Independent Exhibitors Film Bulletin (1945)

M G M . 1 Not Set THE PICTURE OF DORIAN GREY' UNUSUAL HORROR STORY FOR CLASS SPOTS ^ates • • • for class spots; much less ge 108 minutes j Jeorge Sanders, Hard Hatfield, Donna Reed, *®ter Lawford, Angela Lansbury, Lowell iilmore, Riehard Fraser, Douglas Walton, Horton Lowrj-, Miles Mander, Mary Forbes, toltert Greig, Lydia Bilbrooke, Lumsden lare, Lillian Bond, Billy Bevan, Ernest CosArt, Moyna MeGill, Pedro de Cordoba, I'lenje Carson, Guy Bates Post, Anita Mster. Mrected by All>ert Lewin. I M-G-M and producer Pandro S. Berman feet "E" for effort for courageously filming )scar Wilde's fascinating study of degenerIcy and giving it a silken production and 1 cast without star names, but the boxoffice ralue of "The Picture of Dorian Grey" appears to be restricted to a very limited segment of the movie-going public. In class pots, the out-of-the-ordinary, fantastic tale |hould attract large audiences, including the [nany Wilde devotees, but the average fan \vi\\ find it merely a slow-moving, unbelievable horror film. This is adult fare studded with cynically-voiced epigrams and advancI big one of Wilde's pet theories about suc umbing to every unholy desire — certainly kot a picture to be recommended to the ounger generation or family audiences. •everal of the decadent Lord Henry's phil sophies — "The only way to get rid of a nerally temptation is to yield to it" or "Pleasure is the only thing in life worth having a theory about" — may be delightful, but demoralizing and scarcely uplifting thoughts for right-minded patrons. The sight of the portrait, which has taken on all the aspects of Dorian Grey's sinful soul, is almost too monstrous and the climax is reminiscent of a Karloff thriller. The turn-of-thecentury settings and costumes are excellent and the musical score, including Chopin's "Preludes" is flawless. Although Hurd Hatfield, a nfi'-comer, is outwardly an inspired choice for the abnormally-handsome Dorian, the actor's immobile expression and immature dramatic sense becomes somewhat tiresome to watch during this long film. With George Sanders as the only important cast name, the picture will require strong selling to attract average audiences. The horror aspects of the story may give this a boost in action houses. In 1885, Dorian Grey (Hurd Hatfield), a handsome young man of leisure, is having his portrait painted by Lowell Gilmore when the cynical George Sanders points out that Dorian's wish that he could always remain fresh and young-looking while his picture grew old might possibly come true. Dorian, who has determined to follow Sanders' credo and live only for the moment, meets Angela Lansbury, singer in a cheap music hall and, though he falls in love with her, he puts her to a test by suggesting that she spend the night with him. He then tells her that she has killed his love for her and, after she commits suicide, he sees the first signs of hardness appear on his handsome portrait. As Dorian continues his sinful acts through the years, he is forced to hide the portrait which takes on a horrible, bestial look while he remains always young. After 20 years, he decides to marry Donna Reed, niece of Gilmore, but when the artist gets a glimpse of the horrible portrait, Dorian is forced to kill him to prevent the secret from getting out. Dorian is indirectly responsible for two more deaths and blood begins to appear on the portrait. After breaking off his engagement with Miss Reed, Dorian plunges a dagger into the portrait which slowly changes to the handsome, 20-year-old youth while the body of Dorian Grey turns into a degenerate old man. George Sanders does a fine acting job as the cynical Lord Henry, even if Wilde's witticisms rattle off his tongue as if they were far too well rehearsed. Angela Lansbury, as the wistful music hall singer from the lower classes, and Donna Reed, as the high-born, sympathetic young lady, are nicely contrasted, although neither role demands great acting ability. Lowell Gilmore, as the artist, and Richard Fraser, as a vengeful young seaman, stand out in a long cast of British types. YORK 20th CENTURY-FOX 1 in Ninth Block (Total Not Set) MOLLY AND ME' ENTERTAINING AND AMUSING WOOLLEY-FIELDS COMEDY lates • • -+ generally; less in action spots (tth Century-Fox 1 minutes lonty Woolley, Graeie Fields, Roddy Mc>owall, Reginald Gardiner, Natalie Schafer. Mrected by Lewis Seiler. Monty Woolley and Graeie Fields collabrate successfully once again to match their finning performances of "Holy Matrimony" n this story designed to entertain and muse an even greater group of moviegoers. Molly and Me" has more of the elements hat will attract mass movie audiences. An ippealing story, Monty Woolley's vitriolic lvective and Graeie Fields' delightful pei□nality, all of which were present in their revious effort, are augmented by a better ow of action and a fine supporting cast eaded by Roddy McDowall and Reginald ■ardiner. The additional factors will serve i make it an excellent performer on the >p half of dual bills in all except action ouses. The story, concerning a theatrical oupe which becomes the household staff f a rich, bitter old man and, led by the rtful Miss Fields, turns him into a human eing, is sure-fire. The romantic element I lacking, but it is hardly missed, with invest never flagging. Miss Fields has an pportunity to give her inimitable treatment a few songs which are neatly worked Uo the story. This can be exploited eavily. Audiences will not be disappointed. Graeie Fields, a London music hall performer, out of a job, tricks Reginald Gardiner, butler for Monty Woolley, and a former member of the theatre, into getting her a position as housekeeper for Woolley, who is about to run for Parliament. She soon learns that the domestic staff is dishonest and, during Woolley's absence, fires them. Woolley's son, Roddy McDowall, comes home from boarding school after a long absence, and soon becomes fast friends with Fields. She learns that Roddy believes his mother died fifteen years before, a saintly REVIEWS IN THIS ISSUE Picture of Dorian Gray 5 Molly and Me 5 Bring On the Girls 6 Salty O'Rourke 6 The Unseen 6 High Powered 7 It's a Pleasure 7 The Body Snateher 7 Here Come the Co-Eds 8 Frisco Sal 8 She's a Sweetheart 8 woman, whereas actually she had run off with another man and thereby disrupted Woolley's political career. When Fields receives a wire telling her Woolley is returning and expects her to prepare a large dinner for an important publisher, she is forced, due to a shortage of help, to hire her former theatrical cronies. The dinner is a grand success, but during a hilarious kitchen celebration by the staff, Woolley finds the servants and his son parodying his guests and fires them. Fields bitterly denounces his attitude toward his son and he realizes his error. Just as all seems right, his former wife returns for blackmail. Fields takes matters into her own hands and stages a phony performance with the rest of the actors that sends the woman off forever and a romance seems destined between the regenerated man and his housekeeper. Monty Woolley sends his verbal barbs flying to hilarious effect, although his performance is toned down somewhat to meet the dramatic requirements. Graeie undoubtedly has a "Fields" day in the housekeeper's role and even surpasses her "Holy Matrimony" performance. Reginald Gardiner, in his largest role in some time, adds immeasurably to the comedy. Roddy McDowall appears briefly, but effectively, as Woolley's wistful son. Lewis Seiler's direction is well-paced with comedy predominating. BARN MARCH 5, 1945