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A DOG OF FLANDERS continued PANICKED BY HIS GRANDFATHER’S DEATH,THE ORPHANED BOY, FOLLOWED BY HIS CART DOG, RUSHES TO SYMPATHETIC NEIGHBORS IN SEARCH OF HELP. FILMED IN EXACT LOCALES OF A UNIVERSALLY READ ROOK Continued from page 29 father, Theodore Bikel as a temperamental, but soft-hearted artist, and Monique Ahrens as the latter’s lovely model, “A Dog Of Flanders” can deservedly boast an unusually array of exceptional performances by other principles, too. Motion Picture Daily voices the general feeling in that regard, observing that “creditable performances are also delivered by Siohban Taylor as the boy’s playmate, and Max Croiset as a stern miller, a stalwart in the community.” In summing up its reasons why “A Dog Of Flanders” should enjoy a huge box offi ce harvest, Boxoffice states: “There are countless reasons why this photoplay should be financially successful for all types of theatres. To list but a few: its literary source should attract its share of patronage, especially from the oldsters; in the title role is ‘Old Yeller’, the mongrel dog who won the love of millions of ticket-buyers in the Walt Disney film similarly named; CinemaScope photography and De Luxe Color to lend stature to the picture’s prestige and exploitability, and, above all, the fact that the screen should be enthusiastically eager to welcome a photoplay so clean that the most carping of mentors can find nothing about which to rant.” Motion Picture Herald, along with The Hollywood Reporter, The Film Daily, Ex- hibitor and Film Bulletin, emphasized the craftsmanship of those who created this production. Motion Picture Herald, for instance, wrapped up the critical view with this typical paragraph: “Robert Radnitz’s entire production is in itself a masterpiece, artistically designed by Nico Baarle with highly impressive, colorful backgrounds. The subject matter contains a number of basic human emotions drawn from Ted Sherde- mans’ screenplay, with pleasing strokes of direction by James B. Clark. 31