Boxoffice-March.04.1950

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Opinions on Current Productions; Expioitips for Selling to the Public
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FEATURE REVIEWS
(FOE 8TOBY SYNOPSIS ON EACH PICTURE, SEE REVERSE SIDE)
Perfect Strangers
F
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Warner Bros. (917) 88 Minutes Rel. Mar 25, '50
Based on the MacArthur-Hecht stage hit, "Ladies and Gentlemen,"
this screen version has three distinct story threads,
each one of which is sufficiently strong in entertainment
values alone to justify the picture. Woven together they
make for a feature which should be a solid scorer in any theatre.
For the devotees of the tender passion, there is romance;
for the advocates of sturdier stuff, there is a suspenseful
murder trial; and for one and all there is comedy
bright and subtle—which stems from dialog and situations
and admirably avoids contrived devices. Such comedy content
is the most prominent facet and it was entrusted to a
thoroughly excellent cast, each member of which took full
advantage of his or her portion of a shining script. Producer
Jerry Wald mounted the film with careful consideration of
details and atmosphere, and direction by Bretaigne Windust
is excellent.
Ginger Rogers. Dennis Morgan, Thelma Hitter, Margalo Gillmore,
Anthony Ross, Howard Freeman, Alan Reed.
Stage Fright
Warner Bros, ( ) 113 Minutes
y
Comedy
Drama
Rel. Apr. 15. '50
It may have been the change in climate— this having bee.n
filmed in its entirety in England—that made the celebrated
Alfred Hitchcock flare for suspense and chills wax a bit
whimsical. But herein, the scripters and Director Hitchcock
mixed the spine-tingling in about equal portions with ribtickling.
And a smooth blend of entertainment come out of
the mixer, one which should assert a powerful tug on every
taste in film fare. Such diversified appeal, accented by the
obvious potency of the quartet of topliners, certainly should
take good care of the offering in the profiis column of theatre
ledgers. While every performance—even to the bit players
is definitely top drawer, the thespian contribution of Marlene
Dietrich, apparently ageless and more sexy than ever, steals
the show. In production details the film shows lavish spending
of the frozen dollars that went into its budget.
Jane Wyman, Marlene Dietrich, Michael Wilding, Richard
Todd, Kay Walsh, Dame Sybil Thorndike, Miles Malleson.
Father Is a Bachelor
Columbia (232) 85 Minutes Rel. Feb. '50
Seldom do you find so many elements of wholesome entertainment
blended into a lov;--budget picture with this
degree of charm. While it is farcical in spots, the engaging
character played by William Holden, plus a most natural
family of heart-warming children, creates true screen diversion.
Only the art houses will resist its homespun appeal and for
family fare it is a natural, while if has special interest for
small town and neighborhood houses. Not only will women
patrons fall in love with the proud little waifs in the picture
but William Holden v.'ill cause feminine hearts to flutter with
romantic yearnings. This should be a word-of-moulh sleeper
that will build even higher boxoffice scores after it gets
out of the first run houses. The title is provocative and the
romantic interest is interspersed with humor. Norman Foster'
and Abby Berlin directed this S. Sylvan Simon production.
William Holden, Coleen Gray. Mary lane Saunders, Charles
Winninger, Stuart Erwin. Clinton Sundberg, Gary Gray.
ins}
Da'
Quicksand
United Artists (631) 79 Minutes Rel. Mar. 24, '50
While its rag, bone and hank o' hair motif is far from new,
herein it is so logically and suspensefuUy developed that the
picture earns rating as one of the best approaches to that
theme in many seasons; an offering that should garner plenty
of praise and profits in all bookings. Credit for the film's
excellence is cut three v/ays; solid, logical scripting; sincere,
a well-chosen
convincing performances by every member of
cast; and the incisive, understanding direction of Irvirig
Pichel. Executive Producer Sam H. Stiefel mounted the vehicle
substantially—without too big a productional budget—by
having it filmed largely out of doors and against established
backgrounds in and around Los Angeles. In addition to the
cast, there are exploitation possibilities in the subtle, yet
persuading, expose of the dangers of adolescent delinquency.
Rooney s performance and that by Barbara Bates sland out
in the face of keen comp>etition.
Mickey Rooney, Joanne Cagney, Barbara Botes, Peter Lorre,
Taylor Holmes, Art Smith, Wally Cassol.
Stars in My Crown
MGM (- 89 Minutes Rel.
A moving and heart-warming small town film which will
draw chuckles and a few tears from family audiences everywhere.
This is not a big picture, although it has been splendidly
directed by Jacques Tourneur and well acted by a first
rate cast. Its strongest appeal will be in the hinterlands,
Joel McCrea will draw the youngsters and action fans and
favorable word-of-mouth will do the rest. However, its homey
quality may result in mild grosses in metropolitan centers.
The story, which takes place shortly after the Civil War, has
one scene of Negro persecution, but this leads to a stirring
climax which is the film's highlight. Dean Stockv/ell contributes
another completely natural portrayal of a country
youngster and Juano Hernandez is outstanding as a kindly
Negro farmer. The late Alan Hale's final screen role is one
of his most lovable ones and Lewis Stone has a fine bit.
Joel McCrea, Ellen Drew, Dean Slockwell, Alan Hale, James
MitchelL Lewis Stone, Juano Hernandez, Amanda Blake.
Buccaneer's Girl
Univ.-Int'l (912) 77 Minutes
F
F
Musical Melodrama
(Technicolor)
ReL Mar. '50
Yvonne DeCarlo is displayed at her best in this swashbuckling
Technicolor story of New Orleans and piracy in
the 18th century. The film has battles at sea and ashore
lor the youngsters, enough romance to please the women,
and for the men—there's Yvonne. The picture reveals an
expensive mounting and the Technicolor shows to good
advantage in its vivid shots of the period costumes, sailing
ships and New Orleans scenes. The action is fast, the story
good, and it should please general audiences who do not
expect too radical a departure from the tested formula lor
piracy yarns. Stills of Yvonne in some of her eye-filling
gowns should help sell the film, which is favored by good
performances from Philip Friend, Elsa Lanchesler and Jay
C. Flippen. Frederick DeCordova directed.
Yvonne DeCarlo, Philip Friend, Robert Douglas. Elsa Lanchestor,
Andrea King, Norman Lloyd, Joy C. Flippen.
A Woman of Distinction
i
I
Columbia ( ) 85 Minutes Rel. Apr. '50
Rosalind Russell again descends to low comedy and slapstick
antics to keep average audiences howling throughout a
fast and furious farce. With Ray Milland joining in the nonsensical
doings, the name value is strong and business
should be good in almost any type of house. Portraying a
college dean who has no time for romance. Miss Russell looks
ravishing in a series of gowns and tailored outfits but she
also permits herself to be smeared with mud, drenched by
a garden hose and dunked into a street puddle—all in the
interest of laughs. As a British lecturer, Milland acts slightly
more dignified, except when he dons a tight-fitting riding
outfit to go bicycling. Edmund Gwenn scores as the dean's
understanding father and Jerome Courlland is amusing as a
teen-age student but Francis Lederer is wasted in a bit. Lucille
Ball makes a surprise guest appearance. Edward Buzzell
directed.
Rosalind Russell, Roy Milland, Edmund Gwenn, lanis Carter,
F
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„a'
Francis Lederer, Mary Jane Saunders. Jerome Courlland.
1122 Boxomc
The Kid From Texas
Univ.-Int'l (911) 78 Minutes
F
Hlitorical Weitem
(Technicolor)
ReL March '50
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Herewith is presented still another approach to the saga
of the fabulous Billy the Kid, the frontier's most famous gunman,
whose sanguinary career has been explored in countless
screen stories since the industry's early days. And in a
majority of instances, past records will reveal, they have been
financially successful. As to the revenue potentialities of
this one, however, they probably will have to depend largely
upon the manner in which showmen capitalize upon such
exploitation facets as the Technicolor photography, the beauteous
backgrounds and the solid, if not big-name cast; since,
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""> " despite the subject matter, the plot unioldment is slow-paced.
Considerable trouble obviously v/as taken with the story's
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historical facets, which paint Billy as a victim ol circumstance,
and as a result sacrificing some of the chase, gunplay
and fisticuff elements. Kurt Neumann directed.
Audio Murphy, Gale Storm, Albert Dekker, Shepperd Sfrudwiclc
Will Geer, William Talman, Martin Garrolago.
Mareh 4, 1950 1121