury-Fox.
college, aspires to be a newspaper man. His
“expert” bungling of his reporting job gets
A visit with Charlie Chan to the Wax
him into hot water, and his attempt to solve a
Museum is much like going to a “Fun House”
at beach resort. The plot is devised for
a
crime mystery is effective only because of the
thrills,and the confusion of flesh-and-blood
intelligent aid of a girl co-worker. The title
characters with wax figures is guaranteed to
is a clever touch involving his last mishap.
chill the blood. Chan and his son, Jimmy
It is light, inconsequential entertainment.
Chan, go to the museum to track down a
All right No value criminal and to clear the name of an innocent
man. Jimmy manages to blunder into all sorts
of ridiculous situations to the amusement of
his philosophical parent and of the audience
CAPTAIN CAUTION O O
as well. Chan proves himself to be an astute
Victor Mature, Louise Platt, Leo Carrillo, detective with great powers of intuition, for
Bruce Cabot, Robert Barrat, Vivienne Os- the clues are never apparent to the onlookers.
borne, El Brendel, Roscoe Ates, Miles Man- The film is intended for amusement and is
der. From the novel by Kenneth Roberts. one of the best of the series, quite satisfac-
Screen play by Grover Jones. Direction by
Richard Wallace. Hal Roach Studios. United
tory as a double feature if double features —
are ever satisfactory.
Artists.
While this is a robust tale of adventure Exciting Not advised for
entertainment nervous ones
and romance on the high seas, a story of 1812
with America at war with England, it seems
primarily to prove that women on merchant GOLD RUSH MAISIE O O
sailing ships bring bad luck. The crews
believe the old saying, and certainly shrewish Ann Sothern, Lee Bowman, Slim Summer-
ville, Virginia Weidler, Mary Nash, John F.
Corunna Dorman, the captain’s daughter, is
Hamilton, Scotty Beckett, Irving Bacon,
a liability. The Olive Branch is en route
from the Orient to Maine. The news of war Louis Mason, Victor Kilian, Jr., Wallace
Reid, Jr. Based on original story by Wilson
with England has not reached the ship, and
Collison. Screen play by Betty Reinhardt
thus it becomes easy prey to an English war-
and Mary C. McCall, Jr. Direction by Edwin
ship. During the battle Captain Dorman is
L. Marin. Produced by J. Walter Ruben.
killed, and First Mate Marvin surrenders to
Metro-Goldwyn-Mayer.
the superior force. Corunna furiously dubs
him “Captain Caution.” When they are res- Maisie Ravicr spreads her optimistic phil-
cued by an American frigate and the ship is osophy and good fellowshinp over more seri-
returned to Corunna, she replaces the First ous problems than usual when she meets a
Mate with ex-slaver Slade (Bruce Cabot). family of “dust-bowlers” en route to stake a
The plot then is concerned with the fight be- gold mine claim in Arizona. With her aston-
tween the two men for the ship and the girl’s ishing facility for solving difficulties, she
affections. long and complicated strug-
It is a persuades the antisocial Bill Anderson to
gle because of Corunna’s passionate loves offer his land in cooperative shares to the
and hates and her lust for revenge. The destitute “Oakies” and convinces the latter
story is a confused series of battles and brutal to go gack to the soil rather than to pursue
fist fights lightened with irrelevant comedy the dubious hope of striking gold. Ann Soth-
and music. Miss Platt's role is unsympathetic ern Maisie carries the picture with her
as
and she plays it coldly. Victor Mature is a pleasing personality and unquenchable spirits.
dark and serious hero, and Bruce Cabot The plight of the migrants is realistically
plays the heavy menace very well. If one is presented, and the film contains an unmistak-
interested in boxing there are a number of able plea for a deeper understanding of
exhibitions which are doubtless good, but the their needs, although in the handling of the
unitiated will find them too brutally realistic material, entertainment is more stressed than
for enjoyment. propaganda.
Adolescents, 1 2 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12
Brutal No Yes Too mature
THE GREAT McGINTY O O THE LADY IN QUESTION O O

Brian Donlevy, Muriel Angelus, Akim Tamir- Brian Aherne, Rita Hayworth, Glenn Ford,
Evelyn Keyes, Irene Rich, Curt Bois, George
off, Allyn Joslyn, William Demarest, Louis Coulouris, Sumner Getchell, Nicholas Bela.
Jean Heydt, Arthur Hoyt, Steffi Duna. Story by Marcel Achard. Screen play by
Written and directed by Preston Sturgis. Lewis Meltzer. Direction by Charles Vidor.
Columbia.
Paramount.
There is a Continental flavor about this
Fortunately Americans are gifted with a delightful picture which may be explained
sense of humor, and it is a triumph for the by the fact that it is an adaptation of a French
democratic principles of free speech that it film. It is very different from the usual
is possible to burlesque dirty politics in gov- “boy-meets-girl” Hollywood production, for
ernmental places. For burlesque can point to it is an ingenious and entertaining story of
the need for reform as effectively as other human relations in which interest is centered
methods of denunciation. This is the story of in the character roles. A
middle-aged French-
two men who fail in life because of one weak man of the shopkeeper class at last has the
moment. One, an unright citizen, made one long anticipated opportunity to serve on a
dishonest step and wrecked his life, the other, jury. He is very serious about the responsi-
a dishonest bum, had his weak moment when bility and succeeds in getting an acquittal on
he decided to change to a creed of decency the case. Then his sympathetic interest in the
and honesty and thus forfeited all that he had girl on trial leads him to take her into his
gained. The two meet in a dive in the South home under an assumed name. Essentially
Seas, and at the bar the bum tells how he an honest man, he finds himself enmeshed in
was once lifted from the gutter through the lies which bewilder and embarrass him, and
machinations of crooked politicians to become furthermore to his amazement he finds him-
Governor of a State. In that position of self holding the same intolerant viewpoint
power he decided to live up to the reform which he had condemned at the trial. Brian
platform to which he had pledged himself Aherne gives a superlative picture of this
and the gang defeated him. It is a blasting somewhat pompous kindly man whose bewil-
commentary on the power of men who pull derment and emotional confusion are a little
political wires. It is cleverly pictured, and sad, but also very funny. The character roles
Brian Donlevy and Akim Tamiroff give are the outstanding ones: Andre Morestan
remarkably effective performances. It is hu- (Brian Aherne), Henri Lurette (Curt Bois),
morous, swift moving, highly entertaining one of the jurors who cannot make up his
and it certainly punctures the complacency mind about the case; Nicholas (Nicholas
of citizens whose lethargy make political Bela), a Hungarian taxi driver who adds to
scandals possible. the confusion and the merriment; the Fat
Adolescents, 12 to 16 Children, 8 to 12 Boy (Sumner Getchell) with his changing
Needs adult No
interpretation fiancees. Glenn Ford has real charm as
Andre’s son, and Evelyn Keyes is vivacious
and amusing as the daughter who is in love
with love.
I MARRIED ADVENTURE O O Adolescents, 12 to 16 Children, 8 to 12
Osa Johnson Production. Columbia. Essentially mature in Too mature
This travel film follows the biography of interest
Osa Johnson in which are described the many

trips she took in company with her husband
into little explored parts of the world in
THE MAN I MARRIED O O
Joan Bennett, Francis Lederer, Lloyd Nolan,
search of photographic records of unusual Anna Sten, Otto Kruger, Maria Ouspen-
wild life and native tribes. It begins with skaya, Ludwig Stossel, Johnny Russell,
their first trip shortly after their marriage, Lionel Royce, Fredrik Vogeding, Ernest
Deutsh. Screen play by Oliver H. P. Gar-
when they chartered a sailing vessel and rett. Based on Liberty Magazine story by
ventured into the South Seas. This trip ended Oscar Schisgall. Direction by Irving Pachel.
disastrously with Martin’s illness. It then Twentieth Century-Fox.
follows through their more elaborately “The Man I Married” is a powerful anti-
equipped expeditions to their last adventures Nazi film. Its punch lies
the fact that it
in
by means of airplanes. It emphasizes the mirrors the typical American reactions to
realities more than some of the other films what is now accepted fact. A
year ago the
which the Martins have released, and the picture might have been considered contro-
hazards and exciting experiences seem more versial. The story is of Berlin in 1938 where
factual. It is very interesting, often amusing, an American woman is vacationing with her
and always entertaining, and it gives a real- charming German-born husband and their
istic and informative impression of real little boy. She is eager in anticipation and
adventure. open-mindedly confident that what she has
Adolescents, 12 to 16 Children, 8 to 12 heard about Germany and Hitler is simply
Good Good false newspaper propaganda. But as soon as
2
her husband steps on German soil he is PASTOR HALL O O

transformed. He becomes converted the to Nova Pilbeam, Seymore Hicks, Wilfred
Sir
Nazi state of mind. She watches the trans- Lawson, Marius Goring, Brian Worth, Percy
formation with incredulous amazement and Walsh, Lina Barrie, Eliot Makeham, Peter
is at first lightly amused until a shocked be- Cotes, Edmund Willard, Hav Petrie, Bernard
lief arouses her anger and disgust and an Miles. Based on an unproduced play by the
late German dramatist, Ernst Toller. Screen
American newspaper correspondent opens her
play by Leslie Arliss, Anna Reiner and Ha-
eyes to what is actually taking place. Finally worth Bromley. Produced by John Boulting.
she, herself, is caught in the toils of the Presented by James Roosevelt with a fore-
Gestapo when she innocently goes to the aid word written by Robert E. Sherwood and
given by Mrs. Franklin Delano Roosevelt.
of an injured youth. The newspaper man
United Artists.
convinces her that there is danger in what
Mrs.Roosevelt has done a courageous
she sees about her and that she must leave
thing in appearing in the prologue of this
Germany — at once. Her farewell to her hus- film, because “Pastor Hall” is the strongest
band, “Heil, Heel,” is echoed in American and most serious indictment of the Nazi phil-
hearts as a fitting salutation to a frenzied osophy ever released in America. The story
is based on that of the German martyr priest,
idealogy.
Rev. Martin Neimoeller. Pastor Hall is in-
It is an arresting picture which should troduced as the kindly, middle-aged mentor
arouse interest both because it is entertaining of a village as yet almost untouched by the
and because it is unafraid. National Socialist movement in the early days
Adolescents 12 to 16 Children, 8 to 1
when Hitler’s regime was sweeping Germany.
Depends upon No Then come the Storm Troopers. They begin
maturity their spying, Jew baiting, property destruc-
tion, and challenging of any criticism of the
O “system.” The leader is attracted to the pas-

ONE CROWDED NIGHT O
tor’s daughter, and both the girl and her
BillieSeward, William Haade, Anne Revere, father try to learn from him what the new
Paul Guilfoyle, Emma Dunn, George Watts, ideology means and what its hold is on the
Dick Hogan, Gale Storm, Adele Pearce, people. It is this interest of Fritz Gerte in
Don Costello. Screen play by Richard Col- Christine which saves the pastor temporarily,
lins and Arnaud d'Usseau. Story by Ben but his sincerity, his conviction that he must
Holmes. Direction by Irving Reis. R. K. 0. live and speak according to the Truth as he
Emma Dunn and George Watts as the sees it without compromise or subterfuge,
parents of Mae and Annie are operating an finally gets him into the concentration camp
auto court far out on the desert to get away from which he escapes only to die heroically.
from the publicity and shame attendant upon His last message to his people is that while
the imprisonment of Mac’s husband, Jim, for the body may be scourged the spirit cannot
participation in a bank robbery. A bus stop- be touched, and that eventually in spite of
ping at the retreat leaves a young woman persecution and denial, “The trumpet of God
too ill to continue her trip to locate her hus- will be heard.”
band, a sailor in the Navy. She has a baby Though it holds absorbing interest, the
during the night. Next arrive the sailor film cannot be classed as entertainment. It
A.W.O.L. and two officers sent to retrieve is grim, terrible, appalling.

him. come Brother Joseph, a
Into the scene Wilfred Lawson plays the leading role. He
quack medicine two crooks who salesman, is dynamic in his sincerity wonderfully con- —
had framed Mae’s husband, and Jim, himself vincing. The only other familiar face is that
out on parole. An ex-ganster’s moll is wait- of Nova Philbeam, known American audi-
to
ress in the cafe. Finally a brawl starts which ences in “Seven Days a Queen” and other
is the signal for a free-for-all gun battle, English films. Sir Seymore Hicks is extremely
and melodramatic solution for everyone’s
a picturesque as a former general of the Im-
troubles. Full of suspense and dire portent, perial Army. This is a film which American
the film manages to hold interest, and the audiences will want to see whatever their
title is a comprehensive indication that there personal convictions may be about diplomatic
is no lack of action as the plot unfolds. appeasements and international relations.
A.dolescents, 12 to 16 Children, 8 to 12 Adolescents, 12 to 16 Children, 8 to 12
No No Not under 5 1 No
2
PRIDE AND PREJUDICE O O with the pageantry of those days, and en-
Greer Garson, Laurence Olivier, Mary Boland, riched with many human touches and some
Maureen O'Sullivan, Frieda Inescort, Karen endearing humor. The authenticity of the
May Oliver, Ann Rutherford,
Morley, Edna exteriors and interiors adds lustre to the pro-
Edmund Gwenn, Heather Angel, Melville
Cooper. Screen play by Aldous Huxley and duction, and color adds immeasurably to the
Jane Murfin, based upon Jane Austen's beauty. It is a splendid historical document
novel. Musical score, Herbert Stothart. Di- but it is also a very human one, superbly
rected by Robert Z. Leonard. Produced by
Hunt Stromberg. Metro-Goldwyn-Mayer. acted and directed. Anna Neagle is lovely
as the young Victoria, charming, wilful,
To preserve the quaint flavor of Jane
often stubbornly thoughtless and tactless with
Austen's precisely written novel and at the
her ministers and more and more dependent
same time to produce a lively, entertaining
upon the judgment and guidance of her hus-
movie is the difficult assignment which has
band. The transition to the aged woman is
been brilliantly carried out in “Pride and
skilfully accomplished. Anton Walbrook is
Prejudice.” One does not have to be an
wonderfully sympathetic in a touching role.
Austen connoisseur to appreciate the satiric
C. Aubrey Smith is capable and sincere.
humor of Mrs. Bennett’s worldy ambitions for
her daughters and clumsy attempts to man-
Much of the dialogue has a special pertinence
today, and the panorama of the sixty glorious
euver them into advantageous marriages, nor
years is an emotional experience, for it builds
does the romance of Elizabeth and Mr. Darcy
toward an understanding of the tremendous
seem any the less real and touching because
influence of a great queen upon the devoted
the lovers speak a stilted language. As the
subjects of a great empire.
film progresses one follows the fortunes of
the characters with a mixture of sympathy Excellent Excellent
and tolerant amusement as if to say, “How
charming you were in your day.” The pro-
duction has an interesting musical setting THE RAMPARTS WE WATCH O O
with such distinct form and rhythm that in Cast 1,400 with 73 speaking parts.
of
some scenes the action almost takes on the Script by Robert L. Richards and Cedric R.
quality of a ballet. Every role is well cast, Worth. Produced and directed by Louis
and the costumes and settings are a delight. de Rochemont. Production staff from The
Adolescents, 12 to 16 Children, 8 to 12 March of Time. R. K. O.
Very entertaining Probaby beyond
“The Ramparts We Watch” is March of
Time’s first feature length film. It is pre-
sented in documentary style, a combination
QUEEN OF DESTINY O O of authentic news reels and fabricated scenes.
Anna Neagle, Anton Walbrook, It deals with the lives and behavior and
C. Aubrey
Smith, Walter Rilla, Greta Wegener, Felix changing trends in thinking of people during
Aylmer, Lewis Casson, Charles Carson. a crisis in a democracy. The events which
Screen play by Charles de Grandcourt, took place in America during the critical war
Miles Malleson and Robert Vansittart. Pro- years, 1914-1918. are recreated as authen-
ducer-Director, Herbert Wilcox. Techni- tically as possible and are supplemented by
color production. Imperator. R. K. O. actual pictures concerned with famous per-
sonalities of that period. The cast is non-
“The Queen of Destiny” was produced in professional. The setting is a small New
England some two years ago and the film England town. What happened there found
was reviewed in Motion Picture Reviews in its counterpart in cities and towns all over
May, 1939, under the title “Sixty Glorious the country. The title is the same as that of
Years.” Its release in America was de-
a book written in 1938 by Major Fielding
ferred and will only now reach the the-
Eliot, but it is not a dramatization of his
atres here. The delay will not be to its dis-
book. Both are designed, however, to awaken
advantage. It is magnificent production,
a
Americans to the necessity of always consid-
and the world confusion today only empha-
ering the security of the Republic. As the film
sizes its sympathetic appeal. It faithfully
progresses, the change in thinking which
follows the story of Victoria’s reign as
the American public experienced during those
Queen of England, beginning with her mar- significant years seems strikingly similar to
riage to Albert. It depicts her life with
that which is taking place in the public mind
him, his tragic death, saddened because
today. The implication is dynamic and the
his untiring efforts in the cause of England
significance overwhelming.
were always misunderstood, her seclusion
The film is a plea for preparedness, and
after his death, and her re-emergence to
whatever one’s personal opinion may be of
round out her life as the Empire’s beloved its message, it is thought provoking and
symbol of permanence. The picture is epi- should be seen.
sodic in form, touching lightly on many events
of historic importance, but concerned most Good Mature
0
SAILOR'S LADY O O The director’s handling of ships and masses

Joan Davis, DanaAndrews, Mary Nash, of men is stunning. There are savage hand-
Larry Crabbe, Katherine Aldridge, Harry to-hand battles with broad swords, and ex-
Shannon, Wally Vernon and "Skipper." cellent fencing scenes, although these are
Screen play by Frederick Hazlitt Brennan
from an original story by Frank Wead. Di- perhaps overlong. Errol Flynn is a dashing
rection by Allan Dwan. Twentieth Century- hero: this type of role his best. Alan Hale,
Fox. Claude Rains, and Henry Daniell are very
Whatever sense of humor Americans are good, but the outstanding performance is that
credited with, is put to a severe test by this of Flora Robson, who is superb as Queen
rowdy, silly burlesque of Navy men. The Elizabeth. The costuming is gorgeous, and
sailors are made ridiculous, cheap bullies try- the pomp and splendor of court life is viv-
ing to prevent one of their number from idly portrayed. The ships are unusually in-
marrying a girl to whom he is engaged. The teresting. They are accurate replicas of
girl finally pretends they have been married vessels of the period and in design and de-
for some time and brings along a baby to en- tail are worth attention. Had the film been
list officers’ sympathy. The child is stowed photographed in technicolor the result would
away on one of the ships and creates a crisis have been magnificent.
during naval maneuvers. Adolescents, 12 to 16 Children, 8 to 12
The film is poor entertainment at any time, Excellent of type Good but overlong
and exciting
but it is in execrable taste today when im- for those under 1
mediate preparedness is a national objective

and high respect for Naval personnel and
morale is uppermost in our minds. SOUTH OF PAGO PAGO O O
No No Victor McLaglen, Jon Hall, Frances Farm-
er, Olymphe Bradna, Gene Lockhart, Dou-
glas Dumbrille. Story and screen play by
George Bruce and Kenneth Garnet. Direc-
THE SEA HAWK O O tion by Alfred E. Green and Edward Small
(United Artists release).
ErrolFlynn, Brenda Marshall, Flora Robson,
Claude Rains, Donald Crisp, Alan Hale, Henry Exploitation of the natives of a tropical
Daniell, Una O'Connor, James Stephenson,
Gilbert Roland, Montague Love. Screen play
paradise by a particularly diabolical crew
by Howard Koch and Seton I. Miller. Adapted of white men in search of fabulously valu-
from novel by Sabatini. Musical score by able pearls forms the basis for this latest
Erich Wolfgang Korngold. Direction by Mi-
Warner Bros.
picture of the South Seas. Bucko Larson is
chael Curtiz.
so depraved that he takes along a girl of
“The Sea Hawk” is a swashbuckling tale
the Singapore water-front to beguile, first,
of adventure which is particularly effective
the sailor who knows the location of the isle,
in the spectacular scenes of sailing vessels
and second, the son of the chieftain, who
on the high seas. Singularly enough, while
must be out of the way when Bucko plies the
it is a story of war and strife, it offers an
divers with gin to persuade them to descend
escape from reality. The battle scenes show
to depths which cripple and destroy them. It
the individual prowess of man against man,
ends with a cataclysmic battle between na-
a far cry from the picture of modern warfare
tives and whites, in which the latter some-
today. There is little attempt at historical
what belatedly, meet their desserts. All in all,
accuracy, and one may doubt the actual
it is a man’s picture. The best parts are
ethical status of the Sea Hawks, those fight-
taken by men. The more brutal and sinister
ing privateers who pillaged Spanish galleons
and dastardly a character Victor McLaglen
and excused their piracy by turning over the is given to portray the better he polishes it
loot to Elizabeth and England's coffers. The
off. In deen contrast is Jon Hall who has a
plot justifies their acts because of a secret
naive manner, a dignity, a sense of gra-
plan of the Spanish government to build a
ciousness and trust which make him wholly
huge armada for world conquest, and there convincing as Kehane, the chieftain’s son.
is a comparison, for those who read between
Gene Lockhart and Douglas Dumbrille are
the lines of the appeasement tactics of Eliza-
good in lesser roles. The part taken by
beth with certain policies of modern England.
Frances Farmer is so improbable in nature
The fifth column is also paralleled by in- that it does her little credit. Some of the
trigue within Elizabeth’s cabinet. But for
native scenes, especially those of women
pure adventure, spectacular action, and pleas-
dancers, seem artificial and utterly stagey.
ing romance, the picture is excellent enter-
On the other hand there is fine photography
tainment. The story interprets the loyalty of the island heights and the tropical forests,
and courage of Geoffrey T-horpe (Errol and there are some remarkably fine undersea
Flynn), the most dreaded of these privateers,
pictures of the natives diving for pearls.
who sinks a Spanish galleon on which the Adolescents, 12 to 16 Children, 8 to 12
Spanish Ambassador and his niece are en Too brutal and No indeed
route to England. ruthless
STAGE COACH WAR O O traditions are thrown overboard before the

