Canadian Film Weekly (Feb 23, 1944)

Le ee ee Vol. 9, No. 8 ‘Gung Ho!” with Randolph Scott Universal 88 Mins. ACTION AND EXCITEMENT GALORE IN THIS FINE TRIBUTE TO MARINE HEROES OF MAKIN ISLAND. Excitement and suspense have not been spared in putting on celluloid the story of the Marine raiders of Lt. Col. Evans F. Carlson who invaded Makin Island in one of the most stirring engagements in the Pacific theatre of war. Walter Wanger has brought all the showmanship at his command to bear on the subject, assuring the exhibitor a film that is a cinch to sell to the public. Absorbingly told, Marine Corps Lt. W. S. Le Francois’ factual story of the raid makes a stirring . film alive with action. There is an authentic touch to the production, which at times takes on the quality of a documentary. The picture has been done with such realism that squeamish souls may find some of the goings-on a bit hard to take. The film makes its appeal to the femmes primarily through a bit of romantic by-play involving a girl and two of the Marines. The girl, incidentally, is the only woman in the cast. A great part of the action transpires aboard one of the two submarines taking the Carlson raiders to their destination. Life aboard the sub has been interestingly depicted. A feeling of tenseness is skillfully maintained in these sequences as if is in the scenes of the raid itself. After the men are landed on Makin Island the action rises to a smashing pitch. The raiders have only from dawn to nightfall in which to complete their mission of wiping out the Japs. Randolph Scott plays the film counterpart of Lt. Col. Carlson creditably. J. Carrol Naish presses him for top honors as an officer with the raiding party. The two Marines in love with the same girl are played by Noah Beery, Jr., and David Bruce. Grace McDonald is the girl. Some others who do well are Alan Curtis, Bob Mitchum, Richard Lane, Rod Cameron, Sam Levene. The title of the film means to work in harmony in Chinese, CAST: Randolph Scott, Grace McDonald, Alan Curtis, Neah Beery, Jr., J. Carrol Naish, David Bruce, Petcr Coe, Boh Mitchum, Richard Lane, Rod Came ren, Sam Levene, Milburn Stone, Harold Landon, John James, Louis Jean Heydt. DIRECTION, Geeod. PHOTOGRAPHY, Good, REVIEWS FROM FILM DAILY, NEW YORK ‘Higher and Higher’ with Michele Morgan, Jack Haley, Frank Sinatra RKO 90 Mins. PIC TRADES ON SINATRA CRAZE WITH SENSATIONAL RESULTS; PLENTY OF COMEDY AND MUSICAL NUMBERS, HEADED FOR TOP COIN. Frank Sinatra is the big noise in “Higher and Higher’—which means that the production should be a “natural” with the nation’s femmes and adolescents, and others susceptible to the Sinatra charm. Exhibitors. have in this film a chance to capitalize on the current Sinatra craze with sensational results. Plenty of showmanship has gone into this Sinatraction. No opportunity has been overlooked to turn on the voice that spells ecstasy to youthful hordes. Cast in a romantic role close to the hearts of his faithful, the crooner lends his voice to “I Couldn't Sleép a Wink Last Night,” ‘T Say You First,” “The Music Stopped,” “This Is a Lovely Way to Spend an Evening.” It must be said that while his singing may make his juvenile admirers swoon, it isn’t likely to make too strong an impression on adult minds. Sinatra reveals himself as a pleasant, likable fellow who does not take himself too seriously in a role that wisely makes little demand upon him as an actor. He gives an amiable account of himself as a singer who winds up engaged to a society deb (Barbara Hale) after giving the impression that he is in love with a menial (Michele Morgan) in Leon Errol’s mansion. The hilarious story has Errol on the verge of losing his house. In the hope of saving the day the servants get Miss Morgan to pass herself off as Errol’s daughter, with the idea of marrying her off to a rich guy. Besides Miss Morgan, Haley and Sinatra, others who contribute to the fun include Errol, Marcy McGuire, Dooley Wilson, Victor Borge and Mary Wickers. Cast: Michele Morgan, Jack Haley, Frank Sinatra, Leon Errol, Marcy McGuire, Victor Berge, Mary Wickes, Elisabeth Risdon, Barbara Hale, Mel Torme, Paul Hartman, Dooley Wilson, Ivy Seott, Rex Evans, Stanley Logan, Ola Lerraine, King Kennedy, Robert