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THE PICK OF THE PICTURES
—
a VOICE of the CANADIAN MOTION PICTUBE INDUSTOF
REVIEWS INFORMATION RATINGS
Vol. 10, No. 9
REVIEWS FROM FILM DAILY, NEW YORK
$2.00 Per Annum
@ The Keys of
The Kingdom
with Gregory Peck 20th-Fox 137 Mins. FILM WITH VITAL MESSAGE IS ONE OF FINEST ACHIEVEMENTS OF SCREEN; PECK SHINES.
The A. J. Cronin novel has inspired the production of a motion p:cture that takes its place among the finest achievements of the screen. An unqualified triumph, the film has all the requisites to gain it the accolade as the best of the year. It holds the promise of long and profitable runs second to none.
A picture with a soul, “The Keys of the Kingdom” is a monumental contribution to the screen as a power for good. In preaching the gospel of brotherly love and glorifying the spirit of man, the production acquires a vast significance for these times.
This story of a simple man of God who left his beloved Scottish village to work out his life as a missionary priest in China, suffering privation and humiliation in his zeal for tolerance and decency, positively glows in its spiritual fervor, offering film-goers a& memorable experience. It is an earnest tale told with reverence, gentleness and great sincerity. The picture is a profoundly moving testament of faith that will send audiences away uplifted as they’ve rarely been before. Even the men will find themselves emotionally shaken.
The physical qualities of the production are impresisve. Photographically and atmospherically the film stands unexcelled.
The direction of John M. Stahl is in truth a labor of love, rating as an accomplishment of the first order.
The film has been acted superlatively. In the top role Gregory Peck turns in one of the prize screen performances of this or any year.
Thomas Mitchell, Vincent Price, Rosa Stradner, Edmund Gwenn, Sir Cedric Hardwicke and James Gleason are just a few of the others whose acting shines.
“The Keys of the Kingdom” is a thing of beauty with a message urgently needed today.
CAST: Gregory Peck, Thomas Mitchell, Vincent Price, Rosa Stradner, Roddy McDowall, Edmund Gwenn, Sir ‘Cedric Hardwicke, Peggy Ann Garner, Jane Ball, James Gleason, Anne Revere, Ruth Nelson, Bescon Fong, Leonard Strong, Philip Ahn, Arthur Shields, Edith Barrett, Sara Allgood and others.
DIRECTION, Superb, PHOTOGRAPHY, Superb,
Tomorrow, The World!
with Frederic March, Betty Field, Skippy
Homeier UA 86 Mins.
PRESENTING ONE OF THE TOP DRAMATIC PIX OF THE YEAR; HOMEIER SENSATIONAL.
Potent dramatic entertainment, “Tomorrow, the World!” wins a place among the top serious films of the year. From the stage success of James Gow and Arnaud D’Usseau there has been drawn by Ring Lardner, Jr., and Leopold Atlas a screenplay that strikes hard and drives home its point cleanly and lucidly. The manner in which the film version has been managed and the timely import of the theme guarantee a rousing reception for the Lester Cowan production wherever it is exhibited.
The picture, produced in exemplary fashion by Cowan, relates its story with a vividness and a stunning impact that leave & powerful impression. Every step of the way the plot holds you engrossed and in suspense.
The film tells of the efforts of Fredric March, a professor of science, and Betty Field, his fiancee, to convert to the American way of life Skippy Homeier, the refugee son of a German liberal killed by the Nazis. Much of the fight is waged on psychological lines. March and Miss Field are about to admit defeat and have the boy committed to a reformatory, when, in a stirringly dramatic scene, the youth reveals that all hope of altering him is not dead.
The cast has given of its best under the direction of Leslie Fenton. Superb as March and Miss Field are, it is Homeier who dominates the film and captures ‘the acting honors. His is a master performance for one so young.
CAST:Frederic March, Betty Field, Agnes Moorehead, Skippy Homeier, Joan Carroll, Edith Angold, Rudy Wissler, Bcots Brown, Marvin Davis, Patsy Ann Thompson, Mary Newtcn, Tom Fadden.
DIRECTION, Fine. PHOTOGRAPHY, Good.
Small-Gauge Guys
Projectionists being trained by the army for the operation of 16 mm. machines may give the small-sized field a post-war boost. There is a four-day course in Regina and 120 projectionists have already been turned out there. Chief instructor is S, Sgt. James Hardwicke.
Winged Victory
20th-Fox 130 Mins.
MOSS HART STAGE SHOW CONVERTED INTO SMASH FILM ENTERTAINMENT; ONE OF YEAR’S BEST.