William Boyd, Russell Hayden, Britt Wood, affair actually comes off and all is well again.
Harvey Stephens, J. Farrel MacDonald, Julie Some of the comedy is hilarious, especially
Carter. Screen play by Norman Houston. where Billy Gilbert is concerned, but there
Based on story by Clarence E. Mulford. Di- are dull spots, and Barbara Allen sometimes
rection by Lesley Selander. Paramount. succeeds in passing on her jitters to the
Two owners vie for the
rival stagecoach audience. Possibly Vera Vague’s particular
Wells Fargo business out of a small Western type of St. Vitus Dance comedy is best in
town. Hopalong Cassidy arranges a sensa- smaller doses. Several dance routines, the
tional race between the coaches to settle the opening scene, Johnny and Irene in the park,
question and meanwhile runs down a band and a Rhumba are excellent, and the singing
of outlaws who have been robbing the stage orchestra of children is another high light.
of gold shipments. This is a typical action Johnny Downs shows skill as a dancer and
film in which the story is more or less inci- promise as an actor.
dental. The ethics are on the whole con- Adolescents, 12 to 16 Children, 8 to 12
Passable, typical Not especially
structive because fairness and good sports- musical comedy recommended
manship win out and the evil doers meet
their just fate. The Western country is
beautifully photographed, and the men, espe- SPORTING BLOOD O O
cially William Boyd, enact their roles con- Robert Young, Maureen O'Sullivan, Lewis
vincingly and with zest. But Julie Carter is Stone, William Gargan, Lynne Carver. Based
hardly an ideal choice for the object of so on an original story by Grace Norton. Screen
much romantic attention. play by Lawrence Hazard, Albert Mann-
Adolescents, 12 to 16 Children, 8 to 12 heimer, and Dorothy Yost. Direction by S.
Matter of taste Depends on Sylvon Simon. M-G-M.
individual.
Very exciting Following what seems to be a new cycle
of films having to do with horse racing in
the South, this picture tells the story of the
STAGE TO CHINO O O scion of an old family who returns, after
George O'Brien, Virginia Vale, Hobart Cava-
an absence of some years, to his home town
naugh, Roy Bancroft, William Haade, Carl
and attempts to restore the family fortunes
Stockdale, Glenn Strange, Harry Cording,
by cashing in on a winning horse. Romance,
and Pals of the Golden West. Screen play
prejudice; and old South traditions are woven
by Morton Grant and Arthur V. Jones from
into a highly implausible scenario. The char-
story by Norton S. Parker. Direction by
acters and plot are overdrawn and there are
Edward Killy. R. K. O.
some rather distressing scenes. It may en-
Two rival stagecoaches again contend for
tertain audiences who are satisfied with the
mail contracts and again the noble, hand- portrayal of a horse owner’s unselfish love
some hero wins the race for speed, wrecks a and consideration for animals.
plot to cheat the gold miners on the weight
of their dust, and gets the girl. It is a typical Possible Not recommended,
Western, picturesque in setting, not too real- too emotional
istic in and vigorous in action. It has
plot,
melodious cowboy tunes sung by the Pals of THEY DRIVE BY NIGHT O O
The Golden JV est, and is on the whole pleas- George Raft, Ida Lupino, Ann Sheridan,
ing entertainment.
Humphrey Bogart, Gale Page, Alan Hale,
Adolescents, 12 to 16 Children, 8 to 12 Roscoe Karns, John Litel, George Tobias,
Good of type Exciting
Henry O'Neil. Screen play by Jerry Wald
and Richard Macaulay from a novel by
SING, DANCE, PLENTY HOT O O A. I. Bezzerides. Direction by Raoul Walsh.
Ruth Terry, Johnny Downs, Barbara Allen Warner Bros.
(Vera Vague), Billy Gilbert, Claire Carle- The of
title this film suggests that it is
ton, Mary Lee, Elizabeth Risdon, Lester about the experiences of the hardy men who
Matthews, Leonard Carey. Screen play by drive trucks night after night on hazardous
Bradford Ropes. Original story by Vera Cas- trips. It fulfills this expectation for half of
pary and Bradford Ropes. Direction by Lew
the picture, showing the dangers encoun-
Landers. Republic Pictures.
tered by the drivers, their fatigue and their
Here is something light and gay, a com- comaraderie as they meet at wayside eating
bination of comedy, dance, and song. The places. But later it turns into a melodramatic
slight story centers around two aristocratic, story of a vicious woman’s desire for a man
eccentric spinsters, Agatha and Susan, who who does not love her. As a vehicle for Ida
with their young niece manage an orphans’ Lupino it is a striking success, for she
home. They become involved in a benefit emerges as an actress of great dramatic
show for the institution, and many of their ability. Her performance dwarfs those of
other members of the cast, although each is an end when William, who can no longer
capable. It is not a pleasant story. The accept a check for idleness, seizes a shovel
frightful atcidents on the road are realistic from a laborer and fights for the right to
and full of horror. The ugly character of work. It is a film which is sometimes tinged
the woman is not edifying, and much of the with sadness, but it is not defeatist. There
dialogue is unnecessarily vulgar. The film are no recriminations, these two face life
holds interest because of the acting rather together, at the worst moments, warm-hearted
than because of the script. people lend support, and through it all is
Adolescents, 12 to 16 Children, 8 to 12 the indomitable will to win. The young ac-
No Absolutely not tors seem very real and appealing, and the
supporting cast is good.
THE VILLAIN STILL PURSUED HER O O Mature
Children, 8 to 12
No interest
Hugh Herbert, Anita Louise, Alan Mobray,
Buster Keaton, Joyce Compton, Richard
Cromwell, Billy Gilbert, Margaret Hamilton, WHEN THE DALTONS RODE O O
Diane Fisher. Screen play by Elbert Frank-
Randolph Scott, Kay Francis, Brian Don-
lin. Direction by Edward F. Cline. Producer,
levy, George Bancroft, Broderick Crawford,
Harold B. Franklin. R. K. O.
Stuart Erwin, Andy Devine, Frank Albert-
This travesty of old time melodrama
is a son, Mary Gordon. Original screen play by
on the curse of drink, done with all the man- Harold Shumate based on "When the
nerisms and flowery speeches of the 1 8 50’s. Daltons Rode," by Emmett Dalton and
The audience is invited to participate in the Jack Jungmeyer, Sr. Directed by George
fun by indicating by applause or hisses its Marshall. Universal.
approval or disapproval of the sentiments In spite of the fact that it is based on the
expressed. The cast is clever and enters
biography of a well-known family of des-
into the spirit of the burlesque, and the direc-
parados, there is a gay improbability about
tion is effective. It is an amusing novelty,
this film which allows the spectator to sit
but one questions whether it is successful in
back confident that all its exciting action is as
the cinema medium. The motion picture unreal and as heroically maneuvered as
theatre lacks the intimate atmosphere which
makes the audience an integral part of a “The Perils of Pauline.” The four Daltons
stage performance such as the long-popular are introduced as honest farmers who take
revival of “The Drunkard,” for example; the law into their own hands when a thiev-
and in order to interpret this picture cor- ing syndicate cheats them of their land and
rectly one must see it from the beginning and
the Court is dishonest. But soon the thrill
understand that it is a parody. It may ap-
peal to sophisticated audiences as an innova- of successful train robberies and bank hold-
tion, but an unruly house could make the ups colors their outlook and there are no
—
showing torture without meaning or subtlety. tears shed when one by one they bite the
Possibly if under- No dust. Broderick Crawford registers as a
stood definite personality well cast as Bob Dalton.
* Much of the comedy is due to Andy Devine
WE WHO ARE YOUNG O O who shows himself entirely qualified for the
Lana Turner, John Shelton, Gene Lockhart, part of a hard riding, quick shooting, death
Grant Mitchell, Henry Armetta. Original defying cowboy. Mary Gordon has several
screen play by Dalton Trumbo. Direction emotional scenes as the tiny mother of the
by Harold S. Bucquet. Metro-Goldwyn-
four “he-men.” Kay Francis and Randolph
Mayer.
Scott are quite incidental in a film packed
There is a touch of O’Henry at the begin-
New York full of roaring action. Certainly it is good
ning when the great panorama of
City narrowed down to a view of two
is of its type. There is no saccharine senti-
sparrows on a window sill and of two young mentality about it. The Daltons have their
people who seem equally insignificant. It is
a story which is old and yet eternally new
moments — and meet their just desserts to the
entire satisfaction of the audience who have

with each boy and girl who marry and face
the economic struggle together. Due to a had their money’s worth of rip-snorting
few mild extravagances, a heedless word or hokum.
two, a margin of error in setting up a budget Adolescents, 12 to 16 Children, 8 to 12
Good fun Depends on
which does not allow for a possible baby,
they reap some very bitter experiences before
individual
recommended
— not for
there is a turn upward. Endurance reaches excitable children
YOUNG PEOPLE d O for Shirley’s talents, but a pleasantly un-

Shirley Temple, Jack Oakie, Charlotte pretentious comedy in which a trio of sea-
Greenwood, Arleen Whelan, George Mont- soned entertainers are featured. Jack Oakie
gomery, Kathleen Howard, Minor Watson, and Charlotte Greenwood as the adopted
Frank Swann, Frank Sully, Mae Marsh, parents of JVendy, long to retire from the
Sarah Edwards, Irving Bacon. Screen play vaudeville circuit to make a real home on a
by Edwin Blum and Don Ettlinger. Music New England farm where they believe the
little girl will grow up to be a member of a
and lyrics by Mack Gordon and Harry War-
ren. Musical direction by Alfred Newman. stable society. There is a good deal of hokum
Directed by Allan Dwan. Produced by but also considerable pathos and humor in
Harry Joe Brown. Twentieth Century-Fox. the story of how their ambitions work out.
The interpolated songs and dances are tune-
For the time since Shirley Temple
first ful and entertaining.
became a star she does not have to carry an Adolescents, 12 to 16 Children, 8 to 12
entire story on her small shoulders. “Young Yes Yes
People’’ is therefore not a top heavy vehicle


19
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FEATURE FILMS
Argentine Nights
Brigham Young
Dance Girl Dance
Dr. Kildare Goes Home
Flowing Gold
Foreign Correspondent
The Golden Fleecing
Golden Gloves
The Great Profile
Haunted Honeymoon
He Stayed For Breakfast
Hired Wife
The Howards of Virginia
I Love You Again
I'm Nobody's Sweetheart Now

Lucky Partners
Men Against The Sky
Mystery Sea Raider
No Time For Comedy
Pier 13
Public Deb No. 1
The Return of Frank lames

Rhythm On The River
Slightly Tempted
Stranger On The Third Floor
Wildcat Bus
SHORT SUBJECTS
March of Time No. 10
The Philippines
The Choir Boy
Norway

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LOS ANGELES BRANCH
Mrs. Chester A. Ommannet, Preview Chairman
EDITORS
Vol. XV SEPTEMBER, 1940 No. 9
FEATURE FILMS
ARGENTINE NIGHTS O O BRIGHAM YOUNG O O

The Ritz Brothers, the Andrews Sisters, Con- Tyrone Power, Linda Darnell, Dean Jagger,
stance Moore, George Reeves, Peggy Moran, Brian Donlevy, Jane Darwell, John Carra-
Anne Nagel, Kathryn Adams, Ferike Boros, dine, Mary Astor, Vincent Price. Based on
Paul Porcasi. Screen play by Arthur Hor- a story by Louis Bromfield. Screen play by
man, Ray Golden, Sid Kuller. Direction by Lamar Trotti. Direction by Henry Hathaway.
Albert Rogell. Universal Pictures.. Produced by Darryl F. Zanuck. 20th Cen-
tury-Fox.
Three producers of novelty acts are coerced
One of the most important phases of the
by their creditors but manage to get their
Western movement in America and one
girl orchestra and trio of singers on board
which has not had sufficient consideration in
ship to the Argentine where they have a con-
popular literature until the last year or so,
tract at a new hotel. On arrival they find
the great migration of the
is Mormons to the
that the hotel is out in the country, off the
valley of Salt Lake, where they could wor-
road, and bankrupt. But through a ship ac-
ship God in the way they deemed fit “out-
quaintance, after some amusing misunder-
side the borders of the United States.”
standings, all goes well —except for the
difficult for us to believe that they
It is
were
brothers. It is a gay, nonsensical medley of
persecuted in Missouri and Illinois with the
comedy, song and dance, typical of the Ritz
savage bigotry of present-day Nazism, but
Brothers’ George Reeves and
productions.
such was the case. The picture begins with
his South American chorus have the best
scenes of rapine and murder: peaceful ad-
songs and are the high light. The Andrews herents of the faith are beaten to death
Sisters’ following may enjoy their contribu-
Joseph Smith is killed by a mob in a prison
tion.
where he has been placed with a mock show
Matter of taste No value —
interest
little
of legality; their thriving town of Navoo is
burned to the ground. At this time their
leader, Brigham Young, comes to the front, of young dancers,of their loyalties and self
leads them on the covered-wagon trek across interests. particularly concerned with
It is
plains and mountains. It is not an easy re- two of the group who are sharply contrasting
ligion he promises them: they must endure types in appearance, in ethical standards, and
grueling and privations; many
hardships in achievements. Down on their luck they
must die.There are lesser men, such as take jobs in a cheap burlesque, one as stooge
Angus Duncan, who try to snatch authority for the other. They also compete for the
from him and are repeatedly disloyal. He is attentions of a man about town. The ending
even beset by doubts of his own strength and is a nicely planned surprise with a little
leadership. One of the most affecting pass- moral all its own. It is sophisticated, but,
ages is his description of the journey in his excepting one scene, is handled in good taste.
conversing with a God who is very real and The dancing specialties are good of their
human to him. The choice of Dean J agger different types.
for this part is inspired. His voice alone is Adolescents, 12 to 16 Children, 8 to 12
enough to convey courage and sincerity. It Too sophisticated No, too mature
is through his eyes that we see the privations
of that first terribie winter near Salt Lake, DR. KILDARE GOES HOME O O
the heart-breaking assault of myriads of Lew Ayres, Lionel Barrymore, Laraine Day,
crickets and the miracle of the sea-gulls at Samuel S. Hinds, Gene Lockhart, Nat Pen-
the end, which is one of the most beautiful delton, Emma Dunn, John Shelton, Alma
Kruger, Walter Kingsford, Nell Craig,
and almost unbelievable spectacles ever pro- Cliff Danielson. Screen play by Harry
duced in motion pictures. Ruskin and Willis Goldbeck. Directed by
It is a fine cast. Vincent Price is memor- Harold S. Bucquet. Musical direction by
David Snell. Metro-Goldwyn-Mayer.
able as Joseph Smith. Tyrone Power and
Linda Darnell, while not important in his- All the Doctor Kildare pictures have been
show the influence of the move-
torical parts, entertaining, but this one, with a better
ment on two humble members of the expedi- rounded and less theatrical story than most
tion and add a warm human note. Many of of the series, is exceptionally good. In it
the men’s parts are well done. Among the the young doctor has just completed his in-
women Jane Darwell and Mary Astor are ternship and has received a coveted appoint-
outstanding, although it is doubtful if the ment when he finds that his father’s health
is breaking under the strain of an arduous
real Mary Ann Young, played by the latter,
had any such influence over Brigham. The county medical practice. At first he decides
whole matter of plural marriages has been that it is his duty to forfeit his new position
treated with such extreme tact and delicacy in order to help his father, but in the end he
that it is practically dismissed as a vital finds another way to solve the problem.
tenet of the Mormon faith. Undoubtedly it
The usual diagnosis of a difficult case from
would be impossible give
factual pre-
to it
obscure symptoms enters into the plot, but
is subordinate to the more pleasing theme of
sentation without lessening the heroic sweep
of the picture. a son’s loyalty to his parents and the sacrificial
Brigham Young believed in music for re- devotion of the physicians to the ideals and
laxation after a hard day’s work, for rejoic- responsibilities of their profession.
ing in the hour of success, and so it is used Adolescents, 12 to 16 Children, 8 to 12
Excellent Little interest
here. Photography is of high quality. There
is fine treatment of people in masses and of
the first buildings of the new community; FLOWING GOLD O O
and the mountain heights with the first views John Garfield, Frances Farmer, Pat O'Brien,
of the promised land are truly magnificent. Raymond Walburn, Cliff Edwards, Tom Ken-
While it is a long picture, it is so absorbing nedy, Granville Bates, Jody Gilbert, Virginia
Sale. Original screen play by Kenneth
that one is scarcely conscious of the passing Garnet suggested by a story by Rex Beach.
of time. Direction by Alfred E. Green. Warner Bros.
Adolescents, 12 to 16 Children, 8 to 12 This is another in the cycle of oil field
Good Too heavy
stories but it is scarcely strong enough to
stand alone on a program. The plot is said
DANCE GIRL DANCE O O to have been suggested by Rex Beach but
Maureen O'Hara, Hayward, Lucile
Louis evidently only his setting has been retained.
Ball, Virginia Ralph Bellamy, Maria
Field,
Ouspenskaya, Katharine Alexander, Walter It tells the story of Johnny Blake (John Gar-
Abel. Screen play by Tess Slesinger and field) who iswanted by the police for man-
Frank Davis from the story by Vici Baum. slaughter. He is given a job by O’Connor
Musical director Edward Ward. Dances
staged by Ernst Matray. Direction by Doro- (Pat O’Brien) when he saves the latter’s life
thy Arzner. Produced by Erich Pommer. from attack by a drunken worker. The two
R.K.O. go to Texas to drill for oil. Their expe-
is a story of back stage life which
This riences are disheartening and then thrilling
achieves novelty by reason of its story, good and include saving a well which has caught
direction and able casting. It tells of a group fire. In this Johnny is the hero and he is
later to give himself up and stand

encouraged Theplot should not be divulged because
trial for theaccident which put a pall on his of surprises which hold the audience en-
its
good name. The cast is competent but the tranced. It is devised for fun and excite-
picture fails to develop stirring qualities, ment, and Alfred Hitchcock's direction is
possibly because it is slow in getting into superb. Through the medium of original
action. The sympathetic role is that of the camera work, interrupted dialogue, and
dependable O’Connor, but all the rewards go clever characterizations the story sweeps to-
to Johnny Blake. In movies we have been ward a thilling climax. Even the finale, when
led to expect some form of poetic justice and the reporter, now a full fledged foreign cor-
this failure may explain the disappointment respondent, pleads over the radio in a black-
in the film. out for a “prepared America” it does not
Adolescents, 12 to 16 Children, 8 to 12 seem redundant. The plot is sensational but
Passable interest Too melodramatic Americans are beginning to awaken to what
H overstock uncovered, the fact that war it-
FOREIGN CORRESPONDENT O O self is sensational and that the menacing
Joel McCrea, Laraine Day, Herbert Mar-

power which civilization faces is not above
shall, George Sanders, Albert Basserman, using any method for its purposes of de-
Robert Benchley, Edmund Gwenn, Harry struction.
Davenport, Eduardo Ciannelli, Martin Kos-
Joel McCrea seems perfectly cast as a
leck and a number of character roles.
Original screen play by Charles Bennett normal youth with a newspaper man’s sense
and Joan Harrison. Dialogue by James Hil- of “news”; fearless, alert, and competent.
ton and Robert Benchley. Cinematography Albert Basserman is excellent as the aged
by Rudy Mate. Musical score by Alfred
Neuman. Direction by Alfred Hitchcock. politician whose secret knowledge makes him
Walter Wanger Production. United Artists. a danger to the enemy. Robert Benchley has
"To those intrepid ones ’who ’went across an amusing role as the correspondent whose
the seas to be the eyes and ears of twenty-five years on the job make him more
America . . .
interested in his diet than in analyzing news.
"To those forthright ones who early saw the
George Sands is fine as a keen British
clouds of war while many of us at home
journalist, and Herbert Marshall is the
leader of a federation for peace and thus
were seeing rainbows . . .
an important key figure. Of the many char-
"To those clear-headed ones who now stand acters listed all are excellent, Edmund Gwenn
like recording angles among the dead especially so, as a bodyguard offered to the
and dying . . .
reporter. Laraine Day plays the romantic
“To the Foreign Correspondents . . . this interest but, due either to the part as written
motion picture is dedicated.’’ or to her unemotional interpretation, not
—Walter Wanger. as sympathetic as she might be.
is
Mr. Wanger’s first plan was to adapt from Interesting, picturesque European scenes
“Persona! History” certain of the incidents give a feeling of unusual authenticity and
and backgrounds of Vincent Sheean’s actual set the mood, and the tense scenes are
experiences abroad, but the swiftly chang- brilliantly presented. The picture is excep-
ing events in Europe made the story out of tionally original and entertaining production.
date almost at once and thus an idea sug- Adolescents, 12 to 16 Children, 8 to 12
Excellent Too tense and
gested by Mr. Hitchcock was elaborated,
mature
which carries only the romantic spirit of the
original. It is a thrilling and entertaining
melodrama of European intrigue telling of
the startling experiences of an American re-
THE GOLDEN FLEECING O O
porter who is sent abroad by the managing
Lew Ayers, Rita Johnson, Lloyd Nolan,
Virginia Grey, Leon Errol, Nat Pendelton,
editor of his paper to find out the real facts George Lessey. Screen play by S. J. and
about the delicate international situation Laura Perelman and Marion Parsonnet.
among countries on the verge of war. Johnny Based on original story by Lynn Root,
Frank Fenton and John Fante. Direction by
Jones, whose name is promptly changed to Leslie Fenton. Musical score by David
Huntley Haverstock for the assignment, goes Snell. Metro-Goldwyn-Mayer.
especially to interview the Dutch politician The
plot of this picture reads like a mathe-
Van Meer who is said to know more than matical brain teaser. A
dumb but honest
anyone about the potentialities of actual war. insurance salesman
a life insurance
sells
Jones has no academic background of econom- policy to a man who turns out to be a gang-
ics or diplomacy and no preconceived ideas ster in momentary danger of being killed.
of what to look for, and he promptly finds The problem is how can the insurance man
himself catapulted into a situation of sinister protect his company from paying a loss and
intrigue which takes him from London to at the same time deliver the gangster into
Amsterdam, back to London and then to the hands of the law and make $25,000 for
America via the clipper on the day England himself? The whole thing is extremely
declared war on Germany. farcical with humor depending on the stupidity
of most of the characters and a number of on to laugh with him. Gregory Ratoff plays
satirical cracks at the law. Lew Ayers is not the frantic manager to the hilt, the girls
at his best in this type of role. Rita Johnson are adequate but have supreme competition
as the romantic interest is very pleasing. playing against John Barrymore and Gregory
Adolescents, 12 to 16 Children, 8 to 12 Ratoff.
Questionable theme No a raucous, satirical comedy best suited
It is
to audiences who will recognize the Barry-
more mannerisms and appreciate the travesty.
GOLDEN GLOVES O O Adolescents, 12 to 16 Children, 8 to 12
Richard Denning, Jean Cagney, J. Carrol No No
Naish, Robert Paige, William Frawley. Based
on a story by Maxwell Shane. Screen play
by Maxwell Shane and Lewis R. Foster. HAUNTED HONEYMOON O O
Paramount.
Robert Montgomery, Constance Cummings,
“Golden Gloves’’ is the name of a band Leslie Banks, Sir Seymore Hicks, Robert
of amateur boxers, boys who are being ex- Newton, Googie Withers, Frank Pettingell,
ploited by a racketeer until one of their num- Joan Kemp-Welch, James Carney, Louise
Hampton, Eliot Makeham, Reginald Purdell.
ber is killed in a bout. This boy is the Screen play by Monckton Hoffe, Angus
brother of the fiancee of a newspaper re- MacPhail, Harold Goldman. Based on
novel "Busman's Honeymoon" by Dorothy
porter who dedicates himself to the establish-
L. Sayers. Direction by Arthur B. Woods.
ment of clean, healthy sport and develops a M-G-M.
fine organization.
athletic It is more in-
Dorothy Sayers has written a series of
teresting for those who enjoy and understand
detective stories in which Lord Peter IVimsey
boxing but informative for others. While it and Harriet Vane always figure. The novels
is masculine cast, Jean Cagney adds
chiefly a
are unusual, and are enjoyed by discrimi-
a note ofcharm. Unfortunately the boys are nating readers because the characters seem
shown taking the law into their own hands more real and human than in the average
and beating up the racketeer. story of this type. But they also depend upon
witty dialogue and character study more
Yes, especially for Too mature in
boys treatment than on action and for this reason “Haunted
Honeymoon” may seem deliberate and slow
by comparison with other mystery pictures.
THE GREAT PROFILE O O In this film, Lord Peter and Harriet are
John Barrymore, Mary Beth Hughes, Greg- married and plan a quiet honeymoon. Harriet
ory Ratoff, John Payne, Anne Baxter, Lionel
Atwill, Edward Brophy, Willie Fung. Original is a writer of detective tales and Lord Peter
screen play by Milton Sperling and Hilary a lawyer whose keen mind and flaire for
Lynn. Directed by Walter Lang. 20th ferreting out hidden clues are in constant de-
Century-Fox.
mand by Scotland Yard. But on their honey-
Taking as a basis for the plot John Barry- moon both swear that nothing can lure them
more’s recently much publicized appearances into the publicity into which their hobby of
in “My Dear Children,” this picture runs the They
crinie detection leads. retire to a
gamut of absurdities. Evans Garrick (John farmhouse in the quiet village of Biddle-
Barrymore) returns in high bibulous mood combe in Devon but before they are unpacked
after a three days’ absence to find a dis- a baffling murder upsets all their plans.
tracted manager and an irate wife who Interest depends upon English settings, de-
promptly leaves for Reno. Into the scene lightfully quaint characters, comedy, clever
comes a naive playwright who succeeds in dialogue, and the human charming roles
selling her very bad play to Garrick because played so naturally .by Miss Cummings and
her fiance will finance the production. It
Robert Montgomery. The mystery is un-
“flops” until the actor adds his own “spirited” raveled without the violent action usual in
touch to the original and action. The
lines pictures of this type. It will prove excep-
playwright then becomes his mentor and puts tionally entertaining for many audiences.
him on a milk diet and again the play is Adolescents, 12 to 16 Children, 8 to 12
wrecked. But suddenly the wife returns, Yes Probably little
interest
Garrick falls off the wagon and the play
.J.
revives.
John Barrymore is a great actor, and his
HE STAYED FOR BREAKFAST O O
Loretta Young, Melvyn Douglas, Alan Mar-
artistry is apparent even in this clowning
shall, Eugene Pallette, Una O'Connor, Curt
burlesque of himself and his profession. Bois, Leonid Kinsky. Screen play by P. J.
Many of his admirers will be disappointed Wolfson, Michael Fessier and Ernest Vajda.
Adapted from Sidney Howard's version of
by his appearance in such a picture, and it the French play "Liberti Provisoire" by
certainly has no moral or ethical value. We Michael Duran. Direction by Alexander
suspect that Mr. Barrymore is kidding the Hall. Columbia Pictures.
audience for being amused. It is slapstick This a satirical farce which has the same
is
with wit injected and it is laughable only basic idea as “Ninotchka” but which lacks
because a master actor invites those looking the Lubitsch smoothness and subtlety. Again
the communist, exposed to the luxury of bond between the two, but the theme is pri-
wealth and the lure of the other sex, changes marily concerned with a conflict of two
his colors when Marianne Duval, the beau- ideologies and is treated intellectually, not
tiful and expensive wife of a banker, proves emotionally.
to Paul, the communist organizer, that there In the cast Sir Cedric Hardwicke is ex-
are only two classes actually in her expe- ceptionally fine as Jane’s brother Peyton,
rience and that these are “male and female.’’ loyal supporter of the Crown and bitter foe
Adapted from the French play “Liberte Pro- of Mat. Richard Carlson is an ideal Jeffer-
visoire” it is a sophisticated bedroom farce, son, Alan Marshall is excellent as young
daring at times and always sexy. The cast Howard Peyton, the youth who leads his
is well chosen: Loretta Young, beautifully parents understand and fuse their con-
to
gowned, is successful in a comedy role. flicting viewpoints. Frank Lloyd has directed
Melvyn Douglas plays his sardonic role ca- with intelligence and dignity.
pably, but the ringing speech against his The film is particularly worth while today
“party” at the end is thorough]}' out of place in interpreting again the early days of the
in a vehicle which needs no further emphasis founding of democracy and in making his-
to point a moral. Una O’Connor is very tory a human document by showing two sin-
clever, and her intoxication scene is hilarious. cere people trying to adjust their lives to a
Curt Boise, Leonid Kinskey and Eugene Pall- changing regime.
ette contribute to the amusement. Poking fun Adolescents, 12 to 16 Children, 8 to 12
at an ideology eschewed by Americans should Excellent Good, but
mature
win approval, but greater finesse in handling
the situation would have insured the pro-
duction wider general appeal.
HIRED WIFE O O
Rosalind Russell, Brian Aherne, Virginia
Adolescents, 12 to 16 Children, 8 to 12 Bruce, Robert Benchley, John Carroll, Ho-
No No bart Cavanaugh. Screen play by Richard
Connell and Gladys Lehman. Based on story
by George Beck. Produced and directed by
THE HOWARDS OF VIRGINIA O O William A. Seiter. Universal Pictures.
Cary Grant, Martha Scott, Sir Cedric Hard- Marital scramblings are providing most of
wicke, Alan Marshall, Richard Carlson, Paul
Kelly, Irving Bacon, Elisabeth Risdon, Dickie the comedy themes in movies these days,
Jones. Screen play by Sidney Buchman. and this plot introduces a marriage of con-
Adapted from "The Tree of Liberty" by venience which the wife is reluctant to dis-
Elizabeth Page. Direction by Frank Lloyd.
Frank Lloyd Production. Columbia Pictures. solve when the business arrangement is no
longer necessary. Stephen Dexter, in fight-
Elizabeth Page’s novel, “The Tree of
ing a cement combine, is threatened with
Liberty,” is a recreation of an extended and
bankruptcy. His shrewd legal advisor de-
vital period in American history, the birth
cides that he must marry immediately and
of the Democracy, told in its effect upon a
put everything in the wife’s name. They
Virginia family through two generations.
call upon the competent secretary to save the
This film covers only the first half of the
day, which she does, but when the situation
book up to the time when victory for the
requires undoing, her eye is upon a design-
Colonial Army is apparent in the last year
ing advertising model who has attracted
of the Revolutionary War. It is the story of
Stephen, and the hilarity begins, or rather
Mat Howard, a fiery backwoodsman, fighter
continues, for Mr. Seiter keeps the fun con-
for the rights of the settlers against discrim-
tinuous. The farce is smart and sophisticated
ination in favor of the privileged classes.
Howard marries Jane Peyton, an aristocrat without being crude. The cast is excellent,
with anti-democratic views and a background and both Miss Russell and Miss Bruce man-
of luxury and arrogance. This essential dif-
age to make the girls sympathetic, a diffi-
cult achievement in a way for Miss Russell
ference makes their life together difficult
until through their grown son they are considering the eccentric costumes given her.
brought at last to an understanding of the Can it be she chose them?
value of tolerance and the art of compromise
Sophisticated Unsuitable
in any relationship.
Thepicture is a fascinating one, thorough-
ly interesting in content and splendidly cast.
I LOVE YOU AGAIN O O
Cary Grant plays a serious role in which the William Powell, Myrna Loy, Frank McHugh,
Edmund Lowe, Donald Douglas, Nella
comedy is created not by the dialogue, but Walker. Screen play by Charles Lederer,
in the character’s relation to the situations George Oppenheimer and Harry Kurnitz.
involved. As Mat he is crude, loud, unadapt- Original story by Leon Gordon and Maurine
Watkins. Based on novel by Octavus Roy
able, selfish in his domestic relationships, Cohen. Direction by W. S. Van Dyke II.
but idealistic in his political views. Martha Metro-Goldwyn-Mayer.
Scott dignified, unemotional and lovely as
is Following a vogue seemingly popular to-
Jane, the aristocratic wife. There is a curi- day, this near-bedroom farce races perilously
ous lack of emphasis placed on the emotional close to the border line of vulgarity and
sometimes oversteps in dialogue. The story or the pretty sister, Wendy Barrie, who all
deals with a lapse of memory caused by a make things hum around the shops. Testing
head injury and a return to normalcy after of the planes is thrilling but repeated too
another similar accident. The comedy is many times, and now and then it is evident
amusing because of the definite change in that models are being used. While the picture
personality which the blows cause in the is fast enough to keep the audience’s interest,
victim. William Powell cleverly portrays it is not one that will be remembered
long.
the dual role —
seen first as a pompous, thor- Adolescents, 12 to 16 Children, 8 to 12
oughly dull but honest “Babbitt,” he awakes For boys because of Too mature
the mechanical interest
to his former self, a slick confidence man
who recalls nothing of the past nine years
and is properly embarrassed by discovering
that he is married. The character lacks the LUCKY PARTNERS O O
debonair wit which made the “Thin Man” Ronald Colman, Ginger Rogers, Jack Carson,
sophisticate, and Myrna Loy’s role Spring Byington, Cecilia Loftus, Harry Day-
a winning enport, Hugh O'Connell, Lucile Gleason.
is also less effective than usual and her Screen play by Allan Scott and John van
lines are pointedly broad. The picture is Druten. Based on the story "Bonne Chance"
racy and hilarious at times, but disappoint- by Sacha Guitry. Direction by Lewis Mile-
stone. R.K.O. -Radio Pictures.
ing in its off-color humor.
Children, 8 to 12
“Lucky Partners” is an intermittently
No No amusing farce comedy in which laughs come
frequently enough to keep one hoping that
the film will eventually develop into some-
I'M NOBODY'S SWEETHEART NOW O O thing really good. Perhaps the original story
Dennis O'Keefe, Constance Moore, Helen
by Sacha Guitry had some French seasoning
Parrish, Lewis Howard, Samuel S. Hinds,
Laura Hope Crews, Berton Churchill. Di- without which a potagc du jour is recog-
rection by Arthur Lubin. Musical direction nizable as yesterday’s left overs. At any
by H. J. Salter. Universal. rate the film is disappointing. The plot is
This is a very light comedy with several the old one about a platonic experiment that
new songs and very modern settings, winding turns into romance. Ronald Coleman and
up with a beautiful wedding scene. Politics Ginger Rogers will please their already con-
get entangled in Cupid’s bow-string, when verted admirers, although Miss Roger’s hair-
an ambitious senator who wishes to be gov- do and hats are most unflattering. Henry
ernor breaks up two romances and arranges Davenport again takes the spotlight with
one which will cement his own political ties. his impersonation of a judge in an absurd
That the new combination is more suitable courtroom scene.
glosses over this unethical procedure. A Adolescents, 12 to 16 Children, 8 to 12
collegiate touch is added by the fact that two Because of farcical |s| 0
of the rivals are bootball stars. Acting is treatment probably
harmless though so-
adequate, and the music good, especially the phisticated in theme
singing of Constance Moore and the or-
chestral accompaniment.
Yes No interest MYSTERY SEA RAIDER O O
Carole Landis, Henry Wilcoxon, Onslow
V* Stevens. Based on a story by Robert Grant
Screen play by Edward E. Paramore, Jr. Di-
MEN AGAINST THE SKY O O rection by Edward Dmytryk. Paramount.
Richard Kent Taylor, Edmund Lowe,
Dix,
Wendy Story by John Twist. Screen
Barrie.
This is the story of an American ship
the
play by Nathaniel West. Direction by Les- owner of which, Jimmey Madden, contracts
lie Goodwins. R.K.O. -Radio. with a Mr. Cutler, presumably an American
With aviation holding the spot-light at the businessman, to carry on his shipping busi-
present time a picture dealing with the con- ness in the Carribean area. When, once on
struction of a new, high-speed plane is time- the high seas, Mr. Cutler reveals himself and
ly, although there are few original ideas in his workers aboard, as agents of the Nazi
this film. Phil Mercedes is a famous flyer government, whose purpose is to raid enemy
who has learned to rely on drink until it cargoes, the refusal by Madden and his crew
cuts short his career and he is deprived of to work for the Nazi cause results in their
his pilot’s license. Due to the encouragement imprisonment aboard ship. The rest of the
of his sister he braces up long enough to picture concerns itself with torpedo warfare
make important contributions to the design and the plans of Madden’s sweetheart, a
of anew super-plane and performs his most rather privileged captive aboard, to inform
spectacular feat by saving it from crashing the proper U. S. authorities of the location
on the day it is tested. Although Richard and activities of the mystery ship. The pic-
Dix thus the hero he receives less footage
is ture is a succession of highly improbable
than Edmund Lowe, philandering owner of situations, unconvincingly portrayed in scene*
the factory, Kent Taylor, the chief engineer, of most mediocre acting, without the slight-
est semblance of reality. The only redeem- PUBLIC DEB. NO. 1 O O

ing features of the film are some excellent George Murphy, Brenda Joyce, Elsa Maxwell,
shots of submarine and torpedo activity. Mischa Auer, Charlie Ruggles, Ralph Bel-
Children, 8 to 12
lamy, Maxie Rosenbloom, Berton Churchill,
Adolescents. 12 to 16
Franklin Pangborn, Hobart Cavanaugh, Ivan
No value No value
Lebedeff. Screen play by Karl Tunberg and
Darrell Ware. Based on story by Karl Tun-
berg and Don Ettlinger. Direction by
Gregory Ratoff. Musical direction by Alfred
NO TIME FOR COMEDY O O Newman. 20th Century-Fox.
James Stewart, Rosalind Russell, Genevieve
Tobin, Charlie Ruggles, Allyn Joslyn, Clar-
From the title and the inclusion of Elsa
ence Kolb, Louise Beavers, J. M. Kerrigan. Maxwell’s name in the credits, this picture
Screen play by Julius J. and Philip G. Ep- might be expected to reveal the inside story
stein. From the stage play by S. N. Behr-
man. Direction by William Keighley. War-
of New York society. Surprisingly it turns
ner Brothers. out to be a slapstick comedy about a feather
brained soup heiress with communistic sym-
This film version of “No Time for Com- pathies who is saved for capitalism by the
edy” uses an ingenious and amusing pro- Petrucian tactics of a college-bred waiter. It
logue as a sort of shoehorn to slip Jimmie
has entertaining moments but a feeble plot
Stewart into a misfit role. It starts off with Brenda Joyce’s
and little sustained interest.
Gaylord Esterbrook, an extremely green role is too exaggerated to be pleasing and
young country playwright, arriving at the the humor is typified by such episodes as the
rehearsal of his own comedy which is soon
heroine’s being publicly spanked by a waiter
to be produced on Broadway. His naivete
in a cafe. George Murphy is convincing in
puzzles and distresses his backer and most
the role of shrew tamer and the supporting
of the cast, but endears him to the leading
cast is adequate.
lady to such an extent that she marries him. Children, 8 to 12
Up to this point the role seems built to speci- Not recommended No
fications for Jimmie Stewart’s particular kind
of characterization. But when Gay begins <•
to spend most of his time in bars and turkish O O

THE RETURN OF FRANK JAMES
baths,and falls into the clutches of a silly
woman, Mr. Stewart ceases to be the best Henry Fonda, Gene Tierney, Jackie Cooper,
choice for the role. The situation develops Henry Hull, John Carradine. Original screen
into an undeclared war between the wife and play by Sam Heilman. Direction by Fritz
the siren, and it is not hard to guess who

Lang. 20th Century-Fox.
will win. Nevertheless the film is excellent “The Return of Frank James” carries on
light entertainment because in spite of weak from the point where “Jesse James” left off.
spots, it has clever dialogue and many laugh- It tells the story of Frank's vengeance upon
getting situations. Rosalind Russell gives a the Fords, erstwhile pals of Jesse, who mur-
nice performance as the almost too perfect dered the latter by shooting him in the back.
wife. Frank, having retired from banditry, is liv-
Adolescents, 12 to 16 Children, 8 to 12 ing on a farm with his young friend, Clem,
Sophisticated, but No when he hears that the Fords have been given
handled in good taste
a free pardon, and he sets forth to kill them
himself. Stealing money from the express
PIER 13 O O office tofinance his manhunt, he is implicated
in a murder. How finally the Ford brothers are
Lynn Bari, Lloyd Nolan, Joan Valerie, Doug-
las Fowley. Based on a story by Barry Con-
killed and Frank risks his own neck to save an
nors and Philip Klein. Screen play by Stan- innocent man, makes the plot of the film. The
ley Rauh and Clark Andrews. Direction by action runs true to the formula for westerns
Eugene Forde. 20th Century-Fox.
with daredevil riding, shooting, and wild
There are many laughs and some good pursuits through rugged country. In spite of
characterizations in this story of a cop who beautiful Technicolor and a blood and
rises to become a detective and eventually thunder theme, the picture is often rather
gets a large reward for capturing a jewel slow and uninteresting. The most lively mo-
thief. He also wins the girl of his heart. ments are at the trial of Frank when his
The humorous sallies between Lloyd Nolan freedom is bought by clowning and specious
and Lynn Bari evoke many laughs, and Oscar arguments, and by playing upon the then
O'Shea is splendid as the happy old skipper almost universal hatred of railroad officials,
who knows every boat in the harbor by its all of which would be more amusing if
whistle. Most of the action is localized one could forget that the hero was in reality
around the water front in New York City, a dangerous public enemy, and that although
and while it is not an ambitious picture in he was eventually pardoned, he was actually
any way, it has its good points. a notorious outlaw.
Yes Not suitable No. Ethically bad No
2
RHYTHM ON THE RIVER O O STRANGER ON THE THIRD FLOOR O O

Bing Crosby, Mary Martin, Basil Rathbone, Peter Lorre, John McGuire, Margaret Talli-
Oscar Levant, Lillian Cornell, Charley Grape- chet, Charles Cook, Jr. Direction by Boris
win, John Trotter, Ken Carpenter. Screen Ingster. Story and screen play by Frank
play by Dwight Taylor. Based on a story by Partos. R.K.O. -Radio.
Billy Wilder and Jaques Ther. Direction This is a rather gloomy and fantastic
by Victor Schertzinger. Musicai direction
by Victor Young. Paramount. yarn with a portion of the conversation
sotto voce to represent a train of thought
This is one of the best, if not the best, of and a horrific nightmare which later comes
Bing Crosby’s recent releases. The story is partially true. When a young newspaper man
slight but entertaining and the director has receives a raise in salary for his part in the
given it a sparkle and a spontaneity which conviction of a youth accused of murder,
are infectious. Bing Crosby never seems to the intuition of his fiancee raises doubts in
be acting, and Oscar Levant steals many his mind, especially when he finds himself
scenes with his natural manner and audaci- in a parallel situation. It is the girl who has
ously clever lines, many of which we suspect sufficient courage and determination to trace
were his own (ad lib). Ken Carpenter has the murderer responsible for both crimes.
an amusing scene as an announcer who has John McGuire and Margaret Tallichet are
to fill in a few minutes of extra time before well cast as the young couple, and Peter
his performers are ready to go on the air. Lorre adds another weird characterization
Story: A song writer without high ambi- to his from their work
repertoire, but aside
tion (except to earn enough money to get a and some good realism in depicting the seamy
new boat) becomes a ghost writer for a side of life, the film adds little to the merit
composer who has gone stale. However, ro- of current productions.
mance changes his ideas, and when he tries Adolescents, 12 to 16 Children, 8 to 1 2
to break way and sell his own things he No Frightening
is accused of plagiarizing the very songs he
wrote for the other man. His oath of secrecy O
makes his position desperate until a final
WILDCAT BUS O
Fay Wray,
Charles Lang, Paul Guilfoyle,
episode offers both him and the girl the op- Don Costello. Story and screen play by Lou
portunity they deserve. Lusty Direction by Frank Woodruff. R.K.O.-
The songs are tuneful and Oscar Levant Radio.
plays several times in his inimitable fashion. Racketeers, under the guidance of a vindic-
Mary Martin puts over one song with all tive old woman whose dishonest husband has
the personality and cleverness which we con- landed in the penitentiary, endeavor to de-
nect with her success in this line. story an old, established bus line. They are
Adolescents, 12 to 16 Children, 8 to 1 2 well on the way to success when a young
Yes Yes spendthrift and his erstwhile chauffeur are
hired by the illegal operators and the bus
company respectively. The manager of the
SLIGHTLY TEMPTED O O bus lines the president’s daughter, an effi-
is
Hugh Herbert, Peggy Moran, Johnny Downs, cient and attractive lass, who enlists the help
Elisabeth Risdon, George E. Stone. Story of the two youths to defeat her enemies.
by Max Marcin and Manuek Seff. Screen This is a slightly different cross-section of
play by Arthur Horman. Direction by Lew racketeering, but the film has little to set it
Landers. Universal. apart from a dozen others. A
certain amount
Even inan out and out comedy it is bad of suspense, dashes of humor, and passable
practice for an individual to swindle innocent acting, add up to a total of “fair” in the
people to finance a potential son-in-law in entertainment column.
a laudable enterprise. Professor Ross re- Adolescents, 12 to 16 Children, 8 to 12
Little to recommend No
turns from prison determined to go straight,
but when the young man of his daughter’s
choosing needs capital for a factory he finds
it just too easy to become a confidence man
SHORT SUBJECTS
again. There is little to counterbalance the
bad ethics, for all in all this is a pretty silly
O O
film with Hugh Herbert “whoo-whoo”ing ad
MARCH OF TIME NO. 10
The Philippines 1896-1940.
nauseum; he funny enough in sort se-
is
quences but cannot carry a full length picture, The March of Times are distinctive be-
if this is a fair example. Peggy Moran, who cause of their high grade of photography and
photographs beautifully, is a redeeming fea- a fine reportorial quality in selecting the
ture, and Johnny Downs is also on the credit points of greatest interest to an audience on
side. However, talent is wasted on such a any subject covered. This number on the
poor story. Philippines is no exception, giving as it does
a brief history of the people and its rela-
No No tion to the United States, followed by in-
formative pictures pertaining to health, com- young voices as they march up the aisle to
merce, industries, education and political life. their places in the choir.
There is more forcible anti-Japanese senti- Adolescents, 12 to 16 Children, 8 to 12
ment at the beginning than Time permits on Very good Yes
the pages of its magazine.
Interesting
Children, 8 to 12
Yes
NORWAY O O
war graphs from Studios
First of a series of
Cartoon Films Ltd. Directed by Paul Fen-
nel. Produced by Lawson Haris. Narrator,
THE CHOIR BOY O O Thomas Freebairn Smith. Military Advisor:
Capt. Louis M. Hitchcock, U. S. A., Retired.
Robert Mitchell and his Boy Choir. (Dedi-
cated to the choir boys of America.) An illustration of the German invasion of
Producer-Director, Irving Applebaum. Nar- Norway, done entirely by cartoons and graphs
rator, Hugh Brundage.
and described by Thomas Freebairn Smith,
constitutes a new type of film. It shows
This is a very interesting account of the clearly where the British and French entered
work Robert Mitchell is doing with boys of the country and why they were unable to
many racial origins. Members of his Boy combat the Nazis. Very interesting and in-
Scout troup are also trained by him for sing- structive.
ing in a church choir. They are well Adolescents, 12 to 16 Children, 8 to 12
schooled, and it is a joy to hear their fresh Yes Too tense


, 19
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FEATURE FILMS
Angels Over Broadway

Christmas in July
City for Conquest
A Dispatch from Reuter's
Down Argentine Way
Dulcy
The Gay Caballero
I'm Still Alive
I Want a Divorce
Laddie
Land of Liberty
The Leather Pushers
Margie
Melody and Moonlight
Mystery Sea Raider
Rangers of Fortune
Sky Murder
Spring Parade
Strike Up the Band
Three Men from Texas
The Westerner
Wyoming
Yesterday's Heroes
SHORT SUBJECTS
March of Time No. 13
(Gateways to Panama)
Pony Express
Young America Flies

