Canadian Film Weekly (Apr 25, 1945)

e THE PICK OF THE PICTURES | VOICE of a the CANADIAN MOTION PICTURE INDUSTRY REVIEWS INFORMATION RATINGS Vol. 10, No. 17 REVIEWS FROM FILM DAILY, NEW YORK $2.00 Per Annum Dear Octupus with Margaret Lockwood, Michael Wilding Eagle-Lion 78 Mins. PICTURE OF ENGLISH FAMILY LIFE WILL APPEAL ESPECIALLY TO CLASS AUDIENCES. This British film made at the Gainsborough Studios is a drama of middle class family life in England that has much in its favor. Although the picture is the type that appeals especially to class audiences, it should not have a difficult time pleasing the average film-goer. There is a civilized air about the whole production that makes it a happy relief from the usual run of film ‘entertainment. Those who appre ciate that easy-going quality of so many English films will derive much enjoyment from the screen version of the Dodie Smith play. There isn’t much of a story. The film is more a series of character studies than anything. Yet the lack of plot is more than compensated for by the interest engendered by the impact of one character upon the other. The production, creditably turned out by Paul Soskin and directed intelligently by Harold French, has charm and delightful little touches and incidents. The action takes place at the celebration of a couple’s golden wedding anniversary. i The acting is first-class. In the top roles are Margaret Lockwood, ward of the Randolph family, and Michael Wilding, one of the sons. The two take care of the romance. CAST: Margaret Lockwood, Michael Wilding, Celia Johnson, Roland Culver, Helen Haye, Athene Seyler, Jean Cadell, Basil Radford, Frederick Leister, Nora Swinburne, Antoinette Cellier, Madge Compton, Kathleen Harrison, Ann Stephens, Derek Lansiaux, Alistair Stewart, Evelyn Hall, Muriel George, Annie Esmond, Irene MHandl, Arthur Denton, Pamela Western, Artie Ash, Graham Moafftt, Henry Morrell. CREDITS: In Charge of Production, Maurice Ostrer; Producer, Paul Soskni; Director, Harold French; Adaptation, Esther McCracken; Screenplay, R. J. Minney, Pat Kirwan; Based on play by Dodie Smith; Cameraman, Arthur Crabtree; Film Editor, Michael Chorlton; Sound, B. C. Sewell; Musical Director, Louis Levy; Art Director, John Bryan; Production Manager, Fred Gunn. DIRECTION, Good. PHOTOGRAPHY, Good. Ill Be Seeing You with Ginger Rogers, Joseph Cotten United Artists 85 Mins. VALID DRAMATIC ENTERTAIN MENT HAS POIGNANCY THAT WILL FETCH TEARS FROM WOMEN. This Selznick-International production is sober and often somber entertainment of particular appeal to women. As drama the picture has a lot to offer. Directed by William Dieterle in slow measure that emphasizes the dramatic values, the picture develops its story simply and straightforwardly. Receptive souls will be affected by this tale of frustration that throws together a wounded war hero who is a neuropsychiatric and a girl who because of good behavior wins the right to pass the Christmas holiday away from the prison where she unjustly is serving time for manslaughter. The girl, afraid to reveal the truth, makes the most of her brief freedom, falling desperately in love with the soldier, who responds in kind. The climax comes when the man discovers she’s a jail bird. It is to his credit that he doesn’t permit the truth to alter his love. The end finds him vowing to wait for her release. Ginger Rogers as the girl and Joseph Cotten as the soldier acquit themselves well. Shirley Temple injects a bit of girlish freshness into the yarn as Miss Rogers’ cousin. Tom Tully and Spring Byington score as Miss Rogers’ uncle and aunt. CAST: Ginger Rogers, Joseph Cotten, Shirley Temple, Spring Byington, Tom Tully, Chill Wills, Dare Harris, Kenny Bowers, CREDITS: Producer, Dore Schary; Production Assistant, Lou Lusty; Director, William Dieterle; Screenplay, Marion Parsonnet; Based on Story by Charles Martin; Cameraman, Tony Gaudio; Musical Score, Daniele Amfitheatrof; Art Director, Mark Lee Kirk; Supervising Film Editor, Hal C. Kern; Film Editor, William H. Ziegler; Set Decorators, Earl