Film and Radio Guide (Oct 1945-Jun 1946)

FILM AND RADIO GUIDE Volume XII, No. 1 46 ish tank rumbles across the desert carrying only dead and unconscious men, and like the famous Beau. Geste, in which a French force comes upon a desert fort manned only by dead soldiers, Johnny Angel tells a story of mystery. A steamship wallows across the sea but carries no captain and no crew. The vessel is undamaged, the water cocks are not opened. What had happened to a lumber-carrying steamer to cause it to go unguided across the sea? A long series of scenes without spoken words intensifies the mystery and suspense attendant upon discovery of the lonely vessel. Thereafter, as is to be expected, a series of flashbacks slowly explains the situation but leaves mystery to the very end. Soft-s p 0 k e n, g r i m-faced George Raft plays the part of the Captain of the vessel that discovers the derelict. Having towed the vessel to port, he sets himself resolutely to solve all the mystery. Melodramatic action follows melodramatic action in swift succession. Fist fights, shooting, stabbing, and new mystery added to mystery, increase the tempo of the story until, at the very last, all becomes clear. One of the minor characters of the story, a taxi driver named Celestial O’Brien, played by Hoagy Carmichael, has such oddity and philosophy of the quizzical. Will Rogers type, that he attracts strong attention as a thoroughly individual personage. Three women (Signe Hasso playing the leading feminine role, and Claire Trevor and Margaret Wycherly adding strong support) provide the story with a full supply of romantic interest. Under the direction of Edwin L. Marin the sensational, highly melodramatic, but rather improbable story gains atmospheric values that add greatly to the total effect. Director Marin’s superb management of the opening scenes arouses interest that remains steady throughout the action. The interest created by those opening scenes at sea suggests that there is room for more motion pictures concerning ships and the sea. INCENDIARY BLONDE. Biographical comedy. Paramount. Director, George Marshall. Generally recommended. Fast-moving, rapid-fire, staccato episodes unfold in boisterous manner in Incendiary Blonde, a highly fictionalized biography of Texas Guinan, sensational proprietor o f a longgone New York City night club. With immense verve and unflagging energy, Betty Hutton presents the famous Texas Guinan, playing opposite Arturo de Cordova, a n d most uniquely assisted by the incomparable Barry Fitzgerald. The old cry, “Come on, suckers !’’ rings out again as the highly original Texas makes her way to the forefront of night-club entertainment. Very skilfully indeed the makers of the film story have avoided coarseness and vulgarity and have placed every emphasis upon fast acting and hilarious effect. Done in Technicolor and admirably acted for the kind of story that it tells. Incendiary Blonde will appeal to that pait of the public that has slight interest in thought-stimulating motion-picture stories. According to the story, the future night club proprietor began life as a rough-and-tumble girl in a small Texas town. Fascinated by the arrival of a wandering Wild West show she poses as a man and accepts a challenge to ride a broncho that has thrown all comers. (If Betty Hutton, in person, did the wild riding, all honor to Betty!) Then away goes the impulsive girl to follow the fortunes of the travelling show, in which she becomes star rider. A press agent leads her to Broadway, first to the chorus and then to a leading part. Her ever-gambling father (Barry Fitzgerald) follows her to New York and all but ruins her good fortune in trying to improve his own lot. Love interest? To be sure. Dramatic and exciting events? Yes, with a hijacking New York “mob.” Tragedy? Yes, oddly enough the rollicking picture story begins with a funeral and ends with one death and the suggestion of another ! This potpourri of many elements has many kinds of interest. Though one may scoff at it as biography and deny that it is “literary,” one must admit that it has something of human interest, and turns the page of New York City back pleasantly to a time that gave enterprising reporters something to write about for the daily papers of the period. AND THEN THERE WERE NONE. Mystery meladrama. 20th Century-Fax. Rene Clair, Director. Recommended for all. And Then There Were None, a novel by Agatha Christie, appeals to many readers as a mystery story that, until final explanation is made, appears to have no possible solution. Such readers call the story “the perfect mystery.” The stage play based on the novel bows to popular romantic tradition, introduces the element of love, and changes both plot and ending. The film follows the stage-play. Groups that study motion pictures will find And Then There Was None unusually good ma