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EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Rtall Mrs. Laura 0. Vruwink
Vol. XV OCTOBER, 1940 No. 10
CORRECTION
In the September issue of Motion Picture Reviews, credit was erroneously given Alan
Marshall for the role of Peyton Howard in the review of “The Howards of Virginia.” It
was, in fact, an achievement of Phil Taylor.
FEATURE FILMS
ANGELS OVER BROADWAY O O club, the stage of an empty theatre, the room
Douglas Fairbanks, Rita Hayworth, Thomas of an unsavory hotel. The cast is unusually
Mitchell, John Qualen, George Watts, Ralph good; Thomas Mitchell as the playwright,
Theodore. Written, produced and directed
by Ben Hecht. Columbia.
mellowed by liquor and vicissitudes of life;
John Qualen, the small businessman pre-
has been said that if one man performed
It
ordained for misfortune; Douglas Fairbanks,
several offices in connection with a picture
Jr., a man who lives by his wits and hates
it would have greater unity. Certainly it is
to do anything unless he gets his “cut”; and
true that this film, written, directed, and pro-
the girl, Rita Hayworth, whose sordid sur-
duced by Ben Hecht, is a well-rounded drama
roundings have not availed to rob her of a
with a high degree of individuality. “Angels
fresh viewpoint and the belief that there is
Over Broadway” is much closer to the stage
some goodness left in humanity. If anyone
in technique than the usual cinema feature,
likes the film, and some will like it very
and one finds oneself sitting on the edge of
much indeed, it can be credited to these ac-
one’s seat to catch every word that is said,
tors and to a certain quality which is in-
for the repartee is quick and keen-edged.
dubitably Ben Hecht.
It is an odd sort of play, one of those hypo-
thetical affairs: if Mr. X
is about to commit Too mature Impossible
suicide because he owes three thousand dol-
lars, what can anyone do about it? Gene
Gibbons, a playwright who has won the CHRISTMAS IN JULY O O
Pulitzer prize and topped it off with three Dick Powell, Ellen Drew, Raymond Walburn,
failures, writes two endings to the plot and Alexander Carr, William Demarest, Ernest
Truex. Written and directed by Preston
one of them proves successful. There are no Sturges. Musical direction by Sigmund Krum-
expensive sets; the action takes place on rainy gold. Paramount.
streets in New York, a fair to medium night Novelty and spontaniety characterize this
human little comedy in which Mr. Sturges pression she creates of a girl driven solely
again demonstrates that a simple story may by a desire for self expression. Others in the
be made unusually satisfying. By logical cast, especially Arthur Kennedy and Anthony
motivation, dialogue, and the
well-written Quinn, carry on competently, and the di-
clear definition of even the smallest roles, he rector keeps a swiftly moving pace. The
magnifies interest beyond what one might prize fight scenes are brutually cruel, and
expect in so unpretentious a picture. The some will find the suspense too sensational
plot concerns the attempt of a young office for pleasure. But the story is unusual and
clerk to win $25,000 in a slogan contest in well worked out, and Frank Craven, in a
order that he may marry his sweetheart, buy role reminiscent of the Commentator in “Our
his mother a few comforts, and settle down Town” ties the events together in a philo-
in a real home. The film, though not particu- sophical interpretation of the idealism, beauty
larly dramatic, touches the emotions in a and heart-break to be found in the whirlpool
range from gaiety to sadness. It satirizes of a great city.
advertising contests and methods of exploita- Adolescents, 12 to 16 Children, 8 to 12
tion, makes subtle fun of business executives, —
No tense and
emotional
—
No unsuitable
and pictures the delicate psychological bal-
ance which marks the difference between a
man’s inner conviction of success and his A DISPATCH FROM REUTER'S O O
acceptance of failure. It is unusually pleas-
Edward G. Robinson, Edna Best, Eddie Al-
ing entertainment. bert, Albert Basserman, Gene Lockhart,
Adolescents, 12 to 16 Children, 8 to 12 Otto Kruger, Nigel Bruce, Montagu Love,
Excellent Perhaps Dickie Moore. From a story by Valentine
interesting Williams and Wolfgang Wilhelm. Screen
play by Milton Krims. Music by Max Steiner.
Direction by William Dieterle. Warner Bros.
CITY FOR CONQUEST O O It is a gain for the public that so fine an
James Cagney, Ann Sheridan, Frank Craven, actor as Edward G. Robinson may
be seen
Donald Crisp, Frank McHugh, Arthur Ken- in biographies based on historical characters
nedy, George Tobias, Jerome Cowan, Elia in place of the sinister gangster roles for
Kazan, Anthony Quinn, Blanche Yurka. which he was long acclaimed. As in “Dr.
Screen play by John Wexley from the Erlich” we have a man who was simple and
novel by Aben Kandel. Direction by Ana- unaffected in everyday habits, and who
tole Litvak. Warner Bros. -First National. achieved greatness because his whole life
New York, the city for conquest, is a place was bound up in an ideal of service. Julius
of opportunity for a few youngsters from the Reuter believed that in speeding news he was
East Side who have varying talents: the girl aiding progress, spreading knowledge and
whose twinkling toes drive her to heavy truth. The story begins in 1833, but the first
sacrifice in order to see her name in glittering event of importance takes place a few years
lights on Broadway; Danny, the boy who tries later in the quaint little village of Aachen,
to make his mark in the prizefight ring; the where he has established a carrier pigeon
smart kid who begins with petty theft and post to connect with the new telegraphic
graduates into the big-time gangster; the system terminating in Brussels. The first
smooth, slick contest dancer who offers the commercial use of this service is to bring
girl her chance; and Danny’s younger broth- stock market reports to bankers, but as the
er who, with Danny’s help, perfects his telegraph spreads over his territory, he con-
music and translates his impression of the ceives the idea of a news service utilizing
city into a beautiful symphony. Almost the telegraph. His first great success comes
everything is in one picture and something in transmitting a speech of Louis Napoleon
to interest divergent tastes. There is the word for word, the greatest crisis of his
emotional story of two people in love who do career when he announces the assassination
not understand each other’s philosophies, there of Lincoln so soon after the event that few
are exciting scenes of prize fights and un- believe it authentic. At the end is a fervent
sportsmanlike methods (which unfortunately plea for freedom of the press.
go unpunished and leave a distinctly bad There is a distinct old-world flavor to the
impression) and also brilliant symphonic
;
picture with a charming old-fashioned ro-
music performed by the talented youth who mance. Edna Best is lovely as the doctor’s
alone reaches the high pinnacle of his am- daughter who becomes Reuter’s wife, and
bition. the story gains substance and warmth be-
It is well acted. Jimmy Cagney plays a cause of the friends played by Albert Basser-
sympathetic role of an unambitious, gener- man, Nigel Bruce, Montagu Love and Eddie
ous, unembittered youth who faces unde- Albert. Gene Lockhart is adept as a crafty
served tragedy with courage and fortitude. banker. Anton Grot’s art direction and Max
Ann Sheridan is excellent, playing with deep Steiner’s music add to the aesthetic value.
sincerity a part which might easily have been It seems at times as if there are too many
entirely unsympathetic except for the im- obstacles to overcome, that moods of de-
pression come more often than success. The sonal affairs of relatives and friends. The
story of an agency like Reuter’s which has current film version takes much of the action
lasted over a hundred years should end with out of the drawingroom, adds speed boats
a greater paean of achievement. whizzing crazily on a mountain lake, a
Adolescents, 12 to 16 Children, 8 to 12 barbeque in a thunderstorm, and other laugh
Excellent Long. Might be getting situations besides several new and
tiring.
colorful characters. If the action lags occa-
sionally, there is still plenty of fun and ex-
DOWN ARGENTINE WAY O O citement to make the picture entertaining.
Don Ameche, Betty Grable, Carmen Mi-
Though most of the well-selected cast have
randa, Charlotte Greenwood, J. Carrol Naish, had better roles, all are given some oppor-
Henry Stephenson, Katherine Aldridge, tunity for excellent comedy. Ann Sothern
Leonid Kinskey, Chris-Pin Martin, Charles
Judels, Nicholas Brothers, Thomas and cleverly assumes a character which is quite
Catherine Dowling, Six Hits and a Miss, different from the type of role she usually
Carmen Miranda Band. Screen play by plays. The film is a good antidote for war-
Darrell Ware and Karl Tunberg. Story by
Rian James and Ralph Spence. Directed by time doldrums.
Irving Cummings. Twentieth Century-Fox. Adolescents, 12 to 16 Children, 8 to 12
Good Probably
The fascinating rhythms of Latin American enjoyable
music compose the, score of this film, and the
mood is set at the beginning when Carmen
Miranda opens the picture with South Ameri- THE GAY CABALLERO O O
can Way. Her magnetic personality is an Cesar Romero, Sheila Ryan, Robert Ster-
intangible asset which accounts for her in- ling, Chris-Pin Martin, Janet Beecher, Ed-
stant popularity in this country in the en- mund MacDonald, Jacqueline Daly, Monta-
gue Shaw, Hooper Atchley. Screen play by
tertainment field. Not beautiful, but gor- Albert Duffy and John Larkin. Original
geously costumed, she makes her songs a story by Walter Bullock and Albert Duffy
highlight of the film. The Nicholas Broth- based on Cisco Kid character created by
O. Henry. Direction by Otto Brower. Twen-
ers perform a dance specialty which is tieth Century-Fox.
tops in acrobatic tap. The plot is unimpor-
The Cisco Kid (a modern Robin Hood)
tant because it simply holds together the
and his faithful Mexican companion help a
musical numbers. It is reminiscent of all maiden (and her father) in distress and pre-
race horse stories, but set in the Argentine
vent them from being cheated out of a ranch
and photographed in technicolor, its atmos- they have purchased from a woman who
pheric novelty makes it interesting. Don cannot bear to have her holdings divided.
Ameche gives a good impression of a South Janet Beecher plays this somewhat compli-
American and is a personable hero. Much cated character extremely well covering evil
of the fun is due to Charlote Greenwood who
with overtones of charm and dignity, which
is always counted on, and her songs and makes the role menacing in the extreme. The
dance are inimitable. Leonid Kinsky also film has action, and excitement and an in-
gives highly comic support. Chris-Pin Martin,
teresting and beautiful western background.
J. Carrol Naish, and Henry Stephenson are It will interest all but sophisticated audi-
excellent. Betty Grable is a pretty little
ences, and the ethics are clearly enough de-
blond but in contrast to the dynamic Car- fined to entertain youngsters.
men Miranda she seems like an ordinary Adolescents, 12 to 16 Children, 8 to 12
night club entertainer. For its appeal to the Yes Yes
eye, its musical score, specialty acts and
colorful background, “Down Argentine Way”
will undoubtedly be received with enthusi- I'M STILL ALIVE O O
asm. Kent Taylor, Linda Hayes, Howard da Silva,
Adolescents, 12 to 16 Children, 8 to 12 Ralph Morgan, Don Dillaway, Clay Clement,
Yes If interested Fred Noblo. Story and screen play by Ed-
mund North. Direction by Irving Reis.
R. K. O.
DULCY O O Hollywood's daring stunt players are dra-

Ann Sothern, Ian Hunter, Roland Young, matized in this picture. They are the men
Reginald Gardiner, Billie Burke, Lynne Car- and women who double for movie stars in
ver. Screen play by Albert Mannheimer, hazardous sequences and are thus
Jerome Chodorov and Joseph A. Fields. unrecog-
Based on a play by George S. Kaufman and nized heroes. In this direct and entertaining
Marc Connelly. Directed by S. Sylvan Simon. story Steve is one of the more successful in
Metro-Goldwyn-Mayer. his profession, but his romance with a lead-
The feather-brained, well-intentioned and ing lady and her demanding love present a
interfering young lady of the long popular major dramatic conflict. Kent Taylor is very
comedy is here again in a new screen ver- convincing and attractive in his role as is
sion, blundering her way hilariously through Howard da Silva, also, as his dependable
one absurd contretemps after another in her and loyal friend. Linda Hayes is deft in
mistaken enthusiasm to arrange the per- picturing varying moods from temperamental
shrew to distracted wife determined that her affair with a farmer’s handsome son. Little
husband must give up his dangerous work. Sister brings fun into the picture with her
Ralph Morgan is always dependable. Fred pranks and precocious ways and finally helps
Niblo and Clay Clement are seen as directors to bring about a happy ending. It is a
on the sets. crashes give exciting
Stunt pleasant, unexciting little picture quite in
thrills, and balanced humor, pathos,
nicely character with the book. Joan Carroll is a
and drama contribute to give the picture natural little actress and Rand Brooks as
more than average interest. Peter, a bashful suitor, is really clever. The
Adolescents, 12 to 16 Children, 8 to 12 cast is well selected.
Questionable because Mature and Adolescents, 12 to 16 Children, 8 to 12
of drinking exciting Sentimental If interested
I WANT A DIVORCE O O
Joan Blondell, Dick Powell, Gloria Dickson,
LAND OF LIBERTY O O
Frank Fay, Jessie Ralph, Harry Davenport, (Reviewed in "Motion Picture Reviews
Conrad Nagel, Mickey Kuhn, Louise Beav- July, 1939.)
ers. Screen play by Frank Butler from a Sponsored by Motion Picture Producers
story by Adela Rogers St. John. Direction and Distributors of America, Incorporated.
by Ralph Murphy. Paramount. Edited by Cecil B. deMille, assisted by Her-
Instead of using divorce as a pleasant joke bert L. Moulton, William H. Pine and
or as a means of uniting two stars at the Francis S. Harmon. Narration written by
end of a triangle drama, Hollywood has Jeanie MacPherson and Jesse Lasky, Jr.
treated the subject seriously and sincerely in Historical Consultant: James T. Shotwell.
this story of a young couple who love each “Land of Liberty,” the Motion Picture
other but find themselves drifting apart be- Industry’s film is an ambitious, extremely
cause of a difference of opinion about the interesting, and novel production in which
way in which their livelihood is to be ob- hundreds of sequences depicting events in the
tained. The husband, a lawyer, finds easy history of the United States have been taken
money in handling divorces. His wife, seeing from motion pictures and news reels and
the unhappiness it has caused her sister, skilfully combined to give a stirring pano 1 -
disapproves. Tragedy awakens the man to rama of major events in the development
the fact that his contribution to living will of our country. Also as was its intention, it
bring more lasting satisfaction through prac- conveys a startling realization of the enor-
ticing in theCourt of Reconciliation. mous field of motion pictures. The project
Humor nicely employed to relieve the
is was in the hands of the master craftsman,
dramatic situations, and the two popular leads Mr. Cecil B. DeMille. It is suitable in
bring real sincerity to their performances. content for all audiences, but its great
The picture entertains and at the same time length would make it tiring for young
carries a sympathetic message which should children.
not be overlooked.
Not under 15 Not advised.
Contribues to THE LEATHER PUSHERS O O
insecurity Richard Arlen, Andy Devine, Astrid All-
wyn, Douglas Fowley. Direction by John
Rawlins. Universal.
LADDIE O O This is one of the poorer pictures of the
Tim Holt, Virginia Gilmore, Joan Carroll,
“B” class, relying on slap-stick and the im-
Spring Byington, Robert Barrat, Miles Man-
pact of human bodies in the fight arena for
der, Esther Dale, Sammy McKim, Rand
its chief appeal. A young newspaper woman
Brooks, Peter Cushing, Martha O'Driscoll.
wins the managing contract of an up-and-
Screen play by Bert Granet and Jerry Cady
coming pugilist in a raffle and conceives the
from novel by Gene Stratton Porter. Di-
idea of making money through his matches
rection by Jack Hively. R. K. O.
to support her home for battered, ageing
This is a “sweet” and sentimental love fighters. Most of the boxing contests are
story which seems to belong to a past era. crooked in one respect or another. The film
Gene Stratton Porter’s novels usually have a vacillates between farce and heroic drama
problem of revenge or pride to be settled with the amazing spectacle of a man who
before the lovers are united, and in “Laddie” has just given a pint of his blood for a trans-
an unhappy Englishman has come to America fusion battling through a number of rounds
to forget his son has disgraced the
that to win a championship match, while the
family name. His bitterness and class-con- half-dying recipient of his red corpuscles
sciousness lead him to prohibit his daughter directs the blows by remote control.
from accepting the friendly kindness of the Adolescents, 12 to 16 Children, 8 to 12
neighbors and of course hinder the love Bad sportsmanship No
MOTION PICTURE REVIEWS Sevan
MARGIE O O refusal by Madden and his crew to work for

Tom Brown, Nan Grey, Mischa Auer, Edgar the Nazi cause results in their imprisonment
Kennedy, Allen Jenkins, Eddie Quillan, aboard ship. The rest of the picture con-
Wally Vernon, Joy Hodges, Richard Lane,
Pauline Haddon, Effie Parnell, Screen play cerns itself with torpedo warfare and the
by Erna Lazarus, W. Scott Darling and Paul plans of Madden’s sweetheart, a rather priv-
Gerard Smith. Directors Otis Garrett and ileged captive aboard, to inform the proper
Paul Gerard Smith. Universal.
U. S. authorities of the location and activi-
This light musical comedy makes no pre- ties of the mystery ship. The picture is a
tense at being anything but a B class film, succession of highly improbable situations un-
but as a matter of fact it actually has more convincingly portrayed. The only redeeming
laughs in it than many more publicized A features are some excellent shots of sub-
pictures. Mischa Auer is seen in a comical marine and torpedo activity.
role of a South American promoter of the Adolescents, 12 to 16 Children, 8 to 12
banana industry. (Incidentally he loathes No value No value
the fruit.) He is in search of a radio pro-
gram and is attracted to Margie who has
one ready to sell. The plot is concerned RANGERS OF FORTUNE O
with her efforts to keep his attention on the Fred MacMurray, Albert Dekker, Gilbert
program, to sell it to the radio producer, Roland, Patricia Morison, Joseph Schi Id-
kraut, Dick Foran, Betty Brewer, Arthur
and to hold on to her piano in spite of a Allen, Bernard Nedell, Brandon Tynan,
persistent collection agency. The plot is Minor Watson, Rosa Turich. Original screen
slight but it is sufficient to give the able play by Frank Butler. Direction by Sam
Wood. Paramount.
comics opportunity to present their hilarious
clowning. Andy Devine has a tag line which Much depends upon the mood in which
climaxes the nonsense. one sees this film. It is a happy-go-lucky,
burlesque melodrama in which three soldiers
Children, 8 to 12
Amusing Yes of fortune cheat death and happen upon
weird and exciting adventure in a desert
town in Texas in the ’70s. In helping a
MELODY AND MOONLIGHT O O small girl whose courage in defying their
Johnny Downs, Vera Vague, Jerry Colonna, high-handed methods has intrigued them,
Jane Frazee, Mary Lee, Frank Jenks. From
an original story by David Silverstein. Screen they return with a dying man to the town
play by Bradford Ropes. Directed by Joseph where he has been fighting a mysterious
Santley. Republic Pictures.
force which is devastating the countryside.
“Melody and Moonlight” one of the
is When the newspaper publisher dies they help
less significant variations of theformula of the child and an old printer continue his
“boy meets girl, boy loses girl, boy gets girl.” paper, and the plot waxes wild and exciting,
When the story is concerned with the more with all the stunts of a serial. The Rangers
juvenile members of the cast, it is innocuous are a gay and individualized trio. Fred
enough. Not as much can be said for the MacMurray is a handsome ne’er-do-well;
lines given the more adult players. Vulgar Albert Dekker, a dumb “pug” whose prow-
innuendos, followed by smirks which leave ess getsthem out of many a fix; and Gilbert
no doubt as to their meaning could have been Roland as charming a Mexican cutthroat
is
deleted without seriously damaging an al- as one could wish for. Joseph Schildkraut is
ready negligible plot. Also the frequency an excellent “heavy.” Little Betty Brewer is
with which the noble poor in the movies an unusual find, a child with unique charm
compare their sterling virtues with the base and real ability.
characteristics of the unworthy rich is be- It was produced with tongue in cheek,
coming tiresome. and it amusing, but the plot is involved
is
Adolescents, 12 to 16 Children, 8 to 12 and strives too hard for its effects.
Negligible No Adolescents, 12 to 16 Children, 8 to 12
Depends on taste
and ability to
No — shocking
sequences,
MYSTERY SEA RAIDER O O evaluate.
Carole Landis, Henry Wilcoxon, Onslow
Stevens. Based on a story by Robert Grant.
Screen play by Edward E. Paramore, Jr. Di-
rection by Edward Dmytryk. Paramount. SKY MURDER O O
This is the story an American ship
of Walter Pidgeon, Donald Meek, Karen Verne,
Edward Ashley, Joyce Compton, Tom Con-
whose owner, Jimmy Madden, played by way. Original screen play by William R.
Henry Wilcoxon, contracts with a Mr. Cut- Lipman. Directed by George Seitz. M-G-M.
ler, presumably an American businessman Nick Carter is out to uncover Fifth Col-
to carry on his shipping business in the Carri- umn but he seems to be more in-
activities
bean area. When, once on the high seas, terested in a vain young girl than in his job
Mr. Cutler reveals himself and his workers as G-man. The character is absurd; the
aboard as agents of the Nazi government, story is incoherent, and the activities of the
whose purpose is to raid enemy cargoes, the villains too obscure for the audience to get.
—
An attempt is made to cover up plot de- STRIKE UP THE BAND O O

ficienciesby bombings, shootings, screeching Mickey Rooney, Judy Garland, Paul White-
brakes and murders in the sky, but the result man, June Preisser, William Tracy, Larry
is a sad jumble. Munn, Margaret Early, Ann Schoemaker,
Adolescents, 12 to 16 Children, 8 to 12 Francis Pierlot, Virginia Brissac, Elliott Car-
No interest No penter, Phil Silvers, George Lessey, Enid
Bennet, Harlan Briggs. Screen play by
O O John Monks, and Fred Finklehoffe.
SPRING PARADE Jr.,
Deanna Durbin, Robert Cummings, Mischa M-G-M.

Direction by Busby Berkeley.
Auer, Henry Stephenson, S. Z. Sakall, Butch This is a first class musical, reminiscent
and Buddy, Walter Catlett, Anne Gwynne, of “Babes in Arms” in theme but elaborated
Peggy Moran, Franklin Pangborn, Ed Gar- into more spectacular sequences and running
gan, Wade Botler, Samuel S. Hinds. Origi- over two hours in length. Because the film
nal story by Ernst Marischka. Screen play is exceptionally entertaining and the cast
by Bruce Manning and Felix Jackson. Music delightfully young and competent, it may
by Robert Stoltz and lyrics by Gus Kahn. seem picayunish to criticize what will un-
Musical director Charles Previn. Dances by doubtedly be a “smash hit.” But perhaps
Larry Ceballos. Direction by Henry Koster. judicious shortening would have made the
Produced by Joseph Pasternak. Universal picture even better entertainment. The La
Pictures. Conga number is skilfully performed with
“Spring Parade” is an exquisite picture, youthful exuberance. In fact, the young
an operetta combining charming romance, people enter into the dance so zestfully that
it becomes practically a professional jitter-
lighthearted humor and lilting song. The
story is set in Imperial Vienna, radiant city
bug exhibition. The burlesque of old-time
of the past, to which a young peasant girl
melodrama also is well done and emphasizes
the versatility of the cast, but again it would
from the country repairs and has a fortune
teller’s unbelievable prophesy come true
have been more effective if shortened. After
these minor criticisms let us applaud: first,
each prediction, one by one. There is very
the plot which stresses loyalty and good
little suspense, for the plot is outlined when
llonka buys her fortune at the Fair, but the
sportsmanship and is concerned with a group
of high school boys and girls who organize
originality of the incidents and the richly
a band, overcome handicaps in getting to an
unique characterizations more than compen-
audition with Paul Whiteman and win the
sate in their absorbing interest. There is a
contest; next, the tuneful score, the attrac-
lovely rhythm to the production. It seems to
follow the pattern of the Blue Danube tive, happy and the skilful direction
cast
which blends humor, sentiment and gaiety
Waltz which forms the background music,
for our amusement. Also, orchids for the
and it stirs a nostalgic memory of a period
imaginative and original scene where an
and way of living which we shall never
orchestra is assembled in symbolic fruit.
see again. Idyllic country scenes, the glory
of Imperial pomp and ceremony these Jo- — Adolescents, 12 to 16
Especially the 'teen
Children, 8 to 12
Less interest
seph Pasternak and Henry Koster have age
evoked with a magic touch. A subtle ma-
turity permeates Miss Durbin’s girlish per-
formance. Her songs are lovely in compo- THREE MEN FROM TEXAS O O
sition and in lyrics. They are integrated William Boyd, Russell Hayden, Andy Clyde,
Thornton Edwards, Esther Estrella. Direction
into the action and display the increasing
by Lesley Selander. Paramount. (A Harry
beauty of her voice. Other performers are Sherman Production.)
perfectly cast. S. Z. Sakall is disarmingly Those who have been following the Hopa-
ingenuous in the role of a kindly fat, little long Cassidy series will find that this one
baker whose saltsticks are in favor with the slips below par. It relies far more on vio-
Emperor. Robert Cummings excellent as
lence and less on clever twists of plot and
is
originality of characterizations than others
the soldier drummer who fails to conform of the group. One whole batch of horse
to rules because his heart is in composing. thieves bite the dust or land behind the bars
Henry Stephenson brings warmth and charm before Cassidy follows his pal Lucky to Cali-
to his impersonation of Franz Joseph, Mischa
fornia and finds him in a hornets’ nest of
trouble, trying to right the wrongs of the
Auer’s bit scene is unforgettable. The pro-
Spanish settlers who are being cheated out
duction is glowing proof that entertainment of their ranchos by desperadoes of the worst
wthiout sophistication still offers supreme stripe. Hopalong and Co. bring justice. As
appeal. usual mountain and desert views are well

taken. Andy Clyde as old California, whose
Excellent Excellent bragging exceeds his prowess, is a welcome
addition to the cast, and the Mexican father repaying the debt of honor his own innate
and daughter, played by Thornton Edwards decency develops.
and Esther Estrella, are colorful examples This is a beautifully photographed West-
of old-time Californians. ern. The role Wallace Berry plays is not
Adolescents, 12 to 16 Children, 8 to 12 subtle but it manages to have a sympathetic
Fair Too violent flavor which goes well with the fictional plot.
Bobs Watson again displays his ability to
emote entertainingly. Marjory Main creates
THE WESTERNER O O an encentric character which is an excellent
Gary Cooper, Walter Brennan, Doris Daven- foil for Berry’s. There is a great deal of
port, Fred Stone, Forrest Tucker, Paul
Hurst, Chill Wills, Lilian Bond, Lucien Little- dialogue which is not important to the plot
field. Screen play by Jo Swerling and Niven but in the end action gets its full opportunity
Busch from an original story by Stuart N. with an Indian raid, soldiers to the rescue,
Lake. Direction by William Wyler. Samuel
Goldwyn production. United Artists. and all the embellishments of a real frontier
thriller.
This is no epic tale of Texas but rather
Adolescents, 12 fo 16 Children, 8 to 12
an excellent portrait of a lawless judge who, Fair No value
in the early days, ruthlessly encouraged the
cattlemen in their outrages against home-
steaders. Gary Cooper comes into the scene YESTERDAY'S HEROES O O
as a stranger en route West, who is sus- Jean Rogers, Robert Sterling, Ted North,
pected of being a horse thief. By outwitting Katherine Aldrige, Russell Gleason, Richard
Lane, Edmund MacDonald, George Irving,
the Judge he manages to clear himself and Emma Dunn Pierre Watkin, Harry Hayden,
he then reluctantly becomes the champion Isabel Randolph. Screen play by Irving
of the harrassed families. There is little Cummings, Jr., and William Conselman, Jr.,
from a Saturday Evening Post serial by
action. Interest is sustained chiefly by the William Brent. Direction by Herbert Leeds.
pungent dialogue and by the character study Produced by Sol. M. Wurtzel. 20th-Cen-
of the eccentric and disreputable Judge tury-Fox.
(superbly played by Walter Brennan), whose This football story is unique in that it does
sentimental admiration for the actress Lily not climax with a school boy hero winning
Langtry contributes to his undoing. The the “big Game,” but rather, pictures a
Western country is wonderfully photo- player who in looking back over his foot-
graphed, and a spectacular prairie fire is ball years realizes that they have been a
realistically pictured. Fred Stone and Doris real handicap. The story of these years is
Davenport have leading roles and play them told in cut-backs as the young man looks
well. Gary Cooper is also very good but over a scrap book and recalls the events of
his part is overshadowed by the colorful his athletic career. The members of the cast
Judge. The film will be remembered as a are young and attractive: they are fresh and
clever picture of a man who had no scruples natural and good college types. The settings
and who yet was capable of sentiment and are not stereotyped and the dialogue is
grudging admiration for a strong opponent. good, but the story is hardly flattering to
Adolescents, 12 to 16 Children, 8 to 12 college athletic competition. Football candi-
Not recommended No dates are given remuneration in overpaid
jobs: an alumnus finances a successful team
in order to secure a contract for the new
WYOMING O O stadium: grades are deliberately lowered to
Wallace Beery, Leo Carrillo, Ann Ruther- keep the star playing on the team though
ford, Lee Bowman, Joseph Calleia, Bobs the high grades to which he was entitled
Watson, Paul Kelly, Henry Travers, Mar- would have permitted him to enter the
jorie Main. Screen play by Jack Jevne and
Hugo Butler from an original story by medical school: another player has to be
Jack Jevne. Direction by Richard Thorpe. disqualified when it is discovered that he
M-G-M. has lied about previous years at another
Wallace Berry has established a formula, school. It is not a pretty picture, for our
and the character he plays does not vary in hero finds that when an injury keeps him
interpretation. It is usually the sentimental, from playing, he is no longer important to
dirty, unscrupulous roustabout whose under- the school. His sacrifices for the game mean
lying good qualities always come out in the nothing, his career is handicapped, and dis-
end. In “Wyoming” he is a “bad man” who, illusionment follows. In true movie style
in escaping the law, is befriended by a Con- there is also an unfortunate marriage to be
federate soldier en route home from the war annulled, and it takes much encouragement
to his motherless children on a ranch in on the part of loyal friends to rehabilitate
Wyoming. Reb repays the kindness by rob- the youth. The ending is an anticlimax be-
bing him and leaving him unarmed so that cause not sufficient footage is given to
the Good Samaritan is killed by cattle motivate it clearly. The theme is an in-
thieves. A sluggish conscience causes Reb to teresting and novel one which, in different
take up the cudgels for the orphans, and in ways, has a counterpart in real life, for
athletic stars out of college frequently dis- YOUNG AMERICA FLIES O O

cover that their brief hour in the lime-
Warner Brothers
light with all its glittering illusiveness, is
not always the best preparation for meeting Work of the Civil Aeronautic Authority
life'sreal problems. is demonstrated by a group of young flyers
Adolescents, 12 to 16 Children, 8 to 12 in the setting of Stanford University. Vari-
Over 15 Too mature ous details of ground instruction as well as
first lessons in the air, first solo flights and
cross-county assignments are demonstrated
SHORT SUBJECTS with emphasis on safety. The youth who
indulges in recklessness and disobedience
finds himself permanently grounded.
MARCH OF TIME No. 13 O O Adolescents, 12 to 16
Good
Children, 8 to 12
If interested in
Gateways to Panama details of
Some numbers of this series such as the aviation
description of the Vatican have been pic-
torial masterpieces. While this one is not
in that class at all, it contains some fine
The following films were shown too late to
views of the Caribbean, including the Pan- be reviewed in full for this issue. Full re-
ama Canal, Cuba, Puerto Rico, Trinidad, views appear
to in November issue Motion
French Guiana and theBahamas, with a Picture Reviews:
cursory nod at the Duke and Duchess of
Windsor. Probably one-third of the footage KNUTE ROCKNE— ALL AMERICAN O O
is devoted to Devil’s Island in a manner Warner Bros.
guaranteed to send chills down one’s spine:
Inspirational and exceptionally worthwhile
while interesting in an unpleasant way, it
for everybody.
throws the film out of balance.
Probably all right No MEXICAN SPITFIRE OUT WEST O O
R.K.O. Mature family.
PONY EXPRESS DAYS O O Hilarious nonsense.
Warner Brothers
The story of the Pony Express andBuffalo TOO MANY GIRLS O O
Bill’s part in its development is told in R.K.O. Mature family.
beautiful Technicolor. The climax comes in
Rollicking musical comedy.
the ride through hostile Indian territory to
spread the news that Lincoln has been elected,
thus saving California from seceding from THE QUARTERBACK O O
the Union. Accurate in historical background, Paramount. Mature family.
it is a film of action with valiant men and
College football romance.
swift-footed horses overcoming the hard-
ships of the frontier.
Good Good


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MOTION
PICTURE
REVIEWS
NOVEMBER
19 4 0
FEATURE FILMS
AriseMy Love
Cherokee Strip
Dancing On a Dime
Diamond Frontier
Escape
Girls Under 21
The Great Dictator
Hit Parade of 1941
Hullabaloo
Knute Rockne — All American
A Little Bit of Heaven
The Long Voyage Home
Mexican Spitfire Out West
Moon Over Burma
Northwest Mounted Police
The Old Swimmin' Hole
The Quarterback
Seven Sinners
They Knew What They Wanted
The Thief of Bagdad
Third Finger —Left Hand
Too Many Girls
Tug Boat Annie Sails Again
Wagon Trains
Who Killed Aunt Maggie?
World in Flames
SHORT SUBJECTS
The March of Time No. 1
(On Foreign Newsfronts)
The March of Time No. 2
(Britain’s R. A. F.)
Service With the Colors

ENDORSED BY

LOS anceles branch
EDITORS
Vol. XV NOVEMBER. 1940 No. 11
A LINE OF DEFENSE
Laura Osman Vruwink
Home defense is a national issue today, one to which loyal Americans in factories, in
fields, in army training camps, on battle ships, and in the air corps will rally with the
united enthusiasm which our nation has always demonstrated in times of danger. Women
again, as in the first Great War, will add their services, work
some in specialized lines of
and others within the home in the conservation of foods, the budgeting lof money, in volun-
teer Red Cross service and self sacrifice. But there is another less spectacular, less tangible
line of defense of major importance which is open to women and to which we must give
whole-hearted, vigilant attention if our young people are to respect the democracy we
favor and if they are to believe that the ideals we cherish are worth fighting for.
Three great tools of communication are the press, the radio, and motion pictures. We
all appreciate that much we get from them is trivial, sensational and worthless. When
teachers in the early grades of school request fourth and fifth grade pupils to bring in
current events as a part of their work, how many mothers have shuddered when a child
has eagerly scanned the head lines to find a topic? War abroad (a topic for a time pro-
hibited because our country was a neutral), domestic scandals, murders, political debacles;
and hidden in inconspicuous paragraphs the few constructive items which were worth a
child’s attention.This has made us conscious of what is considered “News.” As for the
radio, it has certainly furthered the fact that Americans are probably the best informed
people in the world today on national and international events. Distinguished commenta-
tors clarify the news and sift the false from the factual. The best in music is available
on many programs on certain days. But, on the other hand, have you ever tuned in the
radio on the week days and heard, during the succeeding hours, the trivial, cheap, stories
of domestic strife and unhappy wives, Little Orphan Annie or gunmen wailing or shooting
their way to a melodramatic climax? And not the least, but possibly the most important of
these tools is the motion picture. At the present time it is claimed that 70,000 men, women and
children attend the movies weekly. In the past when a check has been made it has shown
that the larger proportion of the audiences were composed of children and young people
under twenty-one, those individuals who are still in the formative stage of emotional de-
velopment, whose experience in help them evaluate the social signi-
life is insufficient to
ficance of what they upon the screen. The movies, through their spokesmen, claim
see unfold
to have no social responsibility. They strive only to provide “entertainment.” But “en-
tertainment is an important part of rich living.” If it is worth anything it is worth remem- —
bering. If a picture is worth seeing once, why not again? How many pictures do you
search out to see again?
It is true that in the past few years the technical progress of motion pictures has
amazed and delighted us. The screen has, in a number of instances, achieved a maturity
of approach in dealing with subject matter. But when critics have applauded an instance
and hoped that at last motion pictures had passed out of childhood, a plethora of poor films has
appeared which because of inept production or deliberate descent to vulgarity has discour-
aged those who hoped for sustained progress. The industry claims that it has within its
own organization a form of regulation which does not allow vicious subject matter to be
filmed. But the public knows that this internal censorship was forced upon it by aroused
public opinion. And those who see many of the current releases appreciate the fact that a
gradual letting down of the enforced vigilance is taking place. The code is being violated
in spirit and in actual form. In the guise of comedy bed room farce is rampant, bar room
vulgarity in dialogue is common, and a general lowering of ideals is being countenanced
as “entertainment.”
It is not because of little children alone that we should care. Intelligent parents are
aware of the fact that motion pictures are produced for adult consumption. Even “Snow
White” was not made for the nursery age but to appeal to lovers of fantasy whose chron-
ological age was unimportant. Nor do we want all pictures to have a so-called “message.”
A charming musical comedy such as “Spring Parade,” a well constructed, stirring melo-
—
drama “Foreign Correspondent,” a clever escapist farce as “The Ghost Breakers,” leaves
us rich in happy memories and are in their way as important as “The Howards of Virginia”
with its deeper significance. “The Great Dictator” is a devastating satire ending with a
fervent plea for humanity. But it is not for this alone that it will be remembered, but for
the audacious fun, the artistry of a genius who dares us to laugh at a terrorizing force
which may explode as effectively as a balloon if it can be recognized and thwarted by those
who will strive with all their might to replace wrong with right.
But the majority of current releases are not worth remembering. Some few recreate
the stirring days of frontier life and it is claimed here that the “last frontier” has been
reached. This should not be so. The stories of individual bravery, courage, faith in this
country are innumerable and should provide film material for years to come. More of
these stories would give us greater appreciation of why America is worth saving today.
The problem which confronts us now is the picture of modern times presented continually
on the screen, the over-emphasis of gangster films, the sophisticated distortion of marital
relations, the general picture that happiness is dependent upon wealth alone, or upon the
winning of a football game. The few series of family pictures in middle class settings
are disappearing despite their popularity and those which still remain include night club
scenes and extravagant luxuries to increase their “glamour.”
When Mary Pickford was the idol of our generation, her roles were consistent. Now
what adolescent can worship a star or follow his or her pictures regularly? The cast is
no longer an indication of the type of Are young people able to separate the roles
film.
actors play on the screen from the and sometimes unfortunate publicity they see
trivial
written about them? What effect has hero worship on the attitudes of youth? How are stand-
ards of social behavior tempered by their constant preversion on the screen?
Today we find a patriotic fervor emphasized in films. America is no longer neutral
in thought and there is no reason why current events may not be dramatized in spite of
the emotional reactions they create. But we should know what these reactions are. It is not
impossible to imagine that a different trend could creep into the entertainment field. Some
films have already pictured American conditions in a way which has created bitter con-
troversy. No one objects to controversy. We still have no dictator telling us what we shall
or shall not see. As long as we have controversy let us thank God. But parents should
know what is being shown so that honest, clarifying discussion is possible. And if new
idealogies should tinge our entertainment — as is always possible —we should be ready to
recognize them. It may be a political ideology foreign to democracy, or it may be social,
or an increased ridicule of the standards of behavior which we uphold. In any event no
parent has the right to ignore motion pictures and the part they play for we must remem-
ber that we are the consumers. Our day by day choice determines what we get. If we ad-
mire the trivial or the demoralizing we will get just that. If we use discrimination in our
patronage we will get more of the superior films because we are the consumers. We are
the masters. Our patronage is a vote for what we see.
France fell because its people questioned the value of its form of government. Some
of our young people in colleges are even now questioning whether they are willing to de-
fend ours. Have we been too soft, too lenient, too casual about a way of life which we
thought needed no defense? As women we must decide. We must evaluate this great and
important tool which so far has not been used vigorously enough in promoting the high
ideals of our democracy. We must have standards as consumers. Wake up America. Here
is another line of defense.
O
FEATURE FILMS
ARISE MY LOVE O O roles played by Miss Colbert and Mr. Mil-
Claudette Colbert, Ray Milland, Dennis land are distinctly suited to their person-
O'Keefe, Walter Abel, Dick Purcell, George alities and Walter Abel has a splendid op-
Zucco, Frank Puglia, Esther Dale, Paul Leys- portunity in the part of an harassed chief
sac, Ann Codee. Screen play by Charles
Brackett and Billy Wilder from an original
of a news bureau. Mitchel Leisen deserves
story by Benjamin Glazer and John S. credit for fine direction. The title is de-
Toldy. Musical score by Victor Young. rived from the Song of Solomon, Chapter 2,
Photography by Charles Lang, Jr., A. S. C. Verse 13, “Arise, my love, my fair one, and
Direction by Mitchell Leisen. Paramount.
come away,” and is the motivation of the
This is a sophisticated melodrama skilfully plot. It is a very entertaining and stirring
blending comedy, romance, and topical tale, especially interesting because of its
events with the War in Europe as a back- timely setting and because it deftly avoids
ground. Claudette Colbert as a newspaper sentimentality.
correspondent on the scent of a good story, Adolescents, 12 to 16 Children, 8 to 12
poses as the wife of a soldier of fortune, Yes: emphasizes right No, too mature,
an American flier who is condemned to death values.
for fighting against Franco. She succeeds in
getting his release, but when he discovers
that her interest in him is only as he fur-
CHEROKEE STRIP O O
nishes her with copy, his vanity is offended Richard Dix, Victor Jory, Florence Rice,
William Henry. Story by Bernard McCon-
and there follows a romantic interlude which ville. Screen play by Norman Houston. Di-
has many comic aspects. Together they shirk rection by Lesley Selander. Paramount. (A
their obligations, and when at last interest Harry Sherman Production.)
in each other becomes serious they decide to This is one of the better Westerns. Al-
stop looking for adventure and go back home. though the tempo is a little slow at times, the
But as country after country falls into the film takes up an interesting episode of the
hands of the invader, when Paris itself frontier, boasts fine outdoor photography,
falls, when they themselves are caught on good riding, satisfactory acting and telling
the torpedoed Athenia and they see at first bits of humor which serve to high-light the
hand the human misery of innocent sufferers, characters and the story. Richard Dix makes
they cast aside their shallow masks and turn a good hero as the U. S. marshal who comes
to do their bit for humanity. out to the West in 1890 at the time of the
It is well written and well acted. The census to help open up the Cherokee Strip
in Oklahoma Territory for colonization. A ESCAPE O O
feud of long standing, which has been the Norma Shearer, Robert Taylor, Conrad Veidt,
motive for a good deal of bloodshed, is Nazimova, Felix Bressart, Albert Basserman,
Philip Dorn, Bonita Granville, Edgar Barrier,
finally settled by legal methods as the march
Elsa Basserman, Blanche Yurka, Lisa Golm.
of civilization moves Westward. Screen play by Arch Oboler and Marguerite
Adolescents, 12 to 16 Children, 8 to 12 Roberts. Based on the novel "Escape," by
Yes. Yes unless easily Ethel Vance. Direction by Mervyn LeRoy.
excited. Metro-Goldwin-Mayer.
This film is a faithful adaption of a
thrilling book. The story in its general out-
DANCING ON A DIME O O lines parallels others that have been written
Robert Paige, Grace McDonald, Peter Hayes,
in the last few years, but it is nevertheless
Eddie Quillan, William Frawley, Lillian Cor-
nell. Based on a story by Jean Lustig and
absorbing in its interest. A woman mys-
teriously disappears from a small village in
Max Kolpe. Screen play by Maurice Rapf, Bavaria. Her son comes from America to
Anne Morrison Chapin and Allen Rivkin. discover why his letters to her have been
Direction by Joseph Santley. Paramount.
returned. At first he is unable to get any
When Joseph Santley was connected with information from the fear-dominated town’s
a stage musical comedy, one expected some- people, but eventually he receives ingenious
thing light and fresh and snappy, and one help. Even knowing the outcome, most audi-
was never disappointed. It is a far cry ences will be held spellbound by the atmos-
from those comedies to this picture which phere of terror and suspense and sinister
has certain clever ideas and passages but mystery that permeates almost every scene
simply does not click. Outside of William of the picture. Robert Taylor as the young
Frawley’s the acting is amateurish, and much American often seems annoyingly lacking in
of the dialogue sounds ad lib. The plot con- perceptiveness, and more subtlety might well
cerns a band of actors who camp on the have been used in depicting some of the
stage after a federal theatre project has but on the whole the production
situations,
closed until, by their ingenuity and a few is most successful in maintaining its high
shifty business methods, they emerge from quality. Norma Shearer is a charming
the doldrums to achieve a smash hit. Most Countess whose beauty and graciousness
entertaining feature is the masked dance in make a pleasant contrast to the sombre in-
this show within a show, entitled “Public tensity of other characters. The film is well
Debutante Number One,” costumed and pro- cast. Albert Basserman, Conrad Veidt, Felix
duced in the best Santley manner. Bressart, and Mme. Nazimove all give their
Adolescents, 12 to 16 Children, 8 to 12 usual excellent performances. Philip Dorn
Little interest. No. as the young German doctor is outstanding.
Interesting. No.
DIAMOND FRONTIER O O
Victor McLaglen, John Loder, Anne Nagel,
Philip Dorn, Cecil Kellaway, Francis Ford, GIRLS UNDER 21 O O
Sigfried Arno. Direction by Harold Schus- Bruce Cabot, Rochelle Hudson, Paul Kelly,
Tina Thayer, Roberta Smith, Lois Verner.
ter. Universal.
Story and screen play by Jay Dratler and
This based on the Monte Cristo theme:
is Fayna Foss. Direction by Max Nosseck.
a man is sent away to prison through the Columbia.
perfidy of enemies, escapes, finds a cache of The girls in this story are the female
diamonds and returns to wreak vengeance equivalent of the Dead End Kids and seem
upon those who have tried to ruin his life. even more accomplished in anti-social pro-
The scene of the story is South Africa in clivities. Inspired by the beautiful ward-
1870, and the villains are the rough men of robe of one of their number who has linked
the diamond mines. Victor McLaglen is al- her fortunes with those of a gangster, they
ways successful in the part of a vicious decide that shop-lifting is a suitable method
law-breaker, but he is not allotted many big for obtaining their desires. In the course of
scenes, and John Loder’s characterization of time they are caught by the police but are
the upright Charles Clayton sometimes shows given another chance through the interven-
weakness. Sigfried Arno is excellent in a tion of a young professor who believes in
minor part. There are interesting, if oc- the honor system. Dialogue is crude and
casionally horrible, shots of the wild life of often oversteps the bounds of decency, and
the jungle including a battle to the death while the direction is good and the acting
between a leopard and a python. While the spirited, such emphasis is placed on the ex-
film contains one thrill after another, the citement of law-breaking that one has very
continuity is poor, and the final impression little faith in the reform of these hard little
is much like that of an old time serial. delinquents.
No. Frightening. Undermining. Impossible.
THE GREAT DICTATOR O O tion. The is a radio station in New

