The Film Daily (1942)

Friday, October 16, 1942 3*Sr > :< Reviews or th€ new nuns a ,v "In Which We Serve" with Noel Coward, John Mills, Bernard Miles, Celia Johnson, Kay Walsh UA-Twin Cities 115 Mins. SHOULD BE ONE OF THE OUTSTANDl^wGROSSERS OF THE WAR YEARS; PVnNG IN THE "BEST" NICHE ON ALU COUNTS. If "In Which We Serve" isn't the finest example of cinematic craftsmanship to come across the boiling Atlantic from that gallant and tight little isle called England, you name its better. And if Noel Coward's brilliantly told story of a ship — HMS Torrin, a destroyer — and its heroic ship's company doesn't score, on this side and elsewhere, as one of the outstanding grossers of the war years, this reviewer, who has been watching shadows flicker on screens, man and boy, since the nickelodeon days is ripe for retirement as a greybeard. On all counts, "In Which We Serve" places in the "best" niche. Its story, moving and absorbing, bears the seal of utter sincerity; it is wholly free from both melodramatic hokum and cinematic cliches. Natural humor is deftly employed to relieve the intense emotional impact of poignant incidents. (In this and other respects, the picture reminds inevitably of Coward's great "Cavalcade"). And always the accent is upon realism, from opening shot — the laying of the Torrin's keel — to the splendidly conceived and etched finale in which Coward as the destroyer's Captain "D" takes leave of his crew's survivors in Alexandria. Yes, emphatically, from the standpoint of story construction alone "In Which We Serve" is stand-out. But there is more to the picture's excellence than its story. There is Coward's experimentation with a modified flashback technique. It is highly effective in perfecting the mosaic for, as Coward tells his story, there are essential contributions from the lives of a dozen or so. The flashback's employment indeed is more than merely adroit. The required sequences are filled in through the parade across the screen of the thoughts of the Torrin's survivors as they cling to a life raft off Crete. Of what do men think when, wounded, on the border line of consciousness, they struggle to live, the while strafing Nazi planes swoop down like vultures? Coward with uncanny sensitivity tells you in never-to-be-forgotten footage. And speaking of Coward, "In Which We Serve" is essentially his creation: He wrote the story, (which may have been suggested by the life of Lord Louis Mountbatten) he plays Captain Kinross in a fashion that honors His Majesty's Navy as well as Coward, he co-directed with David Lean (whose editing job is tops), he produced and he provided a fitting musical setting. All in all, it's a man-of-the-year accomplishment. Which brings us to the matter of casting. Aside from Coward, the picture is peopled with players unknown to American audiences. Yet, peculiarly, this is a source of strength. For "In Which We Serve" is the sort of story which scores best when those bringing it to life are not identified with types or whose screen mannerisms have not become performance trademarks. In truth, a Hollywood cast, however talent •k SHORTS * "Night Life in the Army" (Terry-Toon) 20th-Fox 7 Mins. Good The Sergeant Cat and Gandy characters make their reappearance in this cartoon, which is in Technicolor. The action has to do with a series of nightmarish dreams into which Gandy drags the sergeant, who doesn't like the idea. There seems to be nothing that Gandy can do about it. Some of the situations into which the two get involved in Gandy's dreams are pretty funny and make this short a deserving booking. "Canadian Patrol" (Variety Views) Universal 9 lA mins. Good Canada's Royal Mounted Police come in for attention in this short. The making of a mountie is shown interestingly by the camera, which is outdoors for most of the time, to the visual enhancement of the subject. Scenes of the Mounted Police in action are unusually good. The short places considerable stress on the part played by the force in guarding the Dominion against possible sabotage. ed, in this instance would have been a handicap. There is a wealth of magnificent portrayals to support Coward, with emphasis especially upon the histrionics of Johnny Mills as a Cockney seaman, Bernard Miles as the chief petty officer, Celia Johnson as Coward's understanding wife, Kay Walsh as Mills' bride, and Joyce Carey as Miles' wife. You won't find a single performance that slips in the picture — see it and believe. As in other departments, the picture rates "best" in production elements, in photography, in sound and in the musical accompaniment supplied by the London Symphony. The story's scope, with swiftly contrasting sequences of domesticity and high adventure, of tender romance, of great courage, of savage warfare, permits golden opportunities; they are not muffed. The screen's art and dignity are the richer for "In Which We Serve." CAST: Noel Coward, John Mills, Bernard Miles, Celia Johnson, Kay Walsh, Derek Elphinstane, Robert Sansom, Philip Friend, Michael Wilding, Hubert Cregg, Ballard Berkeley, James Donald, Kenneth Carten, Walter Fitzgerald, Gerald Case, Ann Stephens, Daniel Massey, Joyce Carey, Dora Gregory, Kathleen Harrison, George Carnev. CREDITS: A Noel Coward Production, written, produced and co-directed by Noel Coward; Co-director, David Lean; Film Editor, David Lean; Musical Score, Noel Coward; Cameraman, Ronald Neame; Sound, C. C. Stevens. DIRECTION, Tops. PHOTOGRAPHY, Aces. "The Black Swan" with Tyrone Power, Maureen O'Hara 20th-Fox 85 Mins. SMASH ENTERTAINMENT IS DELIVERED BY COSTUME PICTURE OF SWASHBUCKLING DAYS. Rafael Sabatