Canadian Film Weekly (Nov 17, 1948)

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THE PICK OF THE PICTURES Vol. 18, No. 44 An Innocent . Affair with Madeleine Carroll, Fred MacMurray United Artists 90 mins. LIVENED BY SLICK GAGS, TOP PERFORMING, FIRST-RATE PRODUCTION, THIS ONE STANDS TO DO BETTER THAN AVERAGE BUSINESS. Enlivened considerably by the intrusion into the plot of a few slick gags, this comedy of marital complications makes the grade as light entertainment close enough to the forefront of its type to do better than average business. Madeleine Carroll returns after a lengthy absence. She gives her role what is required. Fred MacMurray, when the yarn opens, has been chasing down an advertising account with a “Mr. Fraser.’ Miss Carroll doesn’t like the late hours and their fifth anniversary is coming up. MacMurray, while he has been running around with Louise Allbritton, has also been attending strictly to business. MacMurray’s duplicity is soon discovered by Miss Carroll and in cahoots with Rita Johnson, they attempt to teach the straying husband a lesson. They hire an actor to show more than friendly interest in the neglected wife. Celebrating their anniversary, MacMurray and Madeleine meet up with Charles ‘Buddy’ Rogers, a cigarette tycoon who is mistaken for the hired ham. This, of course, leads to a good deal of confusion. From that point on the proceedings take on the aspect of a merry mixup which in due process leads to divorce proceedings on Miss Carroll’s part. In time husband and wife get over the nonsense and there is a reasonable explanation. Basically, the theme derives from the thought — tell a woman the truth and she won’t believe you. Tell her a lie and you stand a better chance. But don’t involve too many females while you are at it, because something is likely to blow up in your face. CAST: Fred MacMurray, Madeleine Carroll, Charles ‘‘Buddy’” Rogers, Rita Johnson, Louise Allbritton, Alan Mowbray. CREDITS: Producer, James Nasser; Director, Lloyd Bacon; Original screenflay, Lou Breslow, Joseph Hoffman; Photography, Edward Cronjager. DIRECTION: Good. PHOTOGRAPHY: Good. To Direct "Lucasta’ Irving Rapper will direct Cojumbia’s “Anna Lucasta.” * VOICE of the CANADIAN MOTION PICTURE INDUSTAaY REVIEWS FROM FILM DAILY, NEW YORK June Bride with Bette Davis, Robert Montgomery Warners 97 Mons. FUNNY, ROLLICKING ROMANCE ESTABLISHES MISS DAVIS IN THE FRONT ROW OF NEW SEASON ATTRACTIONS THAT WILL MAKE FINE BOXOFFICE MUSIC. ; With this sprightly comedy Bette Davis, with a fine assist by Robert Montgomery, once more establishes in the row of new season attractions that will niake fine boxoffice music. It is a grand, funny, rollicking romance highly provocative of the laughter element which is what audiences want, don’t get too often these days, should demand. It is the battle of the sexes again. There’s also about a half dozen situations well loaded with broad humor that has been assembled and displayed with keen timing and construction. As a foreign correspondent, Robert Montgomery returns from Berlin. Things have cooled for his special talents and with some reluctance he takes a new post as feature writer on a home magazine edited by Miss Davis, the girl he walked out on years before. Gayly he invades her lair, tries to warm over their past romance, is brushed off and soon applies himself to the business at hand—a story in picture and word of a “June Bride” in Indiana who has_ conveniently agreed to get herself married in winter for publicity purposes. To Indiana goes Miss Davis and staff. In short order plenty in the way of young love is generated, cross purposes are created, the planned events get fouled up via the intrusions of Betty Lynn and company. Even Miss Davis and Montgomery get more than chummy before eruption takes place. Betwixt the doings there is much fun bandied, in due time leading the path of story development to where the bride runs off and elopes with her true love, the groom marries Miss Lynn. With the issue safely up and ready for the printer, Montgomery and Bette come to an understanding. She admits defeat, agrees he is the pants wearer, meekly submits to him as lord and master. CAST: Bette Davis, Robert Montgomery, Fay Bainter, Betty Lynn, Tom Tully, Barbara Bates, Jerome Cowan, Mary Wickes. CREDITS: Producer, Henry Blanke; Director, Bretaigne Windust; Screenplay, Ranald MacDougall; Based on a play by Eileen Tighe, Graeme Lorimer; Photog: raphy, Ted McCord. DIRECTION: Fine, PHOTOGRAPHY: Very good, Cry of the City with Victor Mature, Richard Conte 2¢th-Fox 95 Mins. VERY WELL PLAYED CRIMEDOES-NOT-PAY DRAMA WITH ACTUAL LOCALES. MATURE, CONTE VERY GOOD. DIRECTION HITS HIGH MOMENTS OF SUSPENSE, INTENSITY. Here once again is another starkly handled crime-does-notpay theme wherein a vicious criminal in due course gets his lumps via a police bullet. He is a thoroughly unsympathetic character, cruel, scheming, ruthless. On the other hand there is a cop, systematic, inquiring and fact finding who adds up one element on top of another and comes out of the mess with the criminal lined up in his gunsights. Introduced as a wounded cop killer, Richard Conte shows up in a hospital about to undergo surgery. His tearful family is about. He is given last rites. But he comes through and after being transferred to a prison ward, he breaks out. His first step is to kill a shady lawyer who is trying to implicate his girl in a jewel robbery-murder. He gets some money and the jewelry, sets out to locaie the female who actually had a part in the caper. He hardly makes it. His wounds open and he almost passes out. An unlicensed medico patches him up for $200. Victor Mature in the interim has not been asleep at headquarters and methodically has been picking up fragments here and there which begin to shape up and point the finger which is found at the end of the long arm of the law — and coincidence. Conte makes the mistake of crossing up Hope Emerson and barely gets away when the cops take her. He finally arranges to meet his true love, Debra Paget, for whom he has plans other than his deceptive affection indicates. This rendezvous is interrupted by Mature. It is in a church and Mature has left his sickbed to be there. It proves to be the payoff for Conte who eludes the weakened Mature for a moment. Quick flying hot lead catches up with him. CAST: Victor Mature, Richard Conte, Fred Clark, Shelley Winters, Betty Garde, Berry Kreoger, Tommy Cook. CREDITS: Producer, Sol C. Siegel; Director, Robert Siodmak; Screenplay, Richard Murphy; From a novel by Henry Edward Elseth; Photography, Lloyd Ahern. DIRECTION: Good, PHOTOGRAPHY: Very Good, $2.00 Per Annum Apartment For Peggy with Jeanne Crain, William Holden, Edmund Gwenn. 20th-Fox (Technicolor) 99 Mins. SOCKSTUFF SHOWMEN CAN YELL THEIR HEADS OFF PRAISING THIS CNE — AND TRUTHFULLY TOO. WATCH “PEGGY” BREAK OFF A LARGE CHUNK OF NEW-SEASON BIZ. CLASS A PRODUCTION. VERY WELL PLAYED. “Apartment for Peggy” is such a good thing in the collection of new films that the showman can yell his head off truthfully singing its praises. In the top roles Miss Crain, Holden and Gwenn are in their best form. The supporting cast structure is well set up, too. It is a Class A production in every segment. . Playing the talkative wife of Holden, Miss Crain, an expectant mother — and no silly bones are made about her condition — talks Gwenn into letting his attic as they have to vacate trailer premises. Holden’s ambition and goal is to become a teacher — a career he decided upon while clinging to a life raft in the Pacific during the war. Miss Crain is willing to stand by him and see him attain his heart’s desire athough her lot is neither comfortable nor desirable. It is Holden’s endeavor to help the’ world overcome its prejudices and intolerance via enlightenment and Miss Crain is not only very much in love with him but also with his ideal. Gwenn, however, has been a philosopher many years, feels his place in the world superfluous. His colleagues on the faculty try to talk him out of it but he secretly plans and lays away a supply of sleeping pills. But with the intrusion of the Holdens things brighten up considerably and he makes himself a part of their lives. Miss Crain loses her baby at birth. This sets Holden off on a new path. He gives up his primary purpose and seeks the dollar. A visit by Gwenn brings him back later, but not until after Gwenn tried what he thought would be suicide. It turns out his colleaguephysician faked the capsules and had them filled with a laxative. Of course in short order things work out for all concerned. CAST: Jeanne Crain, William Holden, Edmund Gwenn, Gene Lockhart, Griff Barnett, Randy Stuart, Marion Marshall. CREDITS: Producer, William Perlberg; Directed and written for the screen by George Seaton; From a story by Faith Baldwin; Photography, Harry Jack son. DIRECTION, Fine, PHOTOGRAPHY, Very good,