scene
Charles Chaplin, Jack Oakie, Reginald Gar- York where the owners are in difficulties
diner, Henry Daniell, Billy Gilbert, Grace because the station is not equipped for
Hayle, Carter de Haven, Paulette Goddard,
television and the public interest is centered
Maurice Moscovich, Emma Dunne, Bernard
Gorcey, Paul Weigel, Chester Conklin, Hank in the new experiment. A
rattle brained
Mann. Musical director, Meredith Willson. owner of an antique shop makes a trade for
Photography, Karl Struss. Written and di- the station and the fun begins after a wealthy
rected by Charles Chaplin. United Artists.
sponsor agrees to finance the programs if
Since ridicule is universally recognized as her daughter is allowed to sing. When Hugh
one of the most potent weapons against Herbert is found to be the business man and
tyranny, it may be considered as a flatter- Mary Boland the wealthy matron, the stage
ing testimonial of faith in Mr. Chaplin that is set for anything to happen and it does.
the rest of the motion picture industry When Patsy Kelly also adds her bit at the
stepped aside and left the field of ridicule controls, debacle is complete.
the Kenny
to him, while they blasted the enemy with Baker and Frances Langford provide the
shafts of impassioned bitterness. That their romatic interest and sing ingratiatingly.
faith was justified is proven beyond a doubt Ann Miller’s artistry is delightful. The hu-
in “The Great Dictator.” Chaplin with his mor, the hit songs and the elaborate dance
unerring ability' to discover the frailties and
finale make up for any lack of polish and
absurdities of human beings scores direct provide good entertainment.
hit after direct hit on the childish vanity and Adolescents, 12 to 16 Children, 8 to 12
pomposity of the self-appointed dictators. Yes. A matter of taste.
The film is not entirely humorous however,
for it carries a theme of deep pathos in the HULLABALOO O O
plight of the Jews, typified by the little Jew- Frank Morgan, Virginia Grey, Dan Dailey,
ish barber who has suffered from amnesia Jr., Billie Burke, Donald Meek, Reginald
and does not at first realize why his people Owen, Charles Holland, Leni Lynn, Virginia
O'Brien. Based on an idea by Bradford
are driven from their Ghetto. As this little Ropes and Val Burton. Screen play by Nat
barber, Chaplin is his familiar screen self. Perrin. Direction by Edwin L. Marin. M-G-M.
In his other role of Hynkle, Dictator of Because radio entertainment is popular and
Tomania, he might well be the barber gone the cinema is popular, there seems to be a
suddenly insane and having delusions of current belief in certain quarters that a
grandeur. If there are moments when in- combination of the two will result in some-
terest flags and there is a seeming lack of thing superlative. As a matter of fact they
unity, it is probably because there is very usually mix as well as oil and water.
little plot and not much suspense. But no “Hullabaloo” deals with a group of ama-
one who has seen the film will forget its teurs aspiring to radio fame; the most im-
many delicious absurdities, its masterly irony, portant of them is Frank Merriweather
its inimitable pantomime, the scenes when (Frank Morgan) who broadcasts a novelty
Hynkle dances with the world and when the number almost identical with Orson Welles’
barber shaves a customer to the measures panic-raising battle of the men from Mars.
of an Hungarian dance. The supporting While this wins Frank no contracts, it dis-
cast is uniformly excellent. Possibly critics closes his whereabouts to three former wives
will be unanimous in feeling that the closing and three assorted offspring in search of
speech detracts from the artistry of the alimony or a chance behind the microphone.
rest of the film, but Mr. Chaplin is to be Frank Morgan is fairly funny, though not
admired for his sincerity and his earnest at his best, and there are some good specialty
desire to add still another plea for the acts scattered throughout the show.
preservation of Democratic ideals. Adolescents, 12 to 16 Children, 8 to 12
Adolescents, 12 to 16 Children, 8 to 12 Fair. Little interest.
Excellent. Not under 10.
KNUTE ROCKNE— ALL AMERICAN O O
HIT PARADE OF 1941 O O Pat O'Brien,Gale Page, Ronald Reagan,
Kenny Baker, Frances Langford, Hugh Her- Donald Crisp, Albert Basserman, John Litel,
bert, Mary Boland, Ann Miller, Patsy Kelly, Henry O'Neill, Owen Davis, Jr., John Qualen,
Phil Silvers, Sterling Holloway, Donald Mac- Dorothy Tree, John Sheffield, The Moreau
Bride, Franklin Panghorn, Six Hits and a Choir of Notre Dame, Nick Lukats, Kane
Miss, Borrah Minevitch and His Harmonica Richmond, William Marshall, William Byrne
Rascals. Original screen play by Bradford as The Four Horsemen; Howard Jones, Glenn
Ropes, F. Hugh Herbert and Maurice Leo. ''Pop'' Warner, Alonzo Stagg, William "Bill"
Musical director, Cy Feuer. Dance director, Spaulding. Original screen play by Robert
Danny Dare. Direction by John H. Auer. Buckner. Directed by Lloyd Bacon. War-
Republic Pictures. ner Brothers.
With tuneful numbers, superb tap danc- This is an inspiring picturization of the
ing by Ann Miller, and rollicking comedy, life ofa beloved national idol, and as such
“The Hit Parade” is an entertaining musical, it has great appeal for all sorts of people,
although it lacks smoothness in its presenta- whether or not they share the national en-
thusiasm for football. The screen story is sings charmingly. Familiar faces of once
written from the private papers of Mrs. famous stars in the cast are interesting to
Rockne and the records of Notre Dame and see again.
carries the unmistakable stamp of sincerity. Adolescents, 12 to 16 Children, 8 to 12
Beginning in Norway, the film shows Knute Good. Yes.
Rockne’s father preparing to bring his fam-

ily to the Land of Opportunity, and it covers
the highlights of Rockne’s career until the
THE LONG VOYAGE HOME O O
time of his death in an airplane accident. John Wayne, Thomas Mitchell, Ian Hunter,
Barry Fitzgerald, Wilfrid Lawson, Mildred
Because Knute Rockne worked hard and Natwick, John Qualen, Ward Bond, Arthur
made sacrifices to take advantage of his Shields, Joseph Sawyer, J. M. Kerrigan, Ra-
faela Ottiano, David Hughes, Billy Bevan,
opportunity, because he loved honor and
Cyril McLaglen, Douglas Walton. Story based
courage and instilled those ideals in the upon one-act plays by Eugene O'Neill.
minds of the young men who came under Screen play by Dudley Nichols. Cinema-
his influence, he not only won the love of tography by Gregg Toland, A. S. C. Musical
score by Richard Hageman. Direction by
thousands of Americans, but was greatly John Ford. Walter Wanger, producer. United
loved and honored by Norwegians as well. Artists.
In the title role, Pat O’Brien gives a con- With material provided by four of Eugene
vincing, dignified, and sympathetic charac- O’Neill’s one-act plays of life on the sea, the
Donald Crisp as Father Callahan,
terization.
producers have created a film which will be
Albert Basserman as Father Nieunvald, and remembered for its magnificent photography
Ronald Reagan as George Gipp, are excep- and atmosphere surcharged with the frus-
tionally fine. For football fans, remarkably trated emotions of men whose nerves have
clear pictures of thrilling plays contribute been strained to the breaking point. It has
greatly to the interest. This production is no sustained plot but is rather a series of
a really fine contribution to film biography. incidents tied together by a strong emo-
Exceptionally good.
Children, 8 to 12
Yes, though
tional quality and one theme the hopeless- —
possibly mature. ness of a sailor’s trying to escape from the
spell of the sea. The crew of the small
tramp steamer Glencairn is made up of con-
A LITTLE BIT OF HEAVEN O O trasting types of men all of whom dream of
one day going “home” to a peaceful life
Gloria Jean, Robert Stack, Hugh Herbert, on shore, but when their ship sets sail on
C. Aubrey Smith, Stuart Erwin, Nan Grey, another voyage none has completely real-
Eugene Pallette, Billy Gilbert and Butch ized his dream. The different characters are
and Buddy. Screen play by Daniel Tara- remarkably portrayed by the fine cast, and
dash, Gertrude Purcell and Harold Goldman the hand of a master artist is evident in
from an original by Grover Jones. Direction every detail of the film. Richard Hage-
by Andrew Marton. Musical direction by man’s musical score is notable.
Charles Previn. Joe Pasternak Production. Adolescents, 12 to 16 Children, 8 to 12
Universal pictures. Too sombre and Entirely unsuit-
sordid. able.
Midge, the lovable heroine of “The Un-
derpup’’ has come back in “A Little Bit of
Heaven” with her irascible but delightful MEXICAN SPITFIRE OUT WEST O O
Grandpa and others members of her unique Lupe Velez, Leon Errol, Donald Woods,
family including all twelve uniformed un- Elizabeth Risdon, Cecil Kellaway, Linda
cles. The plot is less original and less ap- Hayes, Lydia Bilbrook. Story by Charles E.
pealing but it has fundamental social values Roberts. Screen play by Charles E. Roberts
also. When Midge’s lovely voice is discov- and Jack Townley. Direction by Leslie
ered by a radio broadcaster and she begins Goodwins. R.K.O.
to bring in money, Mother and sister Janet
This is hilarious but definitely insane com-
insist on a luxurious home and begin to
edy in which Leon Errol sustains the in-
move in high society. They overlook their
terest by his thoroughly amusing portrayal
humble friends. Midge brings them to their
of a dual role. It is the story of mistaken
senses. The story is more artificial than its
identity. The uncle of a jealous woman is
predecessor and the characterizations are
taken for a visiting English Lord whose big
less clearly motivated, but there is endear-
business deal with her husband is keeping
ing humor and it is pleasant entertainment.
him too occupied to suit her. Do not at-
Hugh Herbert modifies his usually exag-
tempt to make sense from the tomfoolery. It
gerated mannerisms for the role of Pop and
is riotous farce which many will enjoy for
is a likable, human person. C. Aubrey Smith
its laughs.
may always be depended upon. Billy Gil-
bert as Tony and Butch and Buddy, the Yes. Passable but con-
kids, add sympathy and fun. Gloria Jean fusing.
MOON OVER BURMA O O of humor costs him his life, a valiant nurse,
Dorothy Lamour, Robert Preston, Preston torn between love for a brave sergeant and
Foster, Doris Nolan, Albert Basserman. Based loyalty to her weak brother, a blue-eyed
on a story by Wilson Collison. Screen play half-breed maiden whose deviltry brings
by Frank Wead, W. P. Lipscomb and Harry
Clork. Direction by Louis King. Paramount. death to many soldiers. There are many
vivid figures, and as a whole the play is
Deep in jungles of Burma two red-
the
well cast. Madeleine Carroll has been more
blooded men manage
a teak plantation for a
convincing. Not only do her cheeks remain
blind owner and are in perfect accord un-
unsullied after days and nights of hectic
til one of them brings home a night club per-
nursing, but she is so impartial in her treat-
former who raises as many problems as Eve
ment of the two contestants for her hand
in the Garden of Eden. In addition to tri-
that her final choice comes as something of
angular turbulence, thrills are furnished by
a shock; most of the audience is betting on
a treacherous cobra, a forest fire and a log
the loser. At times the dialogue gets off key,
jam. This is better than many jungle pic-
and there are moments of obvious hokum.
tures. Albert Basserman is convincing as
However, it remains a gripping story of
the blind man, and Dorothy Lamour’s acting
men and battles. The subject lends itself
has improved a hundred per cent because
admirably to Technicolor. The uniforms of
her glamour output has been somewhat re-
the Mounted Police are gorgeous, as is the
duced by an astute director. On the whole
Indian regalia, and over the conflicts of men
the jungle atmosphere seems realistic, but
towers the magnificence of great forest and
as usual one senses the heavy hand of the
the massive, snow-draped peaks of the Ca-
stage manager when the lady goes into her
nadian Rockies.
routine of tropical songs with a convenient
Adolescents, .12 to 16 Children, 8 to 12
orchestra of native musicians and a honeyed Stirring. Too bloody.
Burma moon at the correct angle overhead.
Adolescents. 12 to 16 Children, 8 to 12
No value. No. THE OLD SWIMMIN' HOLE O O
Jackie Moran, Marcia Mae Jones, Leatrice
Joy, Charles Brown, Theodor Von Eltz,
O O George Cleveland, Dix Davis, Dorothy Vaug-
NORTHWEST MOUNTED POLICE han, Sonny Boy Williams, Si Jenks. Original
Gary Cooper, Madeleine Carroll, Paulette story by Gerald Breitigam. Screen play by
Goddard, Preston Foster, Robert Preston, Dorothy Reid. Direction by Robert Mc-
George Bancroft, Lynne Overman, Akim Gowan. Monogram.
Tamiroff, Walter Hampden, Lon Chaney, Jr.,
Montagu Love. Original screen play by Here’s a simple little American story of
Alan LeMay, Jesse H. Lasky, Jr., and C. nice people living in a small town in the
Gardner Sullivan. Direction by Cecil B.
1890’s. The story begins at the old swim-
DeMille. Musical score by Victor Young.
Paramount. min’ hole when a young girl visitor to the
to the days when war was
This belongs town induces a boy to show her the secret
with glory, and perils and hardships club house of the village gang. This viola-
filled
tion of club ethics starts a trend of events
only served to increase the heroic adventure.
To this day the Mounted Police are truly ro- which opens the way for the boy to realize
mantic figures, but in 1885 they had the eventually his ambition to study medicine.
dangers of a half-breed uprising to cope There are social adjustments to be made and
a mature love affair to be settled. In the
with. The settlers of western Canada felt
that they had suffered severe grievances and
end great happiness is promised for all in-
some extent this was true. When the volved. The wholesomeness of the story, the
to
kindliness of the characters, and the genuine
story opens the half-breeds under the leader-
ship of Louis Riel and the blackguard rum- family affection displayed makes this pleas-
dealer, Jacques Corbeau, seek to inflame the
ant entertainment.
Cree Indians to join them in rebellion against Adolescents, 12 to 16 Children, 8 to 12
Yes. Yes.
the Ottawa government. A
small company of
red-coated police, acknowledging no fear, de-
THE QUARTERBACK O O
termine to hold out until reinforcements ar-
Wayne Morris, Virginia Dale, Lillian Cor-
rive; they are ambushed and suffer heavy nell, Edgar Kennedy, Alan Mowbray, Jerome
losses, but the seven intrepid survivors who Cowan, Rod Cameron, Walter Catlett, Frank
ride alone into the Indian stronghold, win Burke, William Frawley. Original screen
play by Robert Pirosh. Direction by H.
such admiration from Chief Big Bear that Bruce Humberstone. Paramount.
he proclaims himself once more a follower Under a single registration, twins sub-
of the Queen. stitute for each other in college, one to play
Into the groundwork of history are woven football, the other to attend classes. Com-
fictional characters and love affairs. There
plications arise when they fall in love with
is a lanky Texan, played by Gary Cooper,
the same girl and when a gambling ring
who comes North in search of an escaped bribes the athletic brother to throw a game.
murderer, a Scotsman who knits socks on Adolescents, 12 to 16 Children. 8 to 12
the way to battle, a half-breed whose sense No: bad ethics. No.
SEVEN SINNERS O O William Gargans face as he stares across

Marlene Dietrich, John Wayne, Albert Dek- the injured Italian's bed at the girl who has
ker, Mischa Auer, Anna Lee, Broderick promised to be his patron’s wife, although
Crawford, Billy Gilbert, Samuel Hinds, Oscar
this scene is counterbalanced by his pale fea-
Homolka. Screen play by John Meehan and
Harry Tugend from an original story by tures upheld to the terrific blows of revenge
Ladislas Fodor. Musical director, Charles at the last.
Previn Photography, Rudolph Mate. Di- Tony is a vineyardist in the lovely Napa
rection by Tay Garnett. Joe Pasternak
production. Universal Pictures. Valley of California who has prospered and
longs for a wife; he finds his ideal in Amy,
This brash and rowdy vehicle is designed
a waitress in a cheap little Italian restaurant
to displayMiss Dietrich’s beauty, her figure
in San Francisco, is so filled with awe that
and her engaging singing, and although it is
he induces his foreman, Joe, to write the
frankly comic, it lays the Hays code away in
mothballs. Cafe entertainers in the tropics
naive letters of courtship. Joe, young, hard,
confident, free with all women, meets her
seem, in movies, to combine all the glamour
and sex appeal of Cleopatra. Bijou is no ex-
when she arrives, and when Tony is severely
hurt in the pre-nuptian celebration, suc-
ception. Men fall for her at a glance from
her heavily fringed eyes; her presence
cumbs tc his desire. From then on each reacts
according to his own beliefs and his own
arouses all the lust of cave men; and her en-
character and out of the turmoil each gets
forced passage from isle to isle is marked by
cracked skulls and wrecked cafes. Alighting
what he really wanted.
Charles Laughton has played so many out-
for a time at an American naval station she
standing parts that it is not surprising to
promptly takes the navy in hand until she is
find him remarkably real as Tony. It is a
slapped into good behavior by a gob who,
whatever his personal inclinations may be,
different Laughton with black, curly hair
still holds the honor of the service above all
who seems smaller than usual, and thorough-
ly Italian in speech and temperament. For
else. Before she can be deported the cafe
Carole Lombard there are no showy cos-
of The Seven Sinners suffers a brawling
tumes, no striking make-up. and she is so
holocaust which ends with combatants hang-
competent in her acting that one never misses
ing from chandeliers, banisters, and rafters.
them. William Gargan creates of Joe a
It is said that the naval background was ap-
living person not wholly bad in spite of his
proved by a technical advisor from the Navy
Department. One wonders whether concern
unbridled impulses. The doctor (Harry
Carey) has a human warmth, and the un-
for the accuracy of uniforms and gold braid
conventional, local priest (Frank Fay) exerts
was paramount, or if the susceptibility of
an inspired influence over his people.
young lieutenants was considered so typical
that it required official approval. The atmos-
Much of the credit for the picture must
go to the young director, Garson Kanin who
pheric setting is interesting and the cast uni-
has made this simple story vital and ar-
formly well selected. The
picture is clever
resting. A great deal of the photography is
of its kind, but will be distasteful to many
taken in the darker tones used effectively in
audiences.
“The Grapes of Wrath,’’ and the outdoor
No. No. scenes were actually filmed in the beautiful
Napa Valley with its rich vineyards and
gently rising foothills.
THEY KNEW WHAT THEY WANTED O O Adolescents, 12 to 16 Children, 8 to 12
Carole Lombard, Charles Laughton, William Sophisticated adult No.
Gargan, Harry Carey, Frank Fay. From the rating.
play by Sidney Howard. Screen play by
Robert Ardrey. Music by Alfred Newman.
Direction by Garson Kanin. RKO Radio. THE THIEF OF BAGDAD O O
Sidney Howard’s drama which won the Conrad Veidt, Sabu, June Duprez, John
Pulitzer prize a few years ago presented a Justin, Rex Ingram, Miles Malleson, Morton
knotty problem to those who transferred it Selton, Mary Morris. Scenario by Lajos
Biro. Direction by Ludwig Berger, Michael
to the screen. Not only is it true that the Powell and Tim Whelan. Chief photogra-
audience of a stage play consists of a cross- pher, George Perinal. Special effects by
section of the public older in years and more Lawrence Butler. Musical score by Milkos
Rozsa. Director, Muir Mathieson. Associate
inured to the discussion of sex irregularities, producers, Zolton Korda and William Camer-
but there is a quality of intense reality about on Menzies. Producer, Alexander Korda.
the motion picture medium which calls for a United Artists.
greater delicacy of balance and a stricter The visual beauty of sets and color in this
adherence to the principles of good taste. Arabian Nights’ fantasy captivates the imagi-
That most of the pitfalls have been avoided nation. Rarely, if ever, has the screen caught
without loss of the essential robustness of such magical beauty. For thisextraordinary
this story is a credit to all who entered into achievement alone, would “Thief of
the
the production. In a few scenes the passion Bagdad” rate esteem. But there is also an
content runs high; it is not easy to forget entertaining story which in spite of fantastic
s
setting has a human touch. The technical TOO MANY GIRLS O O

effects,while not always perfect, are still Lucille Richard Carlson, Ann Miller,
Ball,
unique, and Sabu is a thoroughly enchant- Eddie Bracken, Frances Langford, Desi Ar-
naz, Hal LeRoy, Libby Bennett, Harry
ing “Thief.” The story concerns Ahmad., Shannon, Douglas Walton. Screen play by
King of Bagdad, who because he looked upon John Twist from the stage play "Too
and loved a Princess aroused the ire of a Many Girls." Book by George Marion. Mu-
sic by Richard Rogers. Lyrics by Lorenz
dealer in magic, Jaffer, his jealous Grand
Hart. Dances arranged by LeRoy Prinz.
Visier. It pictures Ahmad’s wanderings with Musical director, George Bassman. Produced
the little thief Abu, on whom Jaffer’ ire and directed by George Abbott. R.K.O.
has also fallen and their search for the Parents who sometimes wonder what their
Princess whom Jaffer has hidden. After children get from the money spent on higher
many exciting
experiences, the lovers are education may feel that their suspicions are
united, Jeffcr’s powers are destroyed, and verified in this jolly musical comedy. But
Abu sets forth on further secret and nefarious let them not be disturbed. It is all in the
adventures. spirit of gayest fun. Pottawatmie College is
The technical accomplishments are fasci- a mythical school on the desert at “Stop
nating: the Genie’s emergence from the bot- Gap,” New Mexico. Its buildings are a
tle on the beach; the mammoth cobweb combination of Hopi, Navajo, Yaqui Indian
which Abu climbs; the Sultan’s lively toys; and Mexican design and, minus a single
the mechanical horse; and the lovely flying class room, they resemble a glorified resort.
carpet. It is an exciting and adventurous To this lovely setting repairs a wilful heiress
escape from reality. The cast is excellent; who has secret designs upon the heart of an
John Justin as the King, June Duprez, the attractive writer working in the neighbor-
beautiful Princess, Miles Malleson as an hood. In her wake follow four bodyguards
amusing, childish monarch with a senile hired by her father to keep her out of mis-
passion for mechanical toys, and Conrad chief. They are “All American” gridiron
Veidt, the venomous Jaffer. The memories heroes and, by dividing the work of sleuth-
which will linger are the exquisite pictorial ing, they find time to give their talents to
beauty unfolded on the screen, the magic of the football squad and thereby set the col-
color and music, the fascinating types of lege on a sound financial basis. These game
faces in the crowds, and a delightful little sequences are highly amusing.
Indian boy who seems the incarnation of a The cast is unusually young and are for
mythical character in a fairy tale. once amazingly normal in appearance, for
Adolescents, 12 to 16 Children, 8 to 12 the most part, lacking the artificial glamour
Yes. Long and exciting. generally considered necessary by the movies
•i* for college atmosphere. The four boys are
THIRD FINGER—LEFT HAND O skilful comics, especially Eddie Bracken who
O
Myrna is new to the screen and whose antics are
Loy, Melvyn Douglas, Raymond Wal-
burn, Lee Bowman, Bonita delightful. His satirized version of the ro-
Granville, Felix
Bressart, Donald Meek, Ann Morriss. Origi- mantic ditty “I Didn’t Know What Time It
nal screen play by Lionel Houser. Musical Was” is hilarious. The dances are spec-
score, David Snell. Direction by Robert Z.
tacular. Desi Arnaz at the drums in the
Leonard. M.-G.-M.
Conga scene is remarkably clever. The stun-
ning rhythm is barbaric, reminiscent of the
This is a sophisticated, dressed up farce, jungle atmosphere in “Emperor Jones” or the
smoothly acted by two of Hollywood’s fa-
dance on the drum in a picture of long ago
vorite stars, and as such it will probably
in which Paul Whiteman and his orchestra
satisfy many film goers, although it falls
starred. “Too many Girls” is light, gay,
short of the best that has been offered in its
and entertaining with hilarious wisecracks
category. The story is about a smart young
and clever satire on youthful preoccupations.
woman magazine editor who invents an ab- Adolescents, 12 to 16 Children, 8 to 12
sent husband to prefect her from the un- Should please. Less interest.
welcome attentions of her employer and the
jealousy of his wife. The lie stirs up plenty TUG BOAT ANNIE SAILS AGAIN O O
of trouble when a new suitor introduces him- Marjorie Rambeau, Alan Hale, Jane Wyman,
self to her family as the husband just re-
Ronald Reagan, Clarence Kolv, Charles
Halton, Paul Hurst, Victor Kilian, Chill
turned from foreign travels and moves into Wills, Harry Shannon. Original screen play
by Walter De Leon, based on characters cre-
their household. In attempting to score on ated by Norman Reilly Raine. Direction by
one another, both Lewis Seiler. Warner Bros.
characters appear in a
It is a difficult assignment for Marjorie
rather unsympathetic light, and the produc-
Rambeau to take over a role created for the
tion will probably not increase their popu- screen by Marie Dresslar, but while Miss
larity. Rambeau is not the Annie we remember, her
Adolescents, 12 to 16 Children, 8 to 12 characterization is none the less entertain-
Not recommended. No. ing. The original Tug Boat Annie was a
Twelve MOTION PICTURE REVIEWS
woman who because of her physique as well during the past ten years and which have
as her sharp and pungent wit, was capable contributed to the present chaos. The most
of coping with any man. Miss Rambeau’s impressive shots are Arthur Menken’s cov-
Annie gives the impression of a woman who erage of the invasion of Norway. The film is
has shed a more protected role in life only an historical document which every adult
because of sheer necessity and who must de- concerned with world affairs should see. This
pend upon her resourcefulness and ingenuity direct picture of actual happenings is an
to outwit her competitors. This she does unanswerable plea for preparedness against
when she is about to lose her job because a aggression.
new customer has no faith in women as Adolescents, 12 to 16 Children, 8 to 12
“skippers.” It is a human story with amus- For high school age. Terrifying.
ing dialogue and a pleasing and unconven-

