Canadian Film Weekly (Nov 28, 1945)

THE PICK OF THE PICTURES “ REVIEWS INFORMATION RATINGS Vol. 10, No. 48 REVIEWS FROM FILM DAILY, NEW YORK $2.00 Per Annum Senorita From The West with Allan Jones, Bonita Granville, Jess Barker Universal 63 Mins. FAIR ENTERTAINMENT IS DISHED OUT BY MODEST MUSICAL IN WHICH JONES’ SINGING STANDS OUT. Its tune content, most of it calling for the services of Allan Jones and Bonita Granville, constitutes the prime attraction of this small-time musical produced by Philip Cahn with little show and directed indifferently by Frank Strayer. The story, which is worked out with a good deal of liveliness, tells of a gal who comes out of the West to seek a singing career in New York. She becomes attracted to Jess Barker, a phony crooner the idol of the bobbysockers, who are unaware the voice that sends them into ecstasies is supplied by Allan Jones, afflicted with a stage fright that prevents him from coming into his own. Barker spends most of his time trying to prevent Jones from disclosing the truth to Miss Granville and her guardians, owners of a gold mine who have struck it rich. Barker fails in a plot to turn Miss Granville against Jones and to grab her for himself strictly for financial motives. At the wind-up the gal and Jones have come into the public spotlight and Barker is given his just desserts. The players extend themselves no more than the material requires. Jones wins most of the glory with his singing of several compositions, one of them being ‘What a Change in the Weather.” CAST: Allan Jones, Bonita Granville, Jess Barker, Olin Howlin, Danny Mummert, Emmett Vogan, Oscar O'Shea, George Cleveland, Renny McEvoy, Fuzzy Knight, Bob Merrill, Billy Nelson, Jack Clifford, Spade Cooley and orchestra. CREDITS: Associate Producer, Philip Cahn; Director, Frank Strayer; Screenplay, Howard Dimsdale. DIRECTION, Fair. PHOTOGRAPHY, Okay. G. McFadden, London Projectionist, Dead Garfield McFadden, projectionist at Loew’s Theatre, London, Ontario, passed away recently at the age of 60. He was also secretary-treasurer of London Local 105, IATSE, and was very popular in theatrical union circles. He resided in Toronto for a time, but moved to London and joined the Loew’s about 15 years ago with the coming of sound pictures. This Love Of Ours Merle Oberon, Charles Korvin, Claude Rains with Universal 9 Mins. DRAMATIC TEAR-JERKER _ IS SOMETHING SPECIAL FOR THE FEMMES; HEADED FOR BIG GROSSES. “If you have tears, prepare to shed them now.” Mark Antony’s words to the Roman rabble in Shakespeare’s “Julius Caesar” might well be the admonition to the patron entering the theatre playing “This Love of Ours.” For here indeed is a screen drama that is made to order for the person whose tear ducts are on the qui vive. Which is to say that this film is one in which the women will take special delight. Many of the situations that have long been the standbys of the emotional drama have been exercised for all their worth to make the picture heart-stirring entertainment of boxoffice caliber. The writers have told a surefire story of mother love that builds to a crescendo which, though it ends the film on a note of high emotional impact, is more theatrical than real. The ending is the one glaring weakness in the film. “This Love of Ours’ recounts how unjustified jealousy on the part of a doctor breaks up his happy marriage to a woman who worked as an entertainer. In keeping with screen tradition, the husband won't listen to an explanation. He abandons his wife, taking with him their little daughter, whom he brings up to believe that her mother is dead. Chance reunites husband and wife after she has had years of tough going and heartaches. The daughter, told that the woman is her stepmother, turns against her, regarding her in the light of an intruder. The film profits immensely from the acting. Merle Oberon as the woman and Charles Korvin as the man bring conviction to their roles, which have been played with deep sincerity. Claude Rains as a friend of Miss Oberon who helps to bring about a happy ending is splendid. The daughter is well played by Sue England. CAST: Merle Oberon, Charles Korvin, Claude Rains, Carl Esmond, Sue England, Jess Barker, Harry Davenport, Ralph Morgan, Fritz Leiber, Helen Thimig, Ferike Boros, Howard Freeman, Selmer Jackson, Dave Willock, Ann Codee, Andre Charlot, Doris Merrick, CREDITS: Producer, Howard Benedict; Associate