B. Wooden, Emile Kuri; Sound, Richard DeWeese. DIRECTION, Good. PHOTOGRAPHY, Good. Dark Mountains with Robert Lowery and Ellen Drew Paramount 56 Mins. GRIPPING MELODRAMA AGAINST A DIFFERENT SETTING HOLDS INTEREST TO FADEOUT. This is a gripping offering, which holds interest to the end. It has good acting by the principals, Robert Lowery, Ellen Drew, Regis ‘Toomey, Eddie Quillan and Elisha Cook, Jr., and splendid direction by William Berke. It has been given good production values by Producers William H. Pine and William C. Thomas. Maxwell Shane fashioned the screenplay, based on an original story by Paul Franklin and Charles Royal. Lowery, forest ranger, proposes to his childhood sweetheart, Ellen Drew, only to learn she has just married Toomey. On her honeymoon, Ellen learns that Toomey is a racketeer, specializing in handling stolen goods. He causes the murder of a detective and shoots Cook, Jr., his assistant, when the latter threatens to “sing.” Toomey tells Ellen to hide out on Dark Mountain and that she can write to him in New Orleans. She follows his instructions and is befriended by Lowery, who gives her quarters in a cabin. Instead of going South, Toomey appears at the cabin the following day and forces to hide him there. After a few days of hiding, Toomey makes a break for liberty, but is pursued by Lowery and Quillan and is killed when his auto crashes into a tree. CAST: Robert Lowery, Ellen Drew, Regis Toomey, Eddie Quillan, Elisha Cook, Jr., Ralph Dunn, Walter Baldwin, Rose Plumber, Virginia Sale, Byron Foulger, Johnny Fisher, Alex Callam, Eddie Kane, Angelos Desfis. CREDITS: Producers, William Pine and William Thomas; Director, William Berke; Authors, Paul Franklin and Charles Royal; Screenplay, Maxwell Shane; Cameraman, Fred Jackman, Jr.; Supervising Editor, Howard Smith; Editor, Henry Adams; Art Director, F. Paul Sylos. DIRECTION, Splendid. PHY, Good. PHOTOGRA . Columbia A Song to Remember with Paul Muni, Merle Oberon, Cornel Wilde 113 Mins. TREAT FOR MUSIC LOVERS IS RATED AS ONE OF FINEST COLUMBIA PRODUCTION. In “A Song to Remember,” Columbia has something to sing about—and loudly. The life of Frederic Chopin has supplied the inspiration for a film that is a perfect union of story and music and that stands as one of the studio’s finest achievements. No Hollywood film has succeeded so signally in providing a medium for the projection of a music master’s art. Although the varied human elements of the story, the strong romantic flavor imparted to the subject by the attachment between Chopin and the novelist George Sand and the potent appeal to the present-day conscience of the underlying theme of Poland’s fight for freedom bid for popular acceptance, the footage will make its most lasting impression on devotees of fine music. To such as these the production will be sheer ecstasy. The tale, which draws prodigally upon Chopin’s music, tells of his escape to Paris with his teacher to avoid seizure for his participation in a movement to free his native Poland from the yoke of the Czar of Russia, of his efforts to win recognition and of the part played by George Sand in his rise to fame. The drama is heightened by Chopin’s struggle between the allurements of love, money and leisurely living and a desire to help his beloved Poland. Louis F. Edelman gave the Sidney Buchman screenplay a magnificient Technicolor production. The direction of Charles Vidor is a solid contribution. The film is a gem of acting. Paul Muni as the teacher, Merle Oberon as George Sand and Cornel Wilde as Chopin turn in impressive performances. Raves should go to whoever played Chopin’s immortal compositions. Rumor has it that Jose Iturbi was that person. CAST: Paul Muni, Merle Oberon, Cornel Wilde, Stephen Bekassy, Nina Foch, George Coulouris, Sig Arno, Howard Freeman, George “Macready, Claire DuBrey, Frank Puglia, Fern Emmett, Sybil Merritt. CREDITS: Producer, Louis F. Edelman; Director, Charles Vidor; Screenplay, Sidney Buchman; Based on story by Ernst Marischka. DIRECTION, Fine. Superb, PHOTOGRAPHY,