Canadian Film Weekly (Jan 26, 1949)

THE PICK OF THE PICTURES a —>___ VOICE of the CANADIAN MOTION PICTURE INOUSTRY Vol. 14, No. 4 That Wonderful Urge with Tyrone Power, Gene Tierney 20th-Fox 82 Mins. SPOILED RICH GIRL COMEDY HAS THE NAMES. POWER AND MISS TIER NEY STRONG MEDICINE FOR THE MARQUEE, More than faintly resembling a series of basic situations pur ported to be comedy, yet nevertheless laugh provoking in the comedy sense that tickles the shopgirl’s fancy while it spins the stuff that her romantic dreams are made of, “That Wonderful Urge” is the latest contribution to the ever-waging battle of the sexes. The original story is bent and twisted, subjected to severe strain where credulity figures. But “That Wonderful Urge” has the names. Tyrone Power and Gene Tierney, teamed together again, make a marques lure. The title is suggestive enough. Script has more than a few references to the physical aspects of amour and for broad fun, risque in a heavy handed manner, there are enough jocular references to revive flagging interest. : In order to get back at Tyrone Power, Gene Tierney, a grocery store heiress, who has been ridiculed by him in a series of newspaper articles, follows him from Sun Valley to New York and announces to the press that they are married.. This sets off a string of follow up yarns which make Power look awkward, silly, downright stupid and increases his anger. He tries to embarrass Miss Tierney but only falls in love with her. Then someone pops the bright idea that she can be sued for libel. In court the evidence fouls up Power’s allegation he is not her husband. She frames him, but good. Interference by Gene Lockhart proves of no avail. He wants them to con_summate -the unconsummated marriage. , : But old Dan Cupid has struck and in the last scene Kinsey Report reading Power has a wrestling match with Miss Tierney in her bedroom. She tries to fight him off. But when he tell her it’s love, that puts a new complexion on things. CAST: Tyrone Power, Gene Tierney, Arleen Whelan, Reginald Gardiner, ‘Lucile Watson, Gene Lockhart, Lloyd Gough, Porter Hall, , CREDITS: Producer, Fred Kohlmar: Director, Robert Sinclair; Screenplay, Jay Dratler; From a story by William R. Lipman, Frederick Stephan. DIRECTION; Adequate. PHY: Good, PHOTOGRA ’ REVIEWS FROM FILM DAILY, NEW YORK Joan of Arc with Ingrid Bergman, Jose Ferrer, Francis L. Sullivan, J. Carroll, Naish, Ward Bond RKO-Wanger 145 Mins. ONE OFTHE GREAT PICTURES OF ALL TIME, MAGNIFICENT IN ITS LESSON OF GREAT FAITH AND HIGH COURAGE, AND BLESSED WITH INSPIRED PORTRAYALS, MASTERFUL DIRECTION, UNSURPASSED PRODUCTION VALUES AND THE FINEST TECHNICOLORED PHOTOGRAPHY. A picture for all the world to see. . “Joan of Arc.’ Assuredly, too, one of the great pictures of all time... and with its magnificent lesson of great faith and high courage as timely . that, in simple truth, is . tomorrow, and tomorrow’s tomorrow, as it is today. Seldom indeed has the cinematic art been so intelligently, so skillfully and so effectively employed anywhere to fashion a picture as devout, as inspirational, as heartening, as stirring . . . and, importantly to the showmen who will play it, as entertaining. That, admittedly, encompasses quite a bit of critical territory, but what else would — ‘or could — one write of a picture such as this — a picture whose climactic emotional impact is such as to leave you limp, a picture whose near-perfection of story is capped by magnificent performances, by sheerly brilliant direction and by Technicolored photography which eclipses all that has gone before? Write this down boldly: The late Victor Fleming’s direction, sensitive, imaginative, adept, is the kind that a director’s dreams are made of. And this as boldly: Ingrid Bergman’s Maid of Orleans, for histrionic artistry, well night stands alone. It is a First-Lady-of-theScreen performance, as much of the soul and heart as it is of the mind. In history — and in drama, too — there is no character offering greater challenge to an actress than Joan. The why of that is no mystery; the explanation is found in the simplicity of the inarticulate peasant maid of 17 who was to rally France, lead the army of its uncrowned King, Charles VII, to victory, enthrone him only to be betrayed by his weakness and avarice, and finally, to be captured, sold for British gold, tried as a heretic by the villainous, scheming and ambitious English tool, Pierre Cauchon, French Bishop of Beauvais, and ‘burned at the stake in the marketplace of Rouen. There is “Oscar’’ lustre, most certainly, also to be discerned in the delineations of ‘others numbered among the principals of the cast of thousands provided’ by the producer, Walter Wanger. But before turning to