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Show Attractions At The Theaters Beauty is the immediate and all-inclusive definition for "Always "Al-ways Goodbye," one of the finest in the chain of excellent 20th Century-Fox productions. Seldom does a story such as Jthe one which comes on the screen i of the Rivoli theatre, Friday and Saturday. Simple Beauty In the capable hands of co-stars Barbara Stanwyck and Herbert Marshall and under the fine touch of Sidney Laxfield', direction., , "Always Goodbye" acquires the j beauty of sheer simplicity in a I story that is on several occa-j occa-j sions conductive to a lump in the j throat. i ' Setting a beautiful tale of modern mod-ern mother love before a kaleidoscopic kaleidos-copic background of occasional grimness, sporadic sorrow and vivacious, vi-vacious, resplendent gowns on Fifth Avenue and in Paris, the film scintillates with the many facets of love that comes to its characters. Must we turn every bad boy into an adult criminal? That is the significant question posed and answered by "Crime School," the Warner Bros, picture which comes to the Rivoli theatre Thursday with a brilliant cast headed by that effective aggregation aggrega-tion of youthful actors who became be-came famous as the "Dead End" toys, Humphrey Bogart and a talented newcomer to the screen named Gale Page. The title "Crime School," is in itself sufficient indication of the point of view of Crane Wilbur who wrote the original story upon which the screen play,, prepared by Wilbur in collaboration with Vincent Sherman, was based. Frankly aligning itself on the side of the modern methods of dealing with juvenile delinquency, which are designed to avert the formerly inevitable progression of "bad boy" to "bad man," the motion picture gives a thorough expose of the evils of the old reformatory re-formatory system still in vogue in some unprogressive communities. communi-ties. It follows the fates of six boys, all typical products of the New York slums, after they have been "sent up" for petty crimes, and shows by how narrow a margin they are saved from becoming real, graduate criminals. Their rescue from this once common fate is shown to be the result of the practical application of the theories of an idealistic young commissioner of corrections, correc-tions, played by Humphrey Bogart, who has so often been a heartless villain in motion pictures pic-tures that he is bound to surprise theatre-goers with the fine and sympathetic portrayal 'he achieves in the first hero role he has ever been given. |
