Motion Picture Herald (Nov-Dec 1946)

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i SHOWMEN'S REVIEWS ADVANCE SYNOPSES COMPANY CHART THE RELEASE CHART This department deals with new product from the point of view of the exhibitor who is to purvey it to his own public. The Yearling MGM — Entertainment for Everybody, Everywhere Yes, it's true, what they've been saying about "The Yearling," and what they've been saying is an understatement, because it isn't possible for print and paper to convey in full measure the wholesome impact of Marjorie Kinnan Rawlings' Pulitzer Prize winning story as the camera conveys it in caressing Technicolor. Only via the singularly eloquent buzz of person-to-person comment, after the picture goes to the public, can the whole news about the treat in store be spread across the world. That it will be so spread, to the profit of all is inescapable. Although Gregory Peck and Jane Wy Wake Up and Dream Twentieth Century-Fox — Child's Faith man are the best names available for marquee use in the formal manner, each of these giving the finest performance of his or her career, the title itself in this case doubtless means more than any other single bill asset. However, the names of Clarence Brown as director and Sidney Franklin as producer, both to be identified hereafter as -the men who made "The Yearling," have potent exploitation possibilities on their own. Paul Osborn's screenplay transcribes the Rawlings story about people who pioneered the Florida frontier in 1887 with fidelity and simplicity which preserve the charm and spirit of the book. There is earthiness in the incidents relative to the struggles of the Baxter family to make a home and life for themselves in the wilderness, maintaining against odds a basic personal code and elemental principles. Problems encountered are ruggedly simple — snake bite, torrential rain, a fight with neighbors, pur?uit of a bear — and they are climaxed in the problem that derives from a little boy's love of a pet fawn which persists in devouring the crops and must be dispatched, a heart-searing episode in which the boy comes to understand that life must be sustained by sacrifice. Although Technicolor never painted a setting more gorgeously, valid dialogue" and performances, which appear not to be performances at all, keep the story always to the fore and unremittingly realistic. There are no bursts of rhetoric, but a total effect of naturalness. Claude Jarman, Jr., the newcomer who portrays Jody, is a youngster of great promise, and a figure to make much of in advance exploitation and publicity. Supporting players, like the principals, hew to the line of naturalness in all cases, achieving individual triumphs. The picture is universal in appeal, and in the application of its points, and figures to make box office history wherever and whenever shown. Previewed at the studio. RevicvJ s Rating : Superior. — William R. Weaver. Release date, not set. Running: time, 135 min. PCA No. 11549. General audience classification. Peny Baxter.. Gregory Peck Ma Baxter Jane Wyman Jody Baxter Claude Jarman, Jr. Chill Wills, Clem Bevans. Margaret Wycherly, Henry Travers, Forrest Tucker, Matt Willis, Dan White, George Mann, Arthur Hohl, Donn Gift. Toan Wells, Jeff York, June Lockhart, B. M. "Chick" York MOTION PICTURE HERALD, NOVEMBER 30, 1946 June Haver, John Payne, Charlotte Greenwood, Technicolor, and a couple of swell songs by Harry Ruby and Rube Bloom are the labels you can advertise here, but you've got to be wary about how you advertise. The labels arc misleading. This isn't the musical you might expect from the billing, but rather a whimsical diffuse study of the faith of a small child — Connie Marshall. After the regulation musical comedy opening with Payne singing the hit tune, "Give Me the Simple Life," the story is this: Connie's brother, John, is lost at sea during the first years of the war. Connie's neighbor, Clem Bevens, a dreamer and a visionary, has built a boat in his backyard, 500 miles from the nearest pond. Connie is sure that she can find her brother if only she can set sail on that backyard ship. She gathers together some of the disbelieving principals of the cast and she does set sail — over land and water — and at the end of her voyage she does find her brother, proving that adults have no ' imagination or faith. The point of the theme has been dulled by a rather top-heavy production. Payne has only brief scenes at the beginning and end of the film. In his absence the love interest is handled by John Ireland, an itinerant dentist, also on the boat, who is fond of telling Miss Haver what beautiful molars she has. With no one really appreciating her in this film — Mr. Payne is too bashful — Miss Haver's potentialities are neglected. And so are Miss Greenwood's talents. She's been away from the screen for a long time and is remernbered for her comedy roles. She's given no chance for comedy here. This picture was produced by Walter Morosco, directed by Lloyd Bacon and adapted from Robert Nathan's novel, "The Enchanted Voyage." Seen at the home office. Reviczver's Rating : Fair. — Ray Lanning. Release date, not set. Running time, 92 min. PCA No. 11871. General audience classification. Jeff John Payne Jenny June Haver Sara March Charlotte Greenwood Nella Connie Marshall Tohn Ireland, Clem Bevans, Charles Russell. Lee Patrick, Charles D. Brown, Irving Bacon The Lady in the Lake MGM — Novel and Good If they want something fresh and different, off-the-beaten treatment determined for this latest in adventures of private detective Philip Marlowe supplies it. But a question, nevertheless, remains. This is why : Bob Montgomery, who plays Marlowe and also directed, tells this murder story in first person. There are three or four short sequences interrupting the tale in which he bridges developments in straight narrative form. For almost the entire length, however, Montgomery becomes the eye of the camera. He is rarely seen, although his voice is almosf constantly heard talking to other principals through the camera's eye which, for this purpose, also becomes its ear if a camera may be said to possess an ear. Consequently, the spectator sees what Montgomery sees. As he walks, the object which he approaches trundles closer through the camera lens. As his eye wanders around a room, the camera does that, also. As he talks to his dramatic opponents, those opponents look squarely into the camera, which obviously means they also look squarely into the eyes of the audience. It is an interesting treatment which is not new but which has never been applied for the whole way so far as this reviewer recalls. But there are disadvantages as well. Since Montgomery can't very weir be seen grappling in any rough and tumbles with Lloyd Nolan, the opposing detective, as the case in point, action as it is normally conveyed on the screen perforce is missing. It follows, similarly, that characters answering Montgomery are on the screen for long stretches, particularly in the instance of Audrey Totter, who not only is attractive but evidently is an actress of versatility and power. She is far more the star than Montgomery, who gets the billing, if for no other reason than that she gets a first-class opportunity to act, whereas Montgomery talks, and is largely unseen. It is obvious that audiences catching this one after it starts face considerable confusion. But this Raymond Chandler story is well done. Its situations hold the attention even if Montgomery tells, rather than reveals, how he solves a triple decker murder. Steve Fisher's screenplay is a mature job, well polished off, but this account could not possibly be complete without giving full credit to Paul C. Vogel, who handled the camera. He deserves more billing than he gets. George Haight produced. Previewed at Academy Awards theatre, Hollywood, where critics indicated approval. Rating : Good. — Red Kann. Release date, November, 1946. Running time 105 min. PCA No. 11083. Adult audience classification. Phillip Marlowe.. Robert Montgomery Adriennei Fronsett Audrey Totter Lt. Degarmot Lloyd Nolan Leon Ames, Jayne Meadows, Dick Simmons, Morris Amkrum, Lila Leeds, William Roberts, Kathleen Lockhart 3333