Film and Radio Guide (Oct 1945-Jun 1946)

October, 1 945 49 Brigadier General Carlos Romulo, head of the Philippine delegation to the San Francisco Conference ; Captain David C. Griffin, USMCR, who filmed and narrated the production ; and a number of other distinguished military and naval persons. Later, at an informal reception at Hotel Astor, those in attendance had opportunity to talk with these officials, who feel that the film should be evidence enough to hang Hirohito. From a great footage of film, enough for only twenty minutes’ running time has been selected — but that little, with its emphasis upon Japanese wanton destruction and brute savagery, powerfully impressed all. At the same time those present obtained copies of a confidential booklet of 114 pages, including 39 pictures, accompanied by affidavits, entitled Report on the Destruction of Manila and Japanese Atrocities. In order to spare the most beautiful metropolis of the Orient, General MacArthur, beset by overwhelming forces, declared Manila an open city. Quite to the contrary, the Japanese, at the American re-conquest of the Philippines, deliberately destroyed all that they could and mercilessly killed the citizens. They murdered women and children with fanatic savagery. All this the twenty-minute film shows in Technicolor. Captain Griffin many times risked his life in filming actual events. Such a presentation indicts the Emperor of Japan. It brings the nature of war in the East starkly before us. Through this series of documentary scenes we see Manila as it once was, a queencity of the Pacific, with noble buildings devoted to education and religion; then we see the destruction and rapine. We wit FILM AND RADIO GUIDE ness street and hospital scenes that show the agony that the Japanese inflict upon non-combatants, the helpless, the old and the young. If the American people are to take steps to prevent future horrors of the same kind they should see this, and similar authentic pictures, in order to realize to the full the task that lies before them. CAPTAIN KIDD. Historical melodrama. Praduced by Benedict Bogeaus. United Artists release. Directed by Rowland V. Lee. Choosing as his subject piracy on the Spanish Main during the reign of William and Mary, Robert N. Lee in an original script provides the audience with a story of mounting suspense and Charles Laughton with a role which one feels he keenly enjoys depicting. He is as masterly as ever as the arch-hypocrite and ruffian who is as big a coward as he is a bully. Laughton makes the most of every bit of irony. He deserves the gratitude of author, producer, and director. If only Stevenson’s practice in Treasure Island had been followed and the women left out! It seemed to me that in Captain Kidd as soon as the lady appeared the picture cheapened and became stereotyped. Seeing Laughton as ship’s captain naturally recalled Mutiny on the Boimty, which was a more original character study and had a more thought-provoking treatment of its theme. CAROLYN HARROW ANCHORS AWEIGH. Spectacular musical comedy. In Technicolor. MGM. Produced by Joe Pasternak. George Sidney, Director. Highly recommended. Of special interest to students of photoplay appreciation are the rhythmic elements of Anchors Aweigh. Gene Kelly, given scope by Producer Pasternak and careful handling by Direc tor Sidney, does an inspired job of dancing. It is the last word in precision of timing and lustiness of spirit. Gene runs the gamut of versatility, excellent in almost every type of rhythmic movement. With Frank Sinatra as a foil, Kelly is the personification of the American spirit. Fred Quimby’s cartoon department at the MGM studio has added an element of delightful fantasy to the film. A cartoon-and-live-action sequence, in which Kelly’s dancing partner is an animated mouse, out-Disneys Disney. Kelly also shares a dance with little Sharon McManus, as a miniature senorita. The singing of Kathryn Grayson is beautifully recorded. Her dancing with Kelly is alternately intimate and spectacular. Jose Iturbi contributes musical elements that will please music lovers everywhere. Here is an escape picture par excellence. It will pack up your troubles in that old kit bag. w. l. LOVE LETTERS. Romani-ic, psychological drama. Paramount’. Hal Wallis production, directed by William Dieterle, from the novel by Chris Massie. Screen play by Ayn Rand. Photography by Lee Garmes. If you are willing to accept the sto7-y — a Cyranovated version of the old Rostand theme — this will prove a moving and beautiful picture. You will follow with tense absorption the consequences of love-letter writing by proxy; the amnesia victim’s slow and perilous recovery of memory; and — as in Chris Massie’s novel — the rapid revelations leading to the happy ending. Lee Garmes’s photography is particularly effective, though the sets are often needlessly artificial. You may begin soon to tire of Joseph Cotten’s unmodulated voice and Jennifer Jones’s saucer-eyed innocence. M. M. Nagelberg