Canadian Film Weekly (Oct 31, 1945)

“ x | THE PICK OF || THE PICTURES Vol. 10, No. 44 The True Glory PRC & Mins. ONE OF THE GREAT FILM DOCUMENTS TO COME OUT OF THE WAR; ACE PIC FOR ALL THEATRES. With awsome magnificence, “The True Glory,” conservatively described as the most important film to emerge from the war, comes to the nation’s screens to give theatregoers a close-up, eyewitness account of the taking of the vaunted Fortress Europe by Allied arms from D-Day to V-E Day. It is easily the most spectacular and stirring motion picture yet fashioned from the conflict, and it will thrill to the marrow every onlooker. It is the story of the teamwork, all the way from the Supreme Headquarters AEF down to the lowliest dogface, gob and merchant seaman, which made possible the triumph over the Nazis, from the beaches of Normandie to the ultimate downfall. Gen. Dwight D. Eisenhower personally delivers the introduc _tion, and later interjects remarks such as the well-merited praise which goes to the Allied navies for their role in effecting the German demise. The combat scenes are without equal in conveying the scope, intensity, and strategy of the campaign. But the outstanding attribute of the picture is the technique employed for full dramatic punch for throughout the story is told by the fighting men themselves. It is this technique, plus the scenes which stagger the imagination, which welds ‘The True Glory” into the war’s ace film document. The theatre patron will see each service branch precisely co-ordinated with all others, whether in advance or retreat. It is not all plunging forward, for the Battle of the Bulge and the dogged resistance to Nazi counter attacks are presented just as history will record them. Much of the narration is studded with that priceless humor of the doughboy, humor, which, as ‘ much as any material weapon, brought victory. By means of “The True Glory,” Canadians now and in the future can have a ringside seat at the worldshaking events which the film portrays. The picture points up the terrible destruction of life and property, and the absolute necessity for war’s abolition. It also cannot fail but to impress al] who see it with the miracle VOICE of the CANADIAN MOTION PICTURE INDUSTRY REVIEWS FROM FILM DAILY, NEW YORK RHAPSODY IN BLUE with Robert Alda, Joan Leslis, Alexis Smith, Cherles Coburn Warner Bros. 139 Mins. GERSHWIN STORY IS ENTERTAINMENT POWERHOUSE; SHOULD PROVE ONE OF YEAR'S BO CHAMPS AS WELL AS A MAJOR “TEN BEST” CONTENDER. “Rhapsody in Blue’’ turns on the full power of the screen as a medium of diversion. Verily a miracle of entertainment, the picture presents a union of quality and quantity that has seldom been matched. In its filming of the life of George Gershwin, Warner Bros. has been driven to a display of prodigality that is impressive, to say the least. A dream job of picture making, the production should prove itself a money grabber of staggering proportions, and a major “Ten Best” contender. Jesse L. Lasky has shot the works in producing ‘Rhapsody in Blue,’’ named after the best known of the Gershwin compositions. The producer has been inspired to pour into the picture the best of everything available to him. In story content, production values, direction, acting and physical aspects the offering is stamped with superiority. The film is a glowing, human document athrob with life in which Gershwin has been made [ee ee of the motion picture as a recorder of history. Every showman worthy of the name will play “‘The True Glory.” It is one of the great films of all time. CREDITS: Produced by the Joint Anglo-American Planning Commitee; Directors, Capt. Garson Kanin, Carol Reed; Writers, S/Sgt. Guy Trosper, Pvt. Hurry Brown, Sgt. Saul Levitt, Lt. Col. Eric Maschwitz, Pvt. Peter Ustinov, Capt. Frank Harvey, Fit. Lt. Arthur Macrae; Photographed by British Army Film Unit, U. S. Army Pictorial Service, SHAEF Film and Photo Section, Field Photographic Branch of U. S. Office of Strategic Serv.ces, The Royal Navy, The Royal Maiaes, The Royal Canadian Navy, The Royal Canadian Air Force, The USAAF, The Royal Air Force; Commentatzr, Rokert Harris; Art Director, Lt. Roger Furse; Sound Recording, Capt. D. P. Fields, Sgt. G. Gardiner; Musical Score, William Alwyn; Music Performed by the Londen Sym, hony Orchestra. a vital and supremely arresting personality. The growth of the composer as a musical force in the life of America has been depicted engrossingly in a richly endowed screenplay by Howard Koch and Elliot Paul. In its unfolding the story sets free a wealth of emotions that helps clinch the film’s place in the public affection. The passion for music that was the driving force in Gershwin’s life is the core of the film. It is the thing that cuts short his brilliant career. Never has a composer been pictured as a greater slave to h‘s art. To enhance its boxoffice value and to strengthen fts appeal to the femmes the film gives much attention to the romantic side of Gershwin’s life. His affections are torn between two women, one a sweet young entertainer who rises to recognition in the shows with which he is associated, the other a woman of the world who bows out of his life when she realizes where his heart really lies. The film ends on a note of musical exultation as Oscar Levant plays a stirring rendition of “The Rhapsody in Blue” at a memorial concert for the composer. The picture carries a musical sock that matches that of its drama. It is flooded with Gershwin music eloquently and tintingly played. The picture’s scoring merits raves. Music lovers will find the production something to cherish. Pleasant memories will be revived in the minds of the older folks as scenes from the long list of shows to which Gershwin lent his talent are re-enacted. The acting is something to cheer about. Robert Alda, a newcomer, is a surprise as Gershwin. Employment of an unknown to play the role makes for realism and conviction. Joan Leslie, as the entertainer, and Alexis Smith, as the other woman, are swell. Charles Coburn is superb as Gershwin’s mentor. Oscar Levant, Paul Whiteman, Al Jolson, George White, Hazel Scott appear as Vol. 10, No. 44 Oct. $1, 1945 HYE BOSSIN, Managing Editor Address all communications—The Managing Editor, Canadian Film Weekly, 25 Dundas Square, Toronto, Canada. Published by Film Publications of Canada. Ltd., 25 Dundas Square, Toronto, Ontario, Canada. Phone ADelaide 4317. Price 5 cents each or $2.00 per year. Entered as Second Class Matter. Printed by Eveready Printers Limited, 78 Wellington Strect West, Toronto, Ontario. REVIEWS INFORMATION RATINGS $2.00 Per Annum The Adventures Of Rusty with Ted Donaldson, Margaret Lindeay, Conrad Nagel Ceclumbia 67 Mins. MILD PRODUCTION OF HUMAN INTEREST STORY SHOULD GET FRIENDLY RECEPTION. Despite the warmth displayed by such seasoned performers as Margaret Lindsay and Conrad Nagel in their roles as father and stepmother to Ted Donaldson, and some obviously superfluous situations, the treatment of a simple lesson in psychology, injected into the story, seasons the film for friendly reception. Ace, the wonder dog, in the role of Rusty, is a beautiful animal who gives thrill lovers a break with his chill-provoking snarl and frightening bark. Ted Donaldson holds your interest with the boyish manner in which he attempts to carry out the instructions of a prominent psychiatrist in order to win the affection of the vicious dog. The film’s message is highlighted by the psychiatrist’s advice to Lindsay to use the same formula in an effort to win Donaldson’s love, since the boy had been harboring a hatred for the woman he believed was alienating his father’s affection. CAST: Ted Donzldson, Margaret Lindsay, Conrad Nagel, Gloria Holden, Robert Williams, Addison Richards, Arno Frey, Eddie Parker, Bobby Larson, Douglas Madore, Gary Gray, Ruth Warren, Ace, the wonder deg. CREDITS: Producer, Rudolrh C. Flothow; Director, Paul Burnford; Screenplay, Aubrey Wisberg; Original Story, Al Martin; Cameraman, L. W. O’Cennell; Assist-nt Director, Leonard J. Shapiro; Film Editor, Reg Browne; Sound, Howard Fogetti; Musical Director, M. R. BakaleInikoff. DIRECTION, So-So. PHOTOGRAPHY, Fair. themselves, helping to hypo the boxoffice power of the show. CAST: Robert Alda, Joan Leslie, Alexis Smith, Charles Coburn, Julie Bishop, Albert Bzrsserman, Morris Carnovsky, Rosemary De Camp, Oscar Levant, Paul Whiteman, AI Jolson, George White, Hazel Scott, Anne Brown, Herbert Rudley, John B. Hughes, Mickey Roth, Darryl Hickman, Charles Halton, Andrew Tombes, Gregory Goluboff, Walter Soderling, Eddie Marr, Theodore Von Eltz, Bill Kennedy, Robert Shayne, Oscar Loraine, Johnny Downs, Emest Golm, Martin Noble, Hugo Kirchoffer, Will Wright. CREDITS: Producer, Jesse L. Lasky; Director, Irving Rapnrer; Screenplay, How-rd Koch, Elliot Prul; Based on story by Sonya Levien; C-meraman, Sol Polito; Music, George Gershwin; Film Editor, Folmer Blangsted; Art Directors, John Hughes, Anton Grot; Sound, David Forrest, Stanley Jones; Special Effects, Roy Davidson, Willard Van Enger; Set Decorator, Fred M. MacLean; Danco Director, Le Roy Prinz; Musical Director, Leo F. Forbstein. Direction, Brilliant. PHOTOGRAPHY, Fine.