Canadian Film Weekly (Apr 26, 1944)

REVIEWS INFORMATION RATINGS Vol. 9, No. 17 REVIEWS FROM FILM DAILY, NEW YORK 27.00 Per Annum ‘A Guy Named Joe’ with Spencer Tracy, Irene Dunne MGM 120 Mins. WAR ROMANCE TREATED AS FANTASY STACKS UP AS A FINE BOX OFFICE FILM; IS A LITTLE DIFFERENT. Fantasy has been brought into play effectively by MGM in relating a romantic tale born of war. While fantasy is nothing new on the screen, the way it has been employed in “A Guy Named Joe” is unusual, giving the production a novelty value that should help roll up heavy grosses and create plenty of talk. The authors of the film have been eminently successful in their attempt to give a different twist to a romantic war story. Although the treatment often makes for clashing moods, the production surrenders none of its forcefulness and interest. The film has the good fortune of being a romantic subject that appeals as potently to men as it does to women. Everyone connected with the production has been instrumental in making it a rich emotional experience. A moving film with some extremely tender moments, “A Guy Named Joe” falls back upon the device that was used in “Here Comes Mr. Jordan” in spinning its story. Spencer Tracy, a major in the U.S. Air Force, and Irene Dunne, an American girl serving as a ferry pilot, are deeply in love somewhere in England. Following his death in an engagement with the enemy, Tracy is sent down to earth to serve as guardian angel to some young fiier so that the latter may be spared a fate like his own. The scene then switches to the Pacific theatre of war. There he picks Van Johnson, a fledgling lieutenant, as his man. He watches with displeasure as Miss Dunne strikes up a romance with Johnson—a romance that she tries to break off when she finds she can’t forget Tracy. Tracy, havying the power to “get through” to the mind to Johnson, influences the young man into violating regulations while on an air mission. He fixes it up at the finish, though. CAST: Spencer Tracy, Van Johnson, Ward Bond, James Gleason, Lionel Barrymore, Barry Nelson, Esther Williams, Henry O'Neill, Don De Fore, Charles Smith. DIRECTION, Fine. PHOTOGRAPHY, Fine. ‘Follow the Boys’ with George Raft, Vera Zorina Universal 12Z Mins. UNIVERSAL TALENT PARADE IS ENTERTAINMENT FEAST KEYED TO HEAVY GROSSES. Although this Charles K. Feldman production is described as “show business’ tribute to show business,” it is more precisely a salute to the Hollywood Victory Committee, the clearing house for all entertainment being supplied from the film ranks for our service personnel in and out of the states. Besides being publicity of the right sort for the film industry, the picture is a storehouse of popular entertainment jammed with -so much star talent that nothing less than top grosses may be ex pected. In addition to the services of virtually every performer on the Universal payroll the studio has enlisted many outside “names” to make “Follow the Boys” an overflowing cup of entertainment. Some of the top names make only the briefest of appearances, but their mere presence is sufficient to pull in the customers in droves. The footage is nothing more than a chain of song and dance numbers interspersed with comedy bits and novelty acts. The format is that of a vaudeville bill. If the film errs at all, it is on the side of overabundance. For this sort of entertainment the footage runs a little too long—a criticism to which those who are suckers for popular stuff will be certain to take issue. The younger generation is certain to relish every moment of the film because of the youthful appeal of the music and the song numbers. Weaving in and out of the musical numbers is the story of a hoofer who becomes a star in films when vaudeville dies. He is married to the dancing star of his studio. The two get along happily until he becomes interested in the work of the Hollywood Victory Committee. His devotion to the job of providing entertainment for our fighting men causes a break between him and his wife. He dies tragically in the line of duty without knowing his wife is about to bear a child. The main roles in the story are played by George Raft and Vera Zorina fairly well. Scattered through the footage are 19 musical numbers the singing has been entrusted to Sophie Tucker, Jeanette MacDonald, and the Andrews Sisters. Eddie Sutherland supplied good direction. Albert L. Rockett served as associate producer on the Lou Breslow-Gertrude Purcell script. Oka George Raft, Vera Zorima, Grace MacDonald, Charley Grapewin, Charles Butterworth, Ramsay Ames, Elizabeth Patterson, Regis Toomey, George McCready, Frank Jenks, Addison Richards, Emmett Vogan, Cyril Ring, Spooks, Theodore von Eltz, Maxie Rosenbloom, Martha O'Driscoll, Jeanette MacDonald, Orson Welles, Marlene Dietrich, Dinah Shore, Donald O'Conner, Peggy Ryan, W. C. Fields, Andrews Sisters, Artur Rubinstein, Carmen Amaya and company, Sophie Tucker, Delta Rhythm Boys, Leonard Gautier’s Bricklayers, Ted Lewis and band, Freddie Slack and band, Charlie Spivak and band, Louis Jordan and band, Maria Monter, Susanna Foster, Louise Beavers, Louise Allbritton, Robert Paige, Alan Curtis, Lon Chaney, Gloria Jean, Andy DeVine, Turhan Bey, Evelyn Ankers, Noah Beery, Jr.. Samuel 5. Hinds, Clarence Muse, Gale Sondergaard, Peter Coe, Nigel Bruce, Thomas Gomez. DIRECTION, Geod. PHOTOGRAPHY, Good. . Most of Dinah Shore, WELCOME to our NEW ADDRESS AO St. Patrick Street Toronto, Canada We take this opportunity to tell our friends that on May First you will find us in our new and Canadian Theatre Chair Company 40 St. Patrick St. Toronte, Canada larger home with better facilities to serve you. | | | | Same Terepnons Number — Elgin 1942 ‘The Bridge of San Luis Rey’ with Lynn Bari, Akim Tamiroff, Franci« Lederer, Nazimova UA-Bogeaus 107 Mins. RENOWNED STORY, SOLIDLY PRODUCED AND ACTED, WITH RUGGED BOX OFFICE POTENTIALITIES. A. decade and a half has passed, and virtually a new generation of filmgoers has come, since Thornton Wilder’s Pulitzer Prize novel, “The Bridge of San Luis Rey,” was translated into celluloid in part silent, part talkie form. Now a new version is ready for the international film marts under the production aegis of Benedict Bogeaus, utilizing the directorial skill of Rowland V. Lee and the Howard Estabrook screenplay. The attraction is well-made, and not the least of its numerous assets is the preservation of the social and political atmosphere of Peru under the crown of Spain some two centuries ago. A cast of unusual ability is harnessed to recount the interlocking lives of the principal characters and the tragedy which befalls five of them when the crude bridge which they are crossing disintegrates and hurtles them to their doom in the deep rocky gorge at San Luis Rey. Out of that stark happening grows the desire of a monk to probe the lives of the victims in order that he may find some clue to the mysterious ways of Providence in selecting mortals, whether good or evil, old or young, for sudden death. It is the delineation of the friar’s examination of the victims’ days on earth which furnishes the story, episodically and narratively. Thus sketched before the eyes of audiences are the various facets of love,—direct, reflected, pure, selfish. These bring into bold relief the stuff of which Lima’s great actress (Lynn Bari), her suitor (Francis Lederer), the Viceroy (Louls Calhern), the Marquesa (Nazimova), Uncle Pio (Akim Tamiroff), and all the others, are made. Meticulous casting of this historical romantic tragedy results in many excellent performances, and the film should do well in all situations, particularly those where solid and Serious screen offerings are ap preciated. CAST: Lynn Bari, Akim Tamiroff, acca Ledercr, Nazimova, Louis Cal. n, Blanche Yurka, Donald Woods, Emma Dunn, Barton Hepburn, Joan Lerring, Abner Biberman, Minerva Urecal and Antonie Triana and His Dancers. DIRECTION, Skillful. PHOTOGRA. PHY, Able, g