Producer, Edward Dodds; Director, William Dieterle. DIRECTION, Good, PHOTOGRAPHY, Good. Love Letters with Jennifer Jones, Joseph Cotten Paramount 101 Mins. STRONG DRAMATIC FILM IS OF SPECIAL APPEAL TO THE WOMEN; FINE PRODUCTION, ACTING, In ‘Love Letters” Hal Wallis has produced a psychological drama that is of special interest to women audiences. In emotional force the production is outstanding, and it is on this basis chiefly that the film will rate attention at the boxoffice. Set in England, the story of a strange romance between an officer returned to civilian life and a sensitive and elfin-spirited girl has about it an enchantment and a charm that help the film to win the hearts of the femmes. Much tenderness has been brought to bear in transferring the Chris Massie novel to the screen. A really handsome production has been lavished on the story by Hal Wallis, who has overlooked no chance of giving the film an air of quality. Lee Garmes’ photography has contributed a lot to this effect, as has the art work of Hans Dreir and Roland Anderson, Although the picture moves a little slowly under the deliberate direction of William Dieterle and the screenplay of Ayn Rand is sometimes not too clearly or convincingly thought out, ‘Love Letters” claims the interest successfully. Cotten falls in love with Miss Jones through love letters written by him for a buddy. The girl marries the buddy, believing he is what he appears to be in his correspondence. When the husband dies, Cotten sets out to find the girl, who has lost her memory as result of the shock of a struggle in which her mate was killed by her foster mother in defense of her. Recovery of Miss Jones’ memory makes for a happy ending. The acting is first-rate. CAST: Jennifer Jones, Joseph Cotten, Ann Richards, Anita Louise, Cecil Kellaway, Gladys Cooper, Byron Barr, Robert Sully, Reginald Denny, Ernest Cossart, James Millican, Lumsden Hare, Winifred Harris, Ethyl May Halls, Matthew Boul ton, David Clyde, Ian Wolfe, Alec Craig, Arthur Hohl, CREDITS: Producer, Hal Wallis; Director, William Dieterle; Screenplay, Ayn Rand. DIRECTION, Fine. Fine. PHOTOGRAPHY, New Screen Play Pat O’Brien will be starred next by RKO in John Paxton’s new screenplay, ‘Crack-Up.” Jealousy with John Loder, Jane Randolph Republic 71 Mins. EFFECTIVELY TURNED OUT DRAMA SHOULD PLEASE THOSE IN SEARCH OF HEAVIER FARE. The age-old theme of jealousy once more has been drawn upon for dramatic purposes in an effective film produced and directed by Gustav Machaty in a manner superior to the story. The treatment is reminiscent of that employed in the European screen dramas, particularly the German. The picture goes in strongly for mood, gaining its effect largely through the use of dramatic photography and camera angles. For all the familiarity of the yarn and its somewhat old-fashioned air, “Jealousy” succeeds in holding the interest of the average fan. The story deals with an unhappy marriage between Jane Randolph and Nils Asther, a refugee author whose refusal to go to work has driven his wife to operating a taxi. Relations between the two aren’t improved when the man becomes jealous of his wife’s friendship for John Loder, a doctor. Fearful of losing Loder, with whom she is secretly in love, Karen Morley, his medical associate, kills Asther, allowing the guilt to fall on Miss Randolph. When Miss Randolph is condemned to death and all hope of saving her seems gone, Miss Morley makes a clean breast of it. The Hollywood setting should hypo the interest. Arnold Phillips and Machaty did an acceptable enough job of building a screenplay around the Dalton Trumbo idea. Loder is not at his best as the doctor, while Asther overdoes it as the jealous husband. The others perform creditably. CAST: John Loder, Jane Randolph, Karen Morley, Nils Asther, Hugo Haas, Herbert Holmes, Michael Mark, Mauritz Hugo, Peggy Leon, Mary Arden, Noble “Kid” Chissell. CREDITS: Producer, Gustav Machaty; Director, Gustav Machaty; Screenplay, Arnold Phillips, Gustay Machaty; Based on idea by Dalton Trumbo; Cameramafi, Henry Sharp; Film Editor, John . k; Musical Score, Hanns Eisler; Art’ ” tor, Frank Sylos; Sound, Percival J. Townsend; Set Decorator, Glenn P. Thompson. DIRECTION, Good. PHOTOGRAPHY, Good, RKO Signs Mooney Martin Mooney, resigned recently as producer with PRC. He has signed to produce two films for RKO, both of which were previously scheduled on PRC's program,