Invasion U.S.A.

Despite Hedda Hopper's hysterical warning that "Invasion U.S.A. will scare the pants off you," everyone leaves the R.K.O. Boston fully clothed. The film, a clumsy propaganda package, is never plausible and only occasionally exciting. It opens in a New York bar, where a cattle baron, a pompous Congressman, and a selfish industrialist are ridiculing America's war preparations. After a professional seer has given them visions of a vanquished America, these men leave the bar sadder but wiser. The audience leaves only sadder.

While the three men are learning their lesson in civil defense, each scratches his soul for a wartime philosophy. "It's the seventh game in the World Series," the cattleman sighs, "and this time, we're the home team." Amid the atomic destruction, there is also a seamy romance between a cynical but brave newspaperman, Gerald Mohr, and a sullen barfly, Peggic Castle.

The ravaging of New York City by atomic bombs is the one semi-realistic shot in Invasion U.S.A. The other battle scenes, about half of the film, look suspiciously like World War II newsreels. The picture ends with another heavy-handed plea for increased defense measures, hammered home by an army recruiting booth in the theater lobby. Although its obvious purpose in to awaken America to the present danger, Invasion U.S.A. has more the effect of a powerful sedative.

While it is the second title on the marquee, Go West, Young Girl is better than its molecular co-feature. This re-release stars Glenn Ford as a bumbling sheriff and Penny Singleton as a squeaky-voiced heroine. With sentimental ballads like, "Take Your Time, Little Dogie" and a female back-room brawl, Go West, Young Girl is a surprisingly enjoyable parody of Western movies.