The Moss Hart tribute to the American Air Forces has been transferred from stage medium to screen in so superlative a fashion that it will win acclaim everywhere. “Winged Victory” zooms high as entertainment, possessing everything to touch off the box office spark.
The production, one of the most creditable turned out by Darryl F. Zanuck, who has spared nothing to make the film a powerhouse of entertainment, is as fine a compliment as ever paid by Holywood to any branch of USA armed service. The film is a warm, human document shot through with excitement and delivering a strong emotional impact.
The movement of the story exerts a powerful grip on the audience. The effect is profound as the film relates in fascinating detail the moulding of USA sky fighters. Their hopes and aspirations, their laughter and their heartaches are touched upon with feeling and understanding. The story is given conviction by an air of authenticity resulting from the care that has gone into the physical production and from the fact that all the players save a handful of distaff performers are actual members of the AAF, among them being many known to filmgoers.
The story follows a group of buddies — Pvt. Lon McCallister, Cpl. Don Taylor, Sgt. Edmond O’Brien, Sgt. Mark Daniels, Cp). Barry Nelson—through the various phases of their training and into the service. Their tale is not without tragedy. The love side of their lives is not overlooked in the effort to build up the emotional strength of the film.
Hart’s screenplay, a grand job, has capital direction by George Cukor.
CAST: Pvt. Lon McCallister, Jeanne Crain, Sgt. Edmond O’Brien, Jane Ball, Sgt. Mark Daniels, Jo-Carroll Dennison, Cpl. Don Taylor, Judy Hollyday, Cpl. Lee J. Cobb, T/Sgt. Peter Lind Hayes, Cpl. Alan Baxter, Geraldine Wall, Cpl. Red Buttons, Cpl. Barry Nelson, Sgt. Rune Hultman, Cpl. Garry Merrill, Sgt. George Reeves, Pf{e. George Petrie, Pfc. Alfred Ryder, Cpl. Karl Malden, Pfc. Karl Malden, Pfc. Martin Ritt, Cpl. Harry Lewis, Cpl. Henry Rowland, S/Sgt. Sascha Brastoff, Cpl. Archie Robbins, Cpl. Jack Cpl. Slate and others.
DIRECTION, Fine. PHOTOGRAPHY, Fine,
A Wave, a Wace And a Marine
Monogram 70 Mins. VERY GOOD POPULAR ENTER
TAINMENT, WITH EMPHASIS ON
LAUGHS; NEW COMICS CLICK.
This initial offering made by Biltmore Productions is designed chiefly for comedy. It has two new screen comedians in Henry Youngman and Charles “Red” Marshall, the latter recruited from burlesque—and they score heavily with their nonsense. Milton Bronson and Billy Mack also register with their funmaking.
The film also offers an array
of pulchritude, with Elyse Knox, Anne Gillis, Sally Eilers, Marjorie Woodworth and Ramsay Ames proving easy on the eyes. Richard Lane, Alan Dinehart, Cy Kendall, Aileen Pringle, Mabel Todd, Rose Murphy and Jack Mulhall are among the principals. Pert Connie Haines, radio singer, and the Music Maids, also from radio, put over their numbers nicely. “‘Gee, I Love My G.I. Guy,” “Time Will Tell” and “Carry On” were the songs fashioned by Eddie Cherkose and Jacques Press.
Edward Sherman functioned as producer, with Sebastian Cristillo acting as executive producer. Phil Karlstein handled the direction and Hal Fimberg concocted the original screenplay. Maury Gertzman was in charge of the photography.
Henny Youngman, representing Sally Hilers, Hollywood agent, mistakes Elyse Knox and Ann Gillis, understudies for Marjorie Woodworth and Ramsay Ames, the real stars of a Broadway show, and brings them to Hollywood. Richard Lane, an agent, once married to Sally and still in love with her, signs Marjorie and Ramsay. They are about to be put under contract by Alan Dinehart, a producer, when Elyse and Anne do a dramatic sketch at a famous Hollywood night club and are signed by Dinehart. Elyse joins the Wacs and Anne the Waves, but they agree to do one picture for Dinehart before donning their service uniforms,
CAST: Elyse Knox, Anne Gillis, Sally Eilers, Richard Lane, Marjorie Woeodsworth, Ramsay Ames, Henny Youngman, Charles ‘‘Red™ Marshal, Alan Dinehart; Billy Mack, Cy Kendall, Aileen Pringle, Jack Mulhall, Mabel Todd, Milton Bronson, Elvia Allman, Sid Tomack, Rose Murphy, The Music Maids and Freddie Rich and His Orchestra with Connie Haines.
DIRECTION, Good. PHOTOGRAPHY,
.