Canadian Film Weekly (Nov 5, 1947)

4 PHY ’ Goo aa. HE PICK OF | rE PICTURES = Vol. 12, No. 43 Frieda with David Farrar, Mai Zetterling Eagle-Lion 97 Beis: COMPELLING DRAMA TASTEFULLY, cOMPASSIONATELY TREATED; FINE NCES. pERFORMA Concerning itself with the roblem of how to treat the enemy in the course of war and thereafter, this J. Arthur Rank number from the Ealing Studios deals out compelling drama. It js almost too leisurely as it makes its points. The case herein concerns a British flyer who was shot down in Poland. In order to escapé, get back to England, he marries a German girl, a nurse, bestowing upon her British citizenship in the process. In due time he returns to England. His wife is that in name only. They were married via the Catholic ceremony. He is a Protestant and another ceremony is planned. The England they return to is still in the throes of war and the townspeople of MHenfield and David Farrar’s immediate family make their feelings known. Mai Zetterling remains quiet, unobtrusive. In six months, she is advised, the folk will come to accept her and the initial enmity will be forgotten. Flora Robson, Farrar’s aunt, is up for election to Parliament. Her stand in the matter is that as long as there is a Germany and Germans there will be war. She is coolly civil to Miss Zetterling. The initial prophecy of acceptance in six months is fulfilled. The war ends. But trouble in the form of Miss Zetterling’s brother, Albert Lieven, is at the door. A former’ member of the Afrika Corps, he fought for Poland when the opportunity Came. He is from Posnan, it Seems, and was given choice in the matter. But he is a thoroughdyed Nazi and is exposed. Farrar When this comes out is disgusted. Miss Zetterling attempts to take her life. Miss Robson, realizing humans cannot be treated as if they were less human without inhumanity the ultimate result, Warns Farrar. He saves the girl. CAST: Dayia Farrar, Glynis Joh ynis Onns, pe Zetterling, Flora Robson, Albert = Barbara Lyerest, Gladys Henson. Betts: Producer, Michael Balcon; Sign Mi Basil Dearden; Production denal a chacl Relph; Based on an origi Story by Ronald Millar. TY ECTION, Effective, PHOTOGRA Father And Son Star Jack Holt and son, Tim, will tar in RKO's “The Arizona nger,” v Xu oe, OICE of the CANADIAN MOTION PICTURE INDUSTRY. REVIEWS FROM FILM DAILY, NEW YORK Forever Amber with Linda Darnell, Cornel Wilde Ri ch t) 26th Century-Fox : ie eye George Sanders ¥ : * 140 Mins. MONUMENTAL PRODUCTION BRILLIANTLY PRODUCED, DIRECTED AND ACTED GIVES A SOUND HONEST RETURN FOR EVERY CENT SPENT OR ASKED. Darryl Zanuck has done splendidly by “Amber.” In the two hours and 20 minutes that it takes to tell the story there is created a motion picture of monumental stature. It is BIG in every interpretation of the word. Its potentialities-in terms of the boxoffice dollar should prove a staggering problem for the showman’s consideration. And in terms of value to the ultimate ticket-buying spectator it §ives sound, honest return for every cent. _The Technicolored tapestry that is the story has many values, optical as well as dramatic, comical at‘times and Vividly thrilling, too. Complementing the story is William Perlberg’s production that brings to lusty life the settings and period—England of the 17th Century, under the reign of Charles II. It is one of the finest examples of mounting a plot and translates the Kathleen Winsor novel into what might be termed the best example of Technicolor handling by Hollywood in recent times. There are patterns in that tapestry that vary the basic plot to give full range to striking segments of action and narrative developments which contribute considerably to the telling. Otto Preminger’s direction is evident in a flowing, fluid continuity which aptly captures the essence of the novel. In this respect the multitude that read and re-read the book, then discussed it, then drooled at announcement that it was to be filmed, won’t be disappointed. Selection of the cast was masterful. Linda Darnell in the title role is a vivid “Amber” and her beauty in Technicolor has a breathtaking quality. Among the men in her life it is good to see Richard Greene once again; Wilde as her big moment in a torrent of lovers shows himself a player of sound understanding of what is required. But among the male element it is George Sanders, as Charles II, who stands out, makes his mummery register in a fine display of artistry. 2 In translating the story such proven audience lures as the great fire which partially destroys London, a duel at dawn, the plague, skullduggery purveyed by a gang of rascally cutthroats and cutpurses, revenge and kindred morsels of diversion are blended into the whole. Through all the pageantry ‘‘Forever Amber” is the story of a woman in love who vainly sought happiness with the man she loves but loses. As “Amber” Linda Darnell is shown as afoundling who is brought up by Puritans in a small village. Reaching womanhood, plans are made for her to marry. This is not to her taste. She enzounters Wilde in a tavern where he is resting en route to London. Later she follows and their passion is born and assuaged. Never quite fitting into the picture as a Puritan maid who set her cap for the big time Miss Darnell desired marriage with Wilde at the outset but he indicated she was below him in life's station. She vowed to rise even higher than he. She did it, too, passing from man to man until she wound up in the arms of the king, and with ie returns from Virginia with a young wife who Miss Darnell brings to the attention of Sanders. An intimate supper is arranged. Miss Darnell feigns illness, leaves Sanders and Jane Ball together. She hurries to inform Wilde of the situation hoping to regain her former spot in his life. The king suspects, SO does Miss Ball and the i timating Sanders, Miss Darnell has let herself plan misfires. Underes peshat : ane Hae : out, Her son is taken off to Virginia by Wilde. The day she is move che is propositioned py the king’s equerry—and she accepts. Through it all. Richard Greene, friend to Wilde, is the kindly Sages ot ing her, lying occasionally and vainly trying to dissuade Miss Darne to no avail. Cornel Wild CAST: Linda Darnell, Se {chard Haydn, Jessica Ta yy r aauroit Natalie Draper, Margaret Wycherly, e, Richard Greene, George Sanders, Glenn Ann Revere, Jane Ball, Robert Coote, Leo G. Alma Kruger, Edmund Breon, Alan Naples: ; Otto Preminger; Screenplay Perlberg: Director, ) ger; play, eee anes Eraatee aap one Adaptation, Jerome Cady; From the novel by Philp Dunne, Ring Leon Shamroy; Music, David Raksin. Kathleen Winsor} Photography, DIRECTION Excellent. PHOTOGRAPHY, Splendid. » ED REVIEWS INFORMATION RATINGS $2.00 Per Ann SSS STREE Desert Fury with John Hodiak, Lizabeth Scott Burt Lancaster, Mary Astor Paramount 95 Mins. STUNNING, TECHNICOLOR PRODUCTION FOR WESTERN GANGSTER OPUS THAT PACKS TOP-SELLING FEATURES. This one is straight from a long line of successful tough guy pictures and should click solidly with devotees of the clipped, razor-thin dialogue. Lizabeth Scott as Paula Haller, beautiful, 19-year-old daughter of the middling-aged boss of a wide open town, Mary Astor, chucks finishing school to come back to her tough, domineering mother, who loves her but pushes her around too much. Paula tosses off a few amorous scenes with a young highway cop, Tom Hanson (Burt Lancaster) but her heart isn’t completely in it. She finally falls for a hood from out of town, Eddie Bendix (John Hodiak) who seems to be well-known to her mother, the cop, and everybody else, and they all agree he’s a no good guy. Paula. natch, goes on in her ‘~>icolly headstrong way and inveigles her way under his tough hide and he soon begins to smile, though he always looks as though he could haul off and sock her if she made a false move. Passion is high and the two are soon on friendly terms, though much head shaking goes on from the observant onlookers to the affair. Principal objector is Johnny Ryan (Wendell Corey) Hodiak’s pal who is with him in his desert hideout. After a number of developments the climax comes when Paula, on her flight with Eddie, picks up Johnny, who begs for a hitch to town. On his way, he reveals to Paula what a thoroughgoing heel Eddie really is. He also uncovers some nasty business about the demise of Eddie’s first wife. Johnny turns out to have been the dominating force behind Eddie’s viciousness, with Eddie merely the tool. Eddie shoots and kills Johnny after the revelation, and in a running chase of Paula, who escapes his clutches in a car, he crashes to his death, after the cop, Tom, catches up with the chase. CAST: John Hodiak, Lizabeth Scott, Burt Lancaster, Mary Astor, Kristine Miller, Willlam Harrigan. CREDITS: Producer, Hal. B. Wallis; Director, Lewls Allen; Screenplay, Robert Rossen; Original Novel, Ramona Stew art; Photography Directors, Charles Lang, Edward Cronjager. DIRECTION, Excellent. PHOTOGRA PHY, Superb,