them, a few grateful, sincere words addressed to Wanger. For “Joan of Are” is produced as a great picture should be — with loving care, with high resolution and with a touch of genius, if you please. By admission, the production represents a $4,600,000 investment. Let it be said that not only does the picture look it, but that Wanger received honest value for his money in every department. And he should recoup. With a tidy profit, be it added. As to supporting performances, there are standouts by the talented Jose Ferrer, here making his film debut as the weak Charles; by England’s able Francis L. Sullivan as the story’s — and history’s — heavy, Cauchon; by J. Carroll Naish, playing the one-eyed John of Luxembourg, who sells Joan to the English, and by Ward Bond, the perfect choice for General La Hire, Joan’s devoted friend. There are, in addition to the Battle of Orleans, other exquisite examples of motion picture pageantry. The coronation of Charles in the Cathedral at Rheims would be one. Here the art direction of Richard Day touches new heights. Several of the scenes at the Dauphin’s court are veritable French tapestries come to life. CAST: Ingrid Bergman, Jose Ferrer, Francis L. Sullivan, J. Carroll Naish, Ward Bond, Shepperd Strudwick, Cecil Kellaway, Hurd Hatfield, Gene Lockhart, John Emery, George Coulouris, John Ireland, Richard Derr, Roman Bohnen, Robert Barrat, Selena Royle, Irene Rich, Richard Ney, Leif Erickson, George Zucco, James Lydon, Rand Brooks, Nestor Paiva, Ray Teal, Nicholas Joy, Vincent Donohue, Henry Brandon, Morrls Ankrum, Tom Brown Henry, Gregg Barton, Ethan Laidlaw, Frederick Worlock, Dennis Hoey, Colin Keith-Johnston, Mary Currier, Roy Roberts, Shepperd Strudwick, Taylor Holmes, Alan Napicr, Philip Bourneuf, Aubrey Mather, Stephen Roberts, Herbert Rudley, Frank Puglia, William Conrad, John Parrish, ‘Victor Wood, Houseley Stevenson, Jeff Corey, Bill Kennedy. 3 CREDITS: Produger, Walter Wanger; Director, Victor Fleming; Based on the Moxwell Anderson stage play, “Joan of Lorraine,” with script adaptation by Anderson and Andrew Solt; Director of photography, Joe Valentine; Art director, Richard Day; Costumes, Herschel McCoy and Dorothy Jenkins; Film editor, Frank Sullivan; Sound engineer, William Randall; Assistant director, Eddie Salven; Associate director, Slavko Vorkapich; Sets, Edwin Roberts, Joseph Kish; Special photographic effects, Jack Cosgrove, John Fulton; Music, Hugo Friedhofer; Musical direction, Emil Newmon, DIRECTION: Tops. : PHOTOGRAPHY: Tops. © $2.00 Per Annum The Kissing Bandit with Frank Sinatra and Kathryn Grayson MGM 102 Mins. MUSICAL OF EARLY CALIFORNIA MARKED BY ABLE PERFORMANCES AND EXCELLENT SPECIALTY NUMBERS SHOULD RATE HIGH WITH YOUNGER GENERATION: The younger generation will go for this show which has its setting laid in early California when this state was ruled by Spain. The screenplay treatment tends more towards the burlesque than to reality. There are some excellent specialty dance numbers performed by Ricardo Montalban, Ann Miller, Cyd Charisse, and Sono Osato. Kathryn Grayson and Frank Sinatra will charm their fans with their excellent singing and smooth performances. J. Carrol Naish, Clinton Sundberg and Billy Gilbert are outstanding in their respective comedy roles. Production by Joe Pasternak is lavish in all its details. Direction was handled by Laslo Benedek. The story revolves around Sinatra whose father was a noted bandit who always kissed the ladies he encountered in his robbing escapades. But Frank is just the opposite and is reluctant to follow in his father’s footsteps. J. Carrol Naish is in constant difficulty trying to bring about a change. : The plot meets complications when a Spanish count arrives from Spain to collect back taxes from the Governor of California. Kathryn Grayson is the governor’s daughter, and -when the Count goes for the pretty girl, Sinatra shows his courage by coming to her rescue to win th girl and her kisses. ‘ CAST: Frank Sinatra, Kathryn Grayson, J. Carrol Naish, Mildred Natwick, Mikhail. Rasumny, Billy Gilbert, Sono Osato, Clinton Sudnberg, Carleton G. Young, Edna Skinner, Vincente Gomez, with dance specialties by Ricardo Montalban, Ann Miller and Cyd Charisse. CREDITS: Producer, Joe Pasternak; Ditector, Laslo Benedek; Screenplay by Isobel Lennart and John Briard Harding; Authors. same; Director of Photography, Robert Surtees, ASC. DIRECTION, Able. Excellent, Stars Of 'Murderer' Orson Welles and Maria Montez will star in “Portrait of a Murderer,” which will be produced in Paris in French and English versions. The United Artists announcement also stated that Welles will write, direct and star in the English version, while Miss Montez will star in both. PHOTOGRAPHY,