Canadian Film Weekly (Jan 26, 1944)

THE PICK OF THE PICTURES | REVIEWS ' INFORMATION F RATINGS Vol. 9, No. 4 “REVIEWS FROM FILM DAILY, NEW YORK January 26, 1944 ‘Guadalcanal Diary’ with Preston Foster, Lloyd Nolan, William Bendix 20th-Fox 93 Mins. TRIBUTE TO THE HEROES OF GUADALCANAL IS DESTINED FOR WEIGHTY BOX-OFFICE GROSSES EVERYWHERE, Here is a saga of heroism unSurpassed on the screen. No man could have conceived a finer monument than this to those Marines who wrote Guadalcanal into the book of history with blood and sweat. As set forth in Richard Tregaskis’ book, the ex-~ ploits of those fighting men who wrested Guadalcanal from the Japs in the face of insuperable difficulties have served to inspire 20th-F'ox to the production of a film that deserves to stand with the best born of this war. The public acclaim that will accrue to the picture will be beyond measuring. No exhibitor prayer could have been more favorably answered. So honestly has the picture been fashioned that it takes on the nature of a documentary. Perhaps the most impressive thing about the film is its lack of the Hollywood look. It’s all so real and true that one cannot help but share the experiences of the Marines as slowly and paintfully they fight their way to victory over the Japs. Is it any wonder that “Guadalcanal Diary” is a profoundly moving screen document? The film has been handled in a manner that makes it a superb tonic for the American’s morale. “Guadalcanal Diary” is not all tragedy and suffering. The men are made to face death with a quip and a song where the occasion warrants it. The comedy moments are excellent. They should advance the box-office prospects of the film considerably. The casting is perfect. Preston Foster as a Catholic chaplain. Lloyd Nolan as a tough sergeant with a soft inside. William Bendix as a corporal from Brooklyn is immense in a comedy performance. Lewis Seiler must be credited with one of the finest directorial jobs of the year. CAST: Preston Foster, Lioyd Nolan, William Bendix, Rich=rd Conte, Anthony Quinn, Richard Jaeckel, Roy Roberts. Minor Watson. Ralph Byrd, Lirnel Stander, Reed Hadley, John jArcher, Eddie Acuff, Harry Carter, Robert Rose, Jack Luden. Louls Hart, Tam Dawson, Miles Mander, Selmer Jackson, ‘Warren Ashe. Walter Fenner, Larry Thomovson, David Peters, Martin Black, Charles Lang, George Holmes, Bob Ford, Russell oyt. DIRECTION, Aces. PHOTOGRAPHY, Fine, ‘Hitler’s Hangman’ with Patricia Morison, John Carradine, ‘Alan Curtis M-G-M #4 Mins. TRAGIC _STORY .OF LIDICE IS TOLD WITH ONLY FAIR SUCCESS IN or INDEPENDENT PRODUC. TION. The story of Lidice, the Czechoslovakian town destroyed by the Nazis in punishment for the assassination of the bestial Heydrich, popularly known as The Hangman, deserves better treatment than it gets in this production, an independent effort by Seymour Nebenzal, who has allowed emphasis on melodrama to rob the film of much of its dramatic power and to limit its effectiveness. Inept handling of the subject results in a commonplace offering which lacks the profound moving quality it should have possessed. Only now and again does this uneven film really grip the emotions and touch the heart deeply. Despite its faults the picture has the merit of recording the cause of a heroic people who were willing to forfeit their lives in their zeal to escape slavery under the Nazi yoke. It is a message that cannot be repeated often enough, even though ‘the medium be not of the best. Whatever else may be said of “Hitler’s Hangman” one thing is certain: the film will strengthen the determination to destroy Hitler and everything he stands for. The film’s primary advantage lies in the exploitable factors which comprise it. The title should help the exhibitor considerably in selling the production to the public. Alan Curtis plays a native of Lidice who encourages the people to fight the Nazis with the only weapon available to them—sabotage. The slaying of Heydrich is part of this campaign of terror against the enemy. Cast opposite him for romantic purposes is Patricia Morison, pretty in a cutand-dried role. Portraying Heydrich is John Carradine, who runs away with the acting honors in a showy part. Others in key roles are Ralph Morgan, Howard Freeman, Ludwig Stossel, Edgar Kennedy, Blanche Yurka, Jimmy Conlin, Jorja Rollins. Al Shean stands out in a bit as a priest slain by the Nazis. CAST: Patricia Morison, John Carradine, Alan Curtis, Ralph Morgan, Howard Freeman, Ludwig Stossel, Edear Kennedy, Jimmy Conlin, Blanche Yurka, Jorja Rollins, Al Shean, Elizabeth Russell, Victar Kilian, Johanna Hofer, Wolf gang Zilzer, Tully Marshall. DIRECTION, Falr. PHOTOGRAPHY, Qkay. ‘Old Acquaintance’ with Bette Davis, Miriam Hopkins Warner lis Mins. WOMEN ESPECIALLY WILL GO FOR THIS PIC, WHICH IS RICHLY STOCKED WITH DRAMA; DAVIS SUPERB. John Van Druten’s play, “Old Acquaintance,” reaches the screen as solid dramatic fare which, although possessing general appeal, will bid most strongly for the attention of feminine filmgoers, who should revel in the sentimental touches and the display of emotion with which the story has been told. The central character, thanks to the playing of Bette Davis, will plunge the femmes into an ecstasy of sadness. Miss Davis parades her finest acting talents in this’ story of frustrated love. Her role is that of a high-brow novelist who is not a financial success. In sharp contrast to her stands her bosom friend, Miriam Hopkins, who tries her hand at writing down to the public and makes a fortune at it. Devotion to her career loses Miss Hopkins her husband (John Loder) and drives her daughter (Dolores Moran) to Miss Davis. Loder and Miss Davis fall in love, but the latter foregoes a chance at happiness out of loyalty to her friend. Miss Davis again goes sacrificial when a chap much her junior (Gig Young) falls in love with Miss Hopkins’ daughter. At the end, after a tiff between Miss Davis and Miss Hopkins, the two women, united by a common loneliness find themselves facing the future alone. Miss Davis has a superb supporting cast. Miss Hopkins, although acceptable in her role, is prone to overact on many occasions. Young comes through with his finest performances to date. Loder plays pleasantly. Miss Moran is chiefly decorative. Other players to be noted are Philip Reed. Roscoe Karns, Anne Revere, Esther Dale. Vincent Sherman has handled a tough directorial assignment creditably. He has missed none of the dramatic values of the story. He has built too many moments that are emotional smashes. Van Druten did the screenplay in association with Lenore Coffee. He and Miss Coffee have contributed heavily to the success of the film. CAST: Bette Davis, Miriam Hopkins, Gig Young, John Loder, Delores Moran, Philip Reed, Roscoe Karns, Anne Revere, Esther Dale, Ann Codee, Joseph Crehan, Pierre Watkin, Marjerie Hoshelle, George Lessey, Ann Doran, Francine Rufe. DIRECTION, Good. PHOTOGRAPHY, Good. ‘Gangway for Tomorrow’ with Margo, John Carradine, Robert Ryan KO 69 Mins. THIS PRODUCTION HAS GOOD BOX OFFICE VALUES DESPITE FAMILIAR MATERIAL; ACHIEVES NOVEL EFFECTS. As its title indicates, “Gangway for Tomorrow” deals with those on the home front working for a Hitler-free world to come. The film is told with vigor, sincerity, feeling and a high purpose —virtues which make it possible to forget that the material is undistinguished and familiar. The novel effects employed in unwinding the story reveal the radio hand of Arch Oboler, who did the screenplay. The picture is a series of five unrelated yarns the principal characters in which are brought together in a plant turning out planes to make possible the realization of a common goal — the destruction of Hitler. The stories draw upon a variety of emotions in their development and are told with great effectiveness, even if the material leaves something to be desired. The flashback method is used throughout. The chief actor in each of the five stories reviews his life while being driven to work in the car of a family man who has imagined each person to be different from what he really is. The first person to dip into the past is Margo, a French refugee who was active in the underground. The second is Robert Ryan, who turned to building planes when his racing car cracked up and ended his dream of joining the Air Force. The third is James Bell, a prison warden who went through the agony of throwing the switch that ended his wayward brother’s life in the chair. Then comes Amelita Ward, who enjoyed brief glory as “Miss America.” The final person to be heard from is John Carradine, a hobo who turned to defense work when a village judge showed him the light. The acting is a great help to the film. Each of those mentioned gives a creditable performance. Among others to be noted are Harry Davenport, Charles Arnt, Erford Gage, Richard Ryen. John H. Auer directed, CAST: Margo, John Carradine, Robert Ryan, Amelia Ward, William Terry, Harry Davenport, James Bell, Charles Arnt, Wally Brown, Alan Carney, Frford Gage, Richard Ryen, Warren Hymer, Michael St. Angel, Don Dillaway. Sam, McDaniels, John Wald. DIRECTION, Okay. PHOTOGRAPHY,