tional romance between one of Annie’s many THE MARK OF ZORRO O O
proteges (Eddie Kent) and the daughter of Tyrone Power, Linda Darnell, BasilRath-
bone. Direction by Rouben Mamoulian.
the wealthy customer (Jane Wyman). Alan 20th Century-Fox.
Hale, as Captain Bullwinkle, her bitter rival A full review of this film will appear in the
in competition, is an excellent vis-a-vis. next issue. It is a romantic melodrama of
Adolescents, 12 to 16 Children, 8 to 12 early days in California, exciting for very
Yes. If interested.
young children but otherwise a good family
picture.
WAGON TRAINS O O
Tim Holt, Ray Whitley, Emmett Lynn, Mar-
tha O'Driscoll, Malcolm McTaggart, Cliff
Clark. Screen play by Morton Grant. Story
SHORT SUBJECTS
by Bernard McConville. Direction by Ed- THE MARCH OF TIME No. 1 O O
ward Kelly. R.K.O.
On
Foreign Newsfronts.
Small boys should revel in this old time
melodrama of the West which calls for
TIME has made a resume of the events
in Europe of the last year and a half, fea-
hissing the villain and applauding the hero.
turing the correspondents of American news-,
In the old days when wagon trains carry
papers such as the New
York Times, the
supplies to the settlers on the frontier our
Hearst papers, etc. It has surprisingly inti-
hero (handsome Tim Holt) stands for law
mate views of European rulers and is a fine
and order against the bad men who incite
tribute to the courageous men who bring
disorder among the Indians. There is plenty
back the truth to American readers. The
of action but it is not too realistic nor too
presentation is factual and unbiased.
violent. The Western scenery is beautiful,
and the music is of the cowboy variety. Very interesting. Mature.
Matter of taste. O O
Perhaps.
THE MARCH OF TIME No. 2
Britain's R. A. F.
WHO KILLED AUNT MAGGIE? O O Adramatic description of the Royal Air
John Hubbard, Wendy Barrie, Edgar Ken- Force, showing manufacture of planes and
nedy, Elizabeth Patterson, Onslow Stevens,
Joyce Compton, Walter Abel, Mona Barrie,
various phases of fighting, stressing the high
Willie Best, Daisy Lee Mothershed, Milton British morale. The photography is admir-
Parsons. Screen play by Stuart Palmer. able; every scene is intensely interesting,
Based on novel by Medora Field. Direction and there are no gruesome details of war.
by Arthur Lubin. Republic Pictures.
This is a good old fashioned mystery Very good. Too exciting for
story with sliding panels, disappearing many.
bodies, black cats and eerie sounds to con-
found, and a bewildered sheriff and a be- SERVICE WITH THE COLORS O O
fuddled colored boy to provide comedy re- Warner Bros.-Vitaphone.
lief. The capable cast, good direction and This is an educational film made in fine
entertaining story hold attention. Technicolor at the Presidio at San Francisco
Adolescents, 12 to 16 Children, 8 to 12 to explain the constructive side of army life.
Good mystery. Very exciting.
It shows the physical development of recruits
in the system of training as well as their op-
WORLD IN FLAMES O O portunities to learn useful trades. Views of
Written and documented by Wm. C. Park. the Golden Gate Bridge against the blue wa-
Accompanying dialogue supplied by Gregory
Abbott, Gilbert Martyn and Tom Chalmers. ters of the bay and shots of the San Francisco
Actual war scenes and descriptions by Ar- Fair contribute to the beauty of the picture.
thur Menken, Paramount cameraman. Pro- This is one of a series of patriotic shorts
duced by Albert J. Richard. Paramount.
made by Warner Brothers and will probably
This is a documentary film of real im-
have some weight in influencing young men
portance because it is an eye witness report
to enlist.
by cameramen of the amazing chain of Adolescents, 12 to 16 Children, 8 to 12
world-shaking events which have taken place Interesting. Yes.
MOTION PICTURE REVIEWS Thirteen


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Permit No. 1850
MOTION
PICTURE
REVIEWS
DECEMBER
19 4 0
FEATURE FILMS
O
Arizona
The Bank Dick
Barnyard Follies
Bitter Sweet
Charter Pilot
Comrade X
Dark Streets of Cairo
Dr. Kildare's Crisis
Escape to Glory
The Fargo Kid
Gallant Sons
Give Us Wings
Jennie
Lady With Red Hair
The Letter
Little Men
Li'L Abner
Little Nellie Kelly
The Lone Wolf Keeps a Date
The Mark of Zorro
Murder Over New York
A Night at Earl Carroll's
One Night in the Tropics
The Philadelphia Story
Remedy for Riches
Sandy Gets Her Man
Texas Rangers Ride Again
Tin Pan Alley
You'll Find Out
SHORT SUBJECTS
Eyes of the Navy
Flag Humanity
of
March of Time
(Arms and the Men)
Waldo's Last Stand

ENDORSED BY

LOS ANGELES BRANCH
EDITORS
Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Rtall Mrs. Laura O. Vruwink
Vol. XV DECEMBER, 1940 No. 12
FEATURE FILMS
ARIZONA O O with all her ability and determination she
Jean Arthur, William Holden, Warren Will- never loses her femininity, yet never be-
iam, Porter Hall, Paul Harvey, George comes the routine movie herione. Many of the
Chandler, Byron Folger, Regis Toomey,
Paul Lopez, Edgar Buchanan, Colin Tapley, men’s roles are real pioneer characters and
Uvaldo Varela, Addison Richards, Nina worthy of Warren Williams is the
respect.
Campana. Screen play by Claude Binyon, frontier who tries to rob Phoebe,
racketeer
based on story by Clarence Budington Kel-
land. Direction by Wesley Ruggles. Co- and Bill Holden makes a likeable hero who
lumbia Pictures. loves her and helps her realize her ambition.
“Arizona” is unique in that it actually For the most part violent action is sacri-
seems to recreate a historical period. The ficed to dialogue but the finale is a thrilling
early days of Tucson are revived without the cattle stampede which is excitingly and amaz-
usual movie atmosphere and with an aston- ingly executed. The film has a peculiarly
ishing impression of reality: the crude little authentic atmosphere. It is an unusual pic-
town set down on the desert with its dust, its ture of pioneer days, and one notable asset
is its complete lack of vulgarity in act and
mud; the excessive daily heat and the bril-
and polyglot population; dialogue.
liant moonlit nights
and in the background the beautiful moun- Excellent. Excellent
tains and the deep blue sky with its changing
cloud formations. The people, too, seem
real. It is the story of Phoebe Titus who THE BANK DICK O O
bakes pies for a living while her ambition W. C. Fields, Una Merkel, Richard Purcell,
Shemp Howard, Cora Witherspoon, Franklin
grows to own the finest cow ranch in the Pangborn, Jessie Ralph. Original screen
valley, stocked with the best Eastern cattle. play by Mahatma Kane Jeeves. Direction
It is the time of the Civil Warwhen the by Edward Cline. Universal.
state did not know whether to j'oin the North This film gives no emphasis to plot, fur-
or the South and when the changing military nishing merely a series of opportunities for
occupation left Tucson without strict discip- W. C. Fields to exploit his peculiar brand of
line. Consequently the citizens had no legal humor. As Egbert Souse, Mr. Fields lives up
protection and each had to fend for himself. to the name, and the incidents are slapstick
Phoebe is competent to do this. Miss Arthur adventures in the use and effect of intoxi-
makes the girl exceedingly believable, for cants. He is a drunken ne’er-do-well who
bungles into the position of bank detective, The story is no doubt familiar to many.
induces the bank teller to embezzle money to It tells of the romance of Carl, a Viennese
buy worthless stock and ends by becoming a singing teacher and composer, and his Eng-
millionaire. The obvious absurdities make lish pupil, Sarah. They elope and go to live
it innocuous. The breakneck race at the in Vienna where they are happy in spite of
climax is funny, and Franklin Pangborn has poverty until, at the moment when success
a ridiculous scene where he imbibes un- is within their grasp, Carl dies tragically,
wisely. But it is a film written for and around leaving Sarah only his memory with which to
Mr. Fields, and one must like his kind of share their hard won honors.
fun-making to enjoy it. Adolescents, 12 to T5 Children, 8 to 12
Adolescents.. 12 to 16 Children, 8 to 12
If interested in Too mature and
Not recommended. light opera. too long.
No.
CHARTER PILOT O O
BARNYARD FOLLIES O O Lloyd Nolan, Lynn Bari, Arleen Whelan,
Mary Lee, Rufe Davis, June Storey, Jed Geo. Montgomery, Hobart Cavanaugh. Based
Prouty, Victor Kilian, Joan Woodbury, Carl on a story by J. Robert Bren and Norman
"Alfalfa" Switzer, Robert Homans, Dorothy Houston. Screen play by Stanley Rauh and
Harrison. Original screen play by Dorrell Lester Ziffren. Direction by Eugene Forde.
and Stuart McGowan. Direction by Frank 20th Century-Fox.
McDonald. Republic Pictures.
Exploits in the air are combined with
Pappy (Harry Cheshire) is a doctor who radio when a girl who writes and broadcasts
believes in aiding young people by teaching a serial describes the adventures of her boy
them become self-supporting on a farm.
to friend. Charter Pilot is below the stand-
When farm needs financial help a tal-
the ards of most air pictures. At times the
ented group of youngsters put on a show to thrills are multiplied until they become ri-
raise money. Many well known radio char- diculous, often the dialogue is artificial, and
acters take part, among them “Pappy” Ches- there is little real sympathy for the main
hire, The Cackle Sisters, Jim Jeffries, The characters because they brawl, drink exces-
Kidoodlers, Ralph Bowman and Isabel Ran- sively, and have scant regard for the value
dolph, known to radio fans as Mrs. Upping- of human life.
ton, with Fibber McGee. It is a crowded Adolescents, 12 to 16 Children, 8 to 12
hour of entertainment. The 4-H demonstra- No. No.
tions are of particular interest.
Adolescents, 12 to 16 Children, 8 to 12 COMRADE X O O
’ es -
If interested. Clark Gable, Hedy Lamarr, Oscar Homolka,
»> Felix Bressart, Eve Arden, Sig Rumann,
BITTER SWEET O O Natasha Lyters. Story by Walter Reisch.
Jeanette MacDonald, Nelson Eddy, George Screen play by Ben Hecht and Charles Le-
dercr. Direction by King Vidor. Musical
Sanders, Ian Hunter, Felix Bressart, Edward
Ashley, Lynne Carver, Diana Lewis, Curt direction by Bromislau Caper. M. G. M.
Bois, Fay Holden. Original play, music and “Comrade X,” another sophisticated come-
lyrics by Noel Coward. Produced
by Victor dy ridiculing Communism, is moulded along
Saville. Screen play by Lesser Samuels. the lines of “Ninotchka,” especially in that the
Di-
rection by W. S. Van Dyke II. M. heroine is a beautiful young zealot who
G. M.
The names of Jeanette MacDonald and abandons her cause when she falls in love
Nelson Eddy stand for the best in film light with an American. The dialogue is clever
opera. “Bitter Sweet” offers again this enough though not a great many lines actual-
fine
team of stars in another lovely technicolor ly ring the bell, and the humor is more
production and will delight many audiences often slapstick than subtle. The film is most
with the beauty of its music and the glamour fun in the last part when it becomes an
of its costumes. Noel Coward’s opera, action thriller and the lovers escape from
though Russia in a wildly maneuvered tank with
lovely on the stage, is not so well suited
to what appears to be an entire Soviet tank di-
the screen some others in which Miss
as
MacDonald and Mr. Eddy have captivated vision on their trail.
their audiences. There are fewer Hedy Lamarr has acquired sparkle and
ensembles, animation which improve her greatly, and
fewer romantic adventures and action scenes,
and there is less gaiety and humor. Clark Gable, though not at his best as the
The final scene, however, equals if it does American newspaper man, has some ex-
not excel anything that has previously tremely amusing scenes. The supporting
been cast is exceedingly good. Oscar Homolka,
offered on the screen. It is exquisitely
de- Felix Bressart, and Eve Arden are especial-
signed and costumed and the color tones
of ly clever.
cream and copper are a triumph of loveli-
ness. Sophisticated. No.
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DARK STREETS OF CAIRO O O bullion leaves England with a small group

Sigrid Gurie, Katherine De Mille, Ralph of passengers who are forced to accept very
Byrd, Eddie Quillan, Rod LaRoque, Yollande cramped accommodations. Their experi-
Mollot, Siegfried Arno, George Zucco,
ences and emotional reactions during the
Lloyd Corrigan. Original screen play by
Alex Gootlieb. Direction by Leslie Kardos. passage and their encounter with a German
Universal. submarine told in vivid anl exciting
are
Shadowy secret passageways, liv-
streets, detail. The
tense and highly dramatic nature
ing creatures emerging from mummy
cases, of this story is greatly enhanced by the ex-
and through it all the haunting, mysterious cellent use of special photographic effects,
music of the East: the type is familiar and and the musical score is well coordinated
yet it is sufficiently if one is
entertaining with the photography. It does much to pro-
in the mood. Here
unfolded the story of
is duce the impression of mystery and unknown
the seven jewels of a seventh pharoah, un- danger at the beginning and of grimness and
earthed by an American archeologist, of- ominous suspense as the picture progresses.
fered for sale to a baron and his charming The contrasting types are well cast, and the
niece, and coveted by the leader of a native roles are creditably performed. Constance
criminal gang. When the atmosphere be- Bennett plays a sophisticated woman and Pat
comes too tense, Eddie Quillan breaks it up O’Brien a ne’er-do-well who becomes a hero
with a sally of humor. Cast and direction in the emergency.
are suitable, although no one gathers any Adolescents, 12 to 16 Children, 8 to 12
No. No.
laurels.
Yes. Too mature. THE FARGO KID O O
Tim Holt, Ray Whitley, Emmett Lynn, Cy-
rus W. Kendall, Jane Drummond, Ernie
DR. KILDARE'S CRISIS O O Adams, Paul Fix. Story by W. C. Tuttle.
Lew Ayres, Lionel Barrymore, Laraine Day, Screen play by Morton Grant and Arthur
Robert Young, Nat Pendleton, Walter V. Jones. Direction by Edward Killy.
Kingsford, Alma Kruger. Screen play by R. K. O.-Radio.
Harry Ruskin and Willis Goldbeck. Direc- Fargo Kid is a hard-hitting, accurately
tion by Harold S. Bucquet. M. G. M.
shooting hero who outwits the villain and
In spite of the fact that the film is ably saves a gold mine for the parents of a beau-
cast with Lew Ayres and Lionel Barrymore tiful girl, whom he relinquishes at the finish
as the well-loved doctors and Robert Young in accordance with the custom of many-up-to-
as an unusually interesting patient, this is date Westerns. The villain is a dishonest
not a particularly good picture. It is too assayer who has located a pocket of gold in
episodic; many characters are brought in to the claim of one of his clients. He hires an
do a turn for a moment or so and then
dropped from sight, and although there is
outlaw to murder the owner ah but treach- —
ery fails! Tim Holt’s pleasing grin awakes
a serious problem in view, it is not built confidence in his resourcefulness. The film
up to a dramatic climax. As a lesson in med- has the usual good points of Westerns: excit-
icine, there are seeds of disaster. Too many ing action, fine mountain views and good
people are prone to diagnose their own symp- riding. The acting and direction are second
toms instead of consulting a reputable phy- rate, but those who like Westerns will ap-
sician, and if ignorant or semi-intelligent
plaud anyhow.
individuals deduce from this story that any-
one who has moments of elation followed by Yes. Too tense for
periods of deep depression and occasionally
imagines he hears strange sounds, necessarily
is a victim of so dire a disease as epilepsy,
GALLANT SONS O O
the picture may actually do a good deal of Jackie Cooper, Bonita Granville, Gene Reyn-
harm. olds, Gail Patrick, Ian Hunter, June Preisser,
Adolescents, 12 to 16 Children, 8 to 12 Leo Gorcey, William Tracy, Tommy Kelly,
Too mature a problem. No. Edward Ashley, El Brendel. Screen play by
William R. Lipman and Marion Parsonnet.
Direction by George B. Seitz. Produced by
Frederick Stephani. M. G. M.
ESCAPE TO GLORY O O
“Gallant Sons” is rather obviously written
Pat O'Brien, Constance Bennett, John Halli-
day, Melville Cooper, Alan Baxter, Edgar to order for the youngsters under contract
Buchanan, Marjorie Gateson, Francis Pierlot, on the M. G. M. lot. It tells a fantastic
Jessie Busley, Stanley Logan, Frank Sully, hokum-filled story of high school boys and
Erwin Kaiser, Don Beddoe, Leslie Denison.
Screen play by P. J. Wolfson, from story girls who do an expert job of sleuthing to
by Sidney Biddell and Fredric Frank. Direc- clear one boy’s father of an unjust convic-
tion by John Brahm. Columbia Pictures. tion of murder. As is too often the case in
On the day that war is declared between films starring juveniles, adolescent antics
England and Germany, an English freighter are portrayed in combination with unwhole-
bound for New York with a cargo of gold some problems of adults, and glamour and
sympathy are built up around a character under his thumb through fear and finances.
who, though not guilty of murder, is never- Jennie has worked and supported herself
theless a lawbreaker. Ian Hunter as the con- even in the days of the gay 90s, the time in
victed father is a gentle, charming and phe- which the story is set, and she is appalled
nomenally kind gentleman who runs a high by the situation. She begins at once to liber-
class gambling salon. His code of ethics for- ate the children and in the end does so in
bids him to allow his patrons to wager more an amusing fashion to everyone’s satisfaction.
than they can afford to lose, but a news- Because the production values are not out-
paper editor crusading against the gambling standing, some may overlook this picture.
element is mean enough to try to “get But it satisfying and entertaining, and it
is
something” on him. This causes a breach in offers food for thought.

the friendship of the two sons which is healed Adolescents, 12 to 16 Children, 8 to 12
only when the boys combine their efforts to Mature but enter- Hardly suitable,
taining.
track down the real murderer. Suspense ef-
fectively used gives the picture whatever in-
terest it may claim. The dialogue is un-
LADY WITH RED HAIR <0 O
Miriam Hopkins, Claude Rains, Richard Ain-
usually poor, especially in the beginning and ley, Laura Hope Crews, Helen Westley,
the plot has a hard time gaining momentum. John Litel, Mona Barrie, Victor Jory, Cecil
Adolescents, 12 to 16 Children, 8 to 12 Kelloway, Fritz Leiber, Johnnie Russell, Sel-
Ethically misleading. Unwholesome. mer Jackson. Screen play by Charles Ken-
yon and Milton Krims. From the story by
N. Brewster Morse and Norbert Faulkner.
O O Based upon the memories of Mrs. Leslie
GIVE US WINGS Carter. Direction by Kurt Bernhardt.
Billy Huntz Hall, Bernard Punsly,
Halop, Warner Brothers.
Gabriel Dell, Bobby Jordan, Wallace Ford,
Victor Jory, Anne Gwynne. Story by Eliott The sensational advertising written for
Gibbons. Screen play by Arthur T. Horman. this seems uncalled for since neither
film
Direction by Charles Lamont. Musical di- Miss Hopkins’ portrayal nor the story ma-
rection by Charles Previn. Universal.
terial reveals any startling information about
In “Give Us Wings,’ the “Dead End” boy the life of Mrs. Leslie Carter. The production
actors are cast again as lawless hoodlums is distinguished not only by brilliant perform-
whose only virtue is loyalty to each other. ances but by technical excellence and the in-
Dissatisfied with their work as student me- terest of its carefully authentic and pic-
chanics under government supervision and turesque sets and period costumes. Whether
rebellious because they cannot meet the edu- or not Miss Hopkins gives a true impression
cational requirements for aviators, they take of Mrs. Carter as she really was is not so
employment with an unlicensed crop-dusting important as the fact that she presents a fas-
company in the south. In their new jobs they cinating character study of a clever, head-
fly obsolete planes under the worst possible strong, and charming young woman who be-
conditions until one of them is killed and the came great actress through her own de-
a
others take revenge upon their unscrupulous termination to succeed and David Belasco’s
employer. Thus they become heros and get zealous tutelage. Claude Rains, though not
jobs as pilots for a better company. co-starred with Miss Hopkins, takes more
The picture is too poorly done to be enter- than half the honors with his remarkable por-
taining and it is most objectionable in the trayal of Belasco.
bad example it sets. The picture does- not appeal greatly to the
Adolescents, 12 to 16 Children, 8 to 12 emotions, possibly because it has so little
Extremely poor. Objectionable.
plot that it can hardly be thought of as more
than a series of incidents chosen at random
JENNIE O O from the memories of Mrs. Carter. How-
Virginia Gilmore, William Henry, George ever, it may be considered by many as all
Montgomery, Ludwig Stossel, Dorris Bow-
don, Rand Brooks, Rita Quigley, Hermine the more interesting because it does not pour
Sterler, Harlan Briggs, Irving Bacon, Almira biographical material into a mould to fit the
Sessions, Aldrich Bowker. Screen play by requirements of a conventional plot.
Harold Buchman and Maurice Raft, from
an original story by Jane Eberle. Direction Adolescents, 12 to 16 Children, 8 to 12
by David Burton. Sol M. Wurtzel producer. Probably no interest No interest,
for under 1 4
20th Century-Fox. .
It is somewhat unusual for a film to treat

THE LETTER O O
seriously the subject of human relations, and
Bette Davis, Herbert Marshall, James Ste-
yet this simple, unpretentious picture pre- phenson, Frieda Inescort, Gale Sondergaard,
sents a problem which exists in less exagger- Bruce Lester, Elizabeth Earl, Cecil Kella-
ated form perhaps, in many families. It is way. Sen Yung, Doris Lloyd, Willie Fung,
Tetsu Komai. Screen play by Howard Koch,
about the tyrannical parent who completely adapted from story by Somerset Maugham.
dominates his family. Jennie marries a Direction by William Wyler. Music by Max
young man whose father, a former German Steiner. Warner Bros.
immigrant, holds each member of the family “The Letter,” a powerful drama by Som-
erset Maugham, with which we are wont to debt they sacrifice themselves to give help.
associate the vivid personality of Jeanne Jack Oakie’s comedy is the high light, but
Eagles, is now presented with Bette Davis since much of it turns on his being caught in a
in the starring role. It is a difficult assign- safe he wishes to rob and on his impersonat-
ment to interpret the moods of a woman ing a man in the late stages of delirium tre-
seemingly poised, calm, sure of herself and mens, it is not well-suited to children’s enter-
yet crazed by jealousy and fear, but Miss tainment. The whole spirit of the original
Davis gives superb and exciting perform-
a story has been sacrificed and the result is not,
ance. It is a starkly compelling tragedy, in its own right, of enough interest to attract
the story of Leslie Crosby, who, living with wide attention.
her husband on a rubber plantation near Adolescents, 12 to 16 Children, 8 to 12
man. Disappointing. No.
Singapore, vindictively murders a
Since no breath of scandal has been con-
nected with her name, the trial would seem
LI'L ABNER O O
Granville Owen, Martha O'Driscoll, Mona
to be a mere matter of form. However, her
Ray, Johnnie Morris, Buster Keaton, Billie
acceptable defense comes crashing about her Seward, Kay Sutton, Maude Eburne, johnny
head, and with it crash the lives of those Arthur, Walter Catlett. Screen play by
who have believed in her and tried to clear Charles Kerr and Tyler Johnson, from an
original story by Al Capp based on United
her name. Feature Comic by Al Capp. Direction by
The acting is superlative. In addition to Albert Rogell. R. K. O.
Miss Davis, James Stephenson is particularly The broad comedy of the comic strip is
fine in his portrayal of the lawyer while Her- brought to life not too successfully here. Per-
bert Marshall is most effective in the later haps Li’l Abner is best taken in small daily
scenes. The ending has been somewhat doses, or possibly his appeal is best appre-
changed for the screen, but if one is not too ciated in cartoon form rather than in per-
familiar with the original it will not matter. son. Whatever the reason, Li’l Abner seems
Apparently the rules of modern cinema de- vulgar rather than amusing on the screen.
mand swifter visible retribution. Even though Adolescents, 12 to 16 Children, 8 to 12
much of the plot is melodramatic, the di- No. No.
rector has imbued the picture with great real-
ism and the emotional effect is tremendous. LITTLE NELLIE KELLY O O
The treatment, the acting and the unusual at- Judy Garland, George Murphy, Charles Win-
ninger, Douglas McPhail, Arthur Shields.
mosphere makes this film of exceptional in-
Based on the musical comedy by George
terest to mature audiences. M. Cohan. Screen play by Jack McGowan.
Adolescents, 12 to 16 Children, 8 to 12 Direction by Norman Taurog. M. G. M.
Too mature and Unsuitable, “Little Nellie Kelly” is a play about re-
tragic.
freshingly simple people straight from the
green fields of Ireland to the New World,
LITTLE MEN O O where Jerry Kelly becomes a proud police-
Kay Francis, Jack Oakie, George Bancroft, man in the tradition of a whole generation of
Jimmy Lydon, Ann Gillis, Charles Esmond, Irishmen. Surprisingly enough, Judy Gar-
“Elsie", Jimmy Zaner, Richard Nichols,
land is a wife and mother in the first phase
Johnny Burke, Lillian Randolph, Casey
Johnson, Isabel Jewell. Screen play by Mark of the picture and seems almost old enough
Kelly and Arthur Caesar from the novel by for the part; later daughter
she plays the
Louisa May Alcott. Produced by Gene
Towne and Graham Baker. Directed by grown to a with the charm
blithe seventeen
Norman Z. McLeod. R. K. O. and fresh gaiety of an unspoiled girl of that
age. She sings several songs upon request,
It is a moot question whether it is a smart
thing to turn a childhood classic into adult the catchy strains of Nellie Kelly I Love You
entertainment and to adapt a story so broad- and Singing in the Rain. Charles Winninger
is a cantankerous old devil, father of the
ly that only a few characters are dimly rec-
first Nellie and grandfather of the second
ognizable. Granting that “Little Men” has
less dramatic interest than “Little Women,”
who loves them both in a narrow, selfish way
the fact remains that the faithful adaptation
and bitterly resents the advent of love into
their lives; for many years he will not shake
of the latter book was in large measure one
of the factors of its success as a film. “Little
the hand of his son-in-law, although due to
his aversion to work, he continues to share
Men” in cinema form must stand or fall on
the latter’s home. George Murphy has never
its own merits. It is entirely unrelated to
Louisa M. Alcott’s story of childhood life been more delightful than in this thoroughly
Irish role of Jerry Kelly. All in all, it is a
under the wise and loving guidance of Aunt
Jo and Professor B/iear. picture of amusing and likeable people, of-
fering an hour of escape into a simpler day
The present plot is conventional. Two pro-
fessional crooks leave an adolescent boy in
and way of life.
the school. When the two hear that the Pro-
Good. Probably little
fessor and Jo are to lose the School because of interest.
THE LONE WOLF KEEPS A DATE O O MURDER OVER NEW YORK O O

Warren Williams, Fra'nces Robinson, Bruce Sidney Toler, Marjorie Weaver, Robert Low-
Bennet, Eric Blore, Thurston Hall, Jed ery, Ricardo Cortez, Donald MacBride, Mel-
Prouty, Fred Kelso, Don Beddoe, Edward ville Cooper, Joan Valerie, Kane Richmond,
Gargan, Lester Matthews, Eddie Laughton, Sen Yung, John Sutton, Clarence Muse,
Mary Servoss. Story and screen play by Lai Chand Mehra. Original screen play by
Earl Fenton and Sidney Salkow, based on Lester Ziffren, based on the character
work by Louis Joseph Vance. Direction by "Charlie Chan" created by Earl Derr Big-
Sidney Salkow. Columbia Pictures. gers. Direction by Harry Lachman. Sol M.
Wurtzel producer. 20th Century-Fox.
Michael Lanyard, The Lone Wolf, is a re-
Charlie Chan and his eager No. 2 son,
formed crook whose hobby is stamp collecting.
Jimmy, find themselves confronted with an-
When he is unexpectedly involved in a mur- other mystery. This time it is a particularly
der mystery, his album is the novel instru-
topical one since concerns crashes of new
it
ment which aids in the capture of the guilty
government bombing planes. As usual the
men. The film provides fair entertainment.
likable Chan’s deductions are cunningly de-
Harmless No value. vised and astound his baffled companions as
well as the audience, and Jimmy feels that
he has contributed more to the solution than
his amused parent is willing to admit.
THE MARK OF ZORRO O O
Tyrone Power, Linda Darnell, Basil Rath- Yes. Depends upon
bone, Gale Sondergaard, Eugene Pallette, maturity of
J. Edward Bromberg, Montague Love, Janet the child.
Beecher, Robert Lowery, Cris-Pin Martin,
George Regas. Based on story "The Cures
of Capistrano" by Johnson McCulley. Screen A NIGHT AT EARL CARROLL'S O O
play by John Taintor Foote. Direction by Ken Murray, Rose Hobart, Blanche Stewart,
Rouben Mamoulian. 20th Century-Fox. Elvia Allman, J. Carrol Naish, Billy Gilbert,
Russell Hicks, Jack Norton. Original story
Whatever oldsters may miss from their re- and screen play by Lynn Starling. Direc-
membrance of Douglas Fairbanks Sr.’s acro- tion by Kurt Neumann. Musical direction
batic performance in “The Mark of Zorro,” by Irvin Talbot. Paramount.
the younger generation will enjoy this version This is very ordinary and sometimes vulgar
for it is an exciting and romantic tale of Old entertainment. As is obvious from the title,
California where sleepy peons and dashing it is night-club vaudeville with the usual in-
Caballeros lived on huge ranchos or in the termittent flashes of wit and beauty and a
quaint pueblo called Los Angeles. Diego is general atmosphere of glittering but tawdry
a handsome, athletic youth who is recalled sophistication. It seems designed principally
from a military school in Spain to find that to exploit Earl Carrol’s show and would
his father, once governor of the district, has probably not have been so tiresome if the
been superseded by a weak but greedy Don vaudeville had not been tied up with a silly
who, under the influence of an unscrupulous plot. All the picture does is to prove that
Captain of the Guard, is fleecing the popu- some shows are less attractive on the screen
lation and enforcing a reign of terror. Diego, than on the stage.
to further his plot to free the people of this Adolescents, 12 to 16 Children, 8 to 12
Very questionable. No.
domination, poses as a fop and dandy, but
secretly rides as the mysterious Zorro who
ONE NIGHT IN THE TROPICS O O
terrifies the officers and gives the peons hope
Allan Jones, Nancy Kelly, Bud Abbott, Lou
and courage. Costello, Robert Cummings, Mary Boland,
It is an excellent Tyrone Power has
story. William Frawley, Leo Carillo. Adapted by
never been better. His characterization of Kathryn Scola and Francis Martin from the
novel "Love Insurance" by Earl Derr Big-
the dual personality is very fine and he gers. Screen play by Gertrude Purcell and
makes a handsome and spectacular hero. The Charles Grayson. Direction by A. Edward
sinister roles played by Basil Rathbone, Sutherland. Universal.
J.
Edward Bromberg, and Gale Sondergaard This is a light-weight picture with neg-
are well enacted also, and Linda Darnell ligible story material. A
young man takes
is an ideal heroine presenting a splendid out love insurance on his best friend and
portrait of a charming girl who has char- then falls in love with the young lady him-
acter as well as beauty. Eugene Pallette has self when they all meet under tropical skies.
a colorful part. The duelling scene is guar- Allan Jones’ beautiful voice goes a long way
anteed to make anyone sit on the edge of towards making a success of any film, and the
his seat. It is a thrilling sight. Rouben Ma- scenes of the dance and the bull fight are
moulian has combined action, romance, sus- colorful, but there is too much slap-stick.
pense and comedy in a masterly fashion, and Abbott and Costello are tiresome on the
the lovely settings make an interesting back- screen, however entertaining they may be
ground for an exciting and entertaining plot. over the radio.
Good. Good. Little interest. No.
THE PHILADELPHIA STORY O O make this picture a diverting but not a

Katharine Hepburn, Cary Grant, James subtle one.
Stewart, Ruth Hussey, John Howard, John Adolescents, 12 to 16 Children, 8 to 12
Halliday, Virginia Weidler, Roland Young, Yes. Yes.
Mary Nash, Henry Daniell, Lionel Pape,
Rex Evans. Screen play by Donald Ogden
Stewart, based on the play by Philip Barry. SANDY GETS HER MAN O O
Directed by George Cukor. Produced by
Sandy, Erwin, Una Merkel, Edgar
Stuart
Joseph L. Mankiewicz. M. G. M.
Kennedy, William Frawley, Ed Brophy, Wally
“The Philadelphia Story” is exceedingly Vernon, Jack Carson, William Davidson.
smart, sophisticated and amusing. Not every- Original screen play by Jane Storm and
Sy Bartlett. Direction by Otis Garrett and
one however will like the kind of poeple who Paul Gerard Smith. Universal.
are represented, for perhaps the only well-
Sandy is an exquisitely appealing baby who
balanced characters are the, reporter and the
deserves a much better picture. Here her ef-
photographer, sent by the manager of the
forts are pitted against those of brawny
scandal magazine “SPY” to peep into the pri-
policemen and firemen, and though she falls
vate lives of the socially elect Lord family.
out of windows and climbs upon trucks, she
These two at least have a humanizing effect
can scarcely keep up with the men. Sandy’s
upon their victims and help in the adjustment
mother in the story is a widow who wavers
which makes the agreeable ending. The au- branches of the
between two suitors in rival
thor’s contention is that one may be a “heel”
public service until Sandy steps in and settles
whether one is in the four-hundred or in the
the matter. Slapstick abounds, and some of
self-made class. A woman may even be a
the situations are uproarious, but certain
“heel” if she is a lovely “goddess” with stand-
scenes are overdone, and the production is
ards so high that she has no tolerance for the
too melodramatic for one which features a
weaknesses of others. And it is this lesson of
two-year-old.
tolerance which gives strength to the comedy.
The play was written for Miss Hepburn, Passable. Not especially
and she is delightful in the role of Tracy good.
Lord. In fact the entire cast is exceptionally
good: Jimmy Stewart, as the reporter who TEXAS RANGERS RIDE AGAIN O O
breaks down Tracy's lofty inhibitions and John Howard, Ellen Drew, Akim Tamiroff,
makes her human; Carey Grant as the first May Robson, Roderick Crawford, Charley
Grapewin, John Miljan. Story and screen
husband, although this is not his best role; play by William R. Lipman and Horace
John Howard as the outraged fiance, who is McCoy. Direction by James Hogan. Para-
never quite at home in a social stratum to mount.
which he brings money as his only asset; Because of strong character delineation,
Virginia Weidler as the precocious young sis- this film has more to offer than the ordinary
ter, a rather pathetic child who is actually Western. May
Robson as Grandma Danger-
ashamed of her family life and who longs field is humorous and gallant, and
lively,
for security and normalcy; and John Halli- Akim Tamiroff portrays the ranch hand
day as the father whose philandering has Mio Pio with his usual skill and well-mod-
attracted the attention of the editor of SPY ulated dialogue. John Howard as Jim Kings-
and caused him to assign the Philadelphia ton, the most important ranger, is good, as is
story to his two ace reporters. Ellen Drew, but she plays an unsympathetic
The film elaborates upon the play, replac- role for at least half of the picture. The
ing by action much of the stage dialogue. photography is beautiful, and the musical
It is smartly set and extremely entertaining, background is well suited to the mood. The
one of the best of the seasons sophisticated story concerns cattle rustling and the work
social comedies. of a company of Texas Rangers who outwit
Adolescents, 12 to 16 Children, 8 to 12 the law-breakers. Although there is a good
No. No. deal of shooting, actual killings are rele-
gated to the background so that there is less
REMEDY FOR RICHES O O impression of ruthless violence than one
Jean Hersholt, Dorothy Lovett, Edgar Ken- receives in most pictures of this type.
nedy, Jed Prouty, Walter Catlett, Robert
Baldwin, Warren Hull, Maude Eburn. Orig- Adolescents, 12 to 16 Children, 8 to 12
inal screen play by Lee Loeb. Direction by Good. Exciting.
Erie C. Kenton. R. K. O.
A kindly, wise and tolerant country doc- TIN PAN ALLEY O O
tor prevents a major catastrophe from over- Alice Faye, Betty Grable, Jack Oakie, John
whelming the little town in which he lives. Payne, Allen Jenkins, Esther Ralston, Nich-
A pleasing treatment is given this story of olas Brothers, Ben Carter, John Loder, Billy
Gilbert. Screen play by Robert Ellis and
unscrupulous oil promoters who plan to take Helen Logan, based on story by Pamela
the life savings of trusting villagers but are Harris. Direction by Walter Lang. 20th
foiled by the timely action of Dr. Christian. Century- Fox.
The many humorous scenes and incidents Unless this musical comedy is overpub-
licized so that too much is expected, it should YOU'LL FIND OUT O O

please. Possibly those who enjoy it most Kay Kyser, Peter Lorre, Boris Karloff, Bela
Lugosi, Helen Parrish, Dennis O'Keefe,
will be the ones who remember the songs Alma Kruger, Joseph Eggenton. Direction
by David Butler. Story by James V. Kern.
popular during the last World War and R. K. O.-Radio.
who will chuckle over the evolution of Kay Kyser takes his band to a strange,
“K-K-K-Katie” as presented on the screen. remote mansion to supply the music for the
twenty-first birthday celebration of a young
While Alice Faye and Betty Grable are
girl, whose life, it soon appears, is threat-
headlined, it is Jack Oakie who takes the ened by three such experts in crime as Boris
bows. His role is very amusing and his Karloff, Bela Lugosi and Peter Lorre. It is
comedy carries a slight and well-worn story one of those hybrid productions, part musical
plot through with flying colors. The setting
and part mystery, and not such a bad com-
bination after all, as when one is tired of the
is Broadway between 1910 and 1918. Two singing and playing, something exciting hap-
struggling song writers make a hit, lose pens, and when one has been worked up to
their money, quarrel with the girl who plugs the point of goose-flesh, it resolves into
their songs, go to war. Finally the lovers

laughter and music again. Romance spins
a web around Helen Parrish, the pleasing
are reunited and “K-K-K-Katie” is put over
heroine, and personable young Dennis
as the song hit of the war. O’Keefe, while Alma Kruger is almost too
There is youth in the picture, good singing, realistic as the aunt whose mind is under
and one spectacular scene with lovely cos- the spell of a spiritualist faker. There is
an innovation called the Sonovox, an instru-
tumes and clever acts in which the Nicholas
ment used to imitate the human voice in
Brothers again display their amazing dance strange keys. Good songs include The Bad
routines. Humor Man and I’ve Got a One Track
Adolescents, 12 to 16 Children, 8 to 12 Mind.
Yes. If interested, but Adolescents, 12 to 16 Children, 8 to 12
long. (over 2 hrs.) Yes. Too scary.
SHORT SUBJECTS
EYES OF THE NAVY O O day, and shows many of the well-known
it
Produced with the cooperation of the U. S. historical characters. Costumes of the vari-
Navy. M-G-M. ous periods seem authentic, and the Techni-
Training of naval aviators from begin- color makes it a beautiful film.
ners’ school at Pensacola to the finished prod- For all ages.
uct in action at the San Diego base.
This is a well planned and directed pic-
ture, almost an invitation to eligible youths MARCH OF TIME O O

to join thatbranch of the service. Views of (Arms and the Men)
the plane maneuvers sometimes against fine Editors of Time Magazine. Released through
cloud backgrounds, are thrilling and the R. K. O.
photography is notable. This is something which should interest

For all ages. everyone at the present time, since it is an
excellent descriptive picture of the process
FLAG OF HUMANITY O O of drafting young Americans and of their
Clara Barton and the Red Cross. habits of life when they begin their military
This is the story of the development of the training. Photography is very fine, and the
Red Cross in America, and it is also a bi- attitude of those in command is one that will
ography of Clara Barton, since all the hard- prove reassuring to the conscripts as well as
ships, struggles and achievements center their families. Recommended for all ages.
around her. Nana Bryant plays the part N. B.
— “March of Time” is now publish-
with feeling and strength. It covers a long ing study guides, the first one of which is
period, from the Civil War to the present on “Arms and the Men.” The following para-
graph is quoted from this study guide, Issue WALDO'S LAST STAND O O
No. 4. Vol. VII. Recommended for all ages.
An "Our Gang" Comedy. M. G. M.
“This STUDY GUIDE series has but one
purpose — to enable students and forum groups Where are the comedies of yesteryear?
clearly understand the various im- Either this is not so funny by far as the
to more
portant phases of world affairs brought to other pictures of “Our Gang” or tastes have
them by THE MARCH OF TIME. Your changed. Waldo tries to run a lemonade
stand, and his colleagues decide the idea
local theatre manager you re-
will see that
ceive the STUDY GUIDE each month but if needs promotion, so they turn an old barn
there is any additional help which we can into an impromptu cafe with a floor show
give you or if you have any suggestions for sf simpering little dancers impersonating
the STUDY GUIDE please write us. Ad- adults. They try very hard but are only
dress: STUDY GUIDE, The March of Time, slightly amusing.
369 Lexington Ave., New York City.” Mediocre. Might like it.
INDEX . . . JULY through DECEMBER, 1940

A The Ghost Breakers July
All Thisand Heaven Too July Girl in 313 July
Andy Hardy Meets Dubutante July Girls Under 21 November
Angels Over Broadway October Give Us Wings December
Anne of Windy Poplars July Golden Fleecing September
Argentine Nights September Golden Gloves September
Arise My Love November Gold Rush Maisie August
Arizona December The Great Dictator November
The Great McGinty August
B The Great Profile September
The Bank Dick December H
Barnyard Follies December
Bitter Sweet December Haunted Honevmoon September
Boom Town August He Stayed for Breckfast September
The Boys from Syracuse August Hired Wife September
The Bride Wore Crutches August Hit Parade of 1941 November
Brigham Young September The Howards of Virginia September
Hullabaloo November
C
I
Captain Caution August
The Captain Is a Lady July I Love You Again September
Charlie Chan At the Wax Museum August I Married Adventure August
Charter Pilot December I'm Nobody's Sweetheart Now September
Cherokee Strip November I'm Still Alive October
Dr. Christian Meets the Women I Want a Divorce October
July
Christmas in July October
City for Conquest October
Comrad X December
Cross Country Romance July
K
D Knute Rockne —All American November
Dance Dance
Girl September
Dancing On a Dime November L
Dark Streets of Cairo December Laddie October
Diamond Frontier November The Lady in Question August
Dispatch from Reuter's October Lady With Red Hair December
Down Argentine Way October Land of Liberty October
Dr. Kildare Goes Home September The Leather Pushers October
Dr. Kildare's Crisis December The Letter December
Dulcy October Li'I Abner .
. .December
A Little Bit of Heaven November
E Little Men December
Escape November Little Nellie Kelly December
Escape to Glory December The Lone Wolf Keeps a Date. . December
The Long Voyage Home November
F Love, Honor, and Oh, Baby July
The Fargo Kid December Lucky Partners September
Flowing Gold September
Foreign Correspondent September M
The Man I Married August
G The Mark of Zorro December
Gallant Sons December Margie October
The Gay Caballero October Maryland July
Twelve MOTION PICTURE REVIEWS
Melody and Moonlight October T
Men Against the Sky September Texas Rangers Ride Again December
Mexican Spitfire Out West November They Drive By Night August
Millionaires in Prison July They Knew What They Wanted November
Moon Over Burma November The Thief of Bagdad November
The Mortal Storm July Third Finger Lgjt Hand November
Murder Over New York December Three Faces West July
My Love Came Back July Three Men From Texas October
Mystery Sea Raider September TinPan Alley December
Tom Browns School Days July
N Too Many Girls November
New Moon July Tug Boat Annie Sails Again November
A Night at Earl Carrolls December
Northwest Mounted Police November O
No Time lor Comedy September Untamed July
O W
The Old Swimmin' Hole November Wagon Trains November
One Crowded Night August The Westerner October
One Night in the Tropics December We Who Are Young August
P
When the Daltons Rode August
Who Killed Aunt Maggie November
Pastor Hall August Wildcat Bus September
The Philadelphia Story December World in Flames November
Pier 13 September Wyoming October
Pride and Prejudice August
Private Affaires July Y
Public Deb. No. 1 September Yesterday's Heroes October
You'll Find Out December
Q Young People August
The Quarterback November You're Not So Tough July
Queen of Destiny August
R SHORT SUBJECTS
The Ramparts We Watch August The Choir Boy September
Rangers of Fortune October Eyes of the Navy December
Remedy for Riches December Flag of Humanity December
The Return of Frank James September
Rhythm On the River ...... September Information Please July
The March Time No. 1
of November
s (On Foreign News Fronts)
Safari July The March of Time No. 2 November
Lady
Sailor's August (Britain's R- A. F.)
Sandy Gets Her Man . December The March of Time No. 10 September
The Sea Hawk August
(The Philippines)
Seven Sinners November
Sing, Dance, Plenty Hot August The March of Time No. 13 October
Sky Murder . October (Gateways to Panama)
Slightly Tempted September The March of Time December
South of Pago Pago August (Arms and the Men)
Sporting Blood August Norway September
Spring Parade October
Stage Coach War August Pony Express October
Stage to Chino August Siege July
Stranger On the Third Floor . September Service With the Colors November
Street of Memories July
Strike Up the Band . October Young America Flies October
Waldo's Last Stand December
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All Women Have Secrets

THE WOMEN'S UNIVERSITY CLUB

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