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GUIDE TO FILM-GOING
EVERYWOMAN'S MAN {American. M.G.M.). Grierson once wrote that "there are good fight-films and fight-films not so good, but none bad." This is of the former, a fight-film of giants, rapid and exciting. W. S. Van Dyke directed from the fool-proof script of Frances Marion.
FOUR FRIGHTENED PEOPLE. {American. Paramount.) Cecil de Mille sacrifices all claims to intelligence as a director with this idiotic adaptation of Arnot Robertson's novel.
GOLDEN HARVEST {American. Paramount). An attempt to introduce contemporary economic problems and settings into story films, this picture of the wheat-belt and the Chicago wheat-pit is well ahead of the ordinary run. People do strange things in an improbable manner, but it is worth seeing.
THE INVISIBLE MAN {American. Universal). This lively interpretation of the Wells fantasy would have been more forceful and successful if there had been a completely realistic background for the study of the exhuberant sense of freedom and escape enjoyed by a man unencumbered by a body. Gross overacting and the ponderous love story weaken the effect. Interesting chiefly for its astonishing technical ingenuity.
LIEBELEI {German). An adaptation of Arthur Schnitzler's romantic tragedy, describing the effects of the subordination of human feelings to rigid standards of social honour. Delicate in treatment, beautifully acted, cold and formal in mood. Max Ophuls directed.
THE MASCOT {French. H. Rose). With immense patience and fine artistry, M. Starevitch and his wife have succeeded in making children's toys and the animated contents of a garbage tin as expressive as many a Hollywood puppet. It is a child's dream, but the macabre atmosphere and grotesque fantasy border on nightmare. Indifferent editing has not helped an occasionally obscure story.
UN MONASTERE {French. Film Society). An intimate impression of the life of a Trappist monk, by Robert Alexandre, director of The Polish Corridor. Effectively photographed and skilfully edited, the film shows not only the ordinary routine of the monastery, but such intimate scenes as a funeral service and a communion rite. Sombre but not unimpressive.
NIGHT FLIGHT {American. M.G.M.). A melodrama of the South American night mail ; a clumsy patchwork of fine aerial shots by Elmer Dyer and Charles Marshall — studio reconstructions of airport interiors, plentiful Dunning, and episodic "human" incidents. Scenes of radio communication between ground and air are effective.
L'ORDONNANCE {French). Tourjanski is heavy-handed and uses excess footage to put across his points, but the film, adapted from a de Maupassant story, is better than most recent Continental imports. Watch for the opening and the ending: they are economically shot. But you will go away with the impression that Tourjanski is more of a theatre showman than a movie director.
LE PETIT ROI {French). Julien Duvivier has directed this Ruritanian tale realistically and without comic purpose, and there is a carefully contrived background for a compelling performance by Robert Lynen as a boy king who prefers mud-larking at Monte Carlo to kingship in a mist-bound mediaeval castle. The photography has a fine atmospheric quality.
• AN IMPORTANT ANNOUNCEMENT regarding the booking of films b> film societies and other organisations will be found on page 199.
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