Andersen. DIRECTION, Good, PHOTOGRAPHY, Geod, ‘Lost Angel’ with Margaret O’Brien, James Craig M-G-M 91 Mins. CHARMING COMEDY PACKS POWERFUL UNIVERSAL APPEAL; O’BRIEN CHILD TURNS IN AMAZING JOB. The warmth and tenderness which have been infused into this simple tale of a waif in a grown-up world of hard reality give “Lost Angel” a universal appeal that will be translated into grosses of generous proportions. On a limited budget Leo the Lion has turned out a charming comedy endowed with a human quality that makes the production irresistible entertainment. A most creditable job, this, any way one looks at it. No small factor in the success of the picture is the appearance in the cast of littl: Margaret O’Brien, the moppet who will be remembered for her work in “Journey for Margaret.” The child wistful beyond words, carries the film on her fragile shoulders in an amazing performance that completely vindicates Leo’s faith in her. The Young miss is fully up to the tough assignment given her in “Lost Angel.” The child gives such a touching account of herself in the number one role of the picture that she steals your heart. The sympathy she wins for the character she portrays. makes the film a tremendous magnet for the women. Isobel Lennart has provided an ideal vehicle for the star from an idea by Angna. Enters. The child is an abandoned tot brought up in accordance with strict scientific principle by a group of doctors, under whose tutelage she becomes a model of perfection blessed with rare precocity. Inspired by wondrous tales of the world outside related to her by James Craig, a reporter, while interviewing her for his paper, she steals away to see for herself. Her reactions to a strange new world are sometimes humorous, sometimes touching. The child searches out Craig, who has no choice but to take care of her. Roy Rowland directed with feeling and understanding. Producer Robert Sisk did wonders with the material at his disposal. CAST: Margaret O’Brien, James Craig, Marsha Hunt, Philip Merivale, Henry DIRECTION, Excellent, PHOTOGRAPHY, Good, | REVIEWS INFORMATION RATINGS | $2.00 Per Annum ‘No Greater Love’ with Vera Maretzkaya of the Moscow Art Theatre Artkino 70 Mins. A GREAT HUMAN STORY OF PASHA, A WOMAN GUERRILLA FIGHTER, HER LOVE, COURAGE AND LEADERSHIP. POWERFUL CHARACTERIZATION OF PASHA BY THE UNUSUALLY TALENTED VERA MARETZKAYA. (Reviewed for CFW by D.E.A.) “No Greater Love,” produced by the evacuated Leningrad Film Studio and directed by Friedrich Ermier, one of the ablest Russian film directors, is the first Russian movie to use English dialogue. The synchronization of dialogue and action is accomplished with a great deal of competence. This picture, may, therefore, appeal to a much wider English-speaking audience. This new film marks also another departure from the style and content of the former Russian war films which were mainly objective and documentary, as for instance, “Moscow Strikes back,” ‘The Siege of Leningrad,” “Stalingrad,” etc. “No Greater Love” is a highly dramatic film with a definitely subjective and individualized treatment of its characters. The plot deals with the life of a peasant woman, Pasha, her family, her co-villagers, under the impact of the invasion and Nazi occupation. For the first time, psychological and emotional motivation is projected of the great fortitude and heroism of the Soviet civilian population in their stubborn resistance to the enemy. Vera. Maretzkaya in her role of Pasha, gives a performance in the best tradition of the famous Moscow Art Theatre, where she received her dramatic training. She rises to great dramatic heights in her portrayal of Pasha, first as a happy wife and mother, then as a creature half-crazed by personal loss and tragedy caused by the ruthless invader, and, finally, as the reborn woman leader of the guerrilla detachment which strikes back at the enemy. The direction of the film is of first rate quality. Throughout the restraint, simplicity and sincerity of the performance produce a gripping reality, free from any melodramatic or sickly sentimental effects. The terse, but meaningful dialogue, beautiful incidental songs, a stirring musical score, and authentic stage properties, add to the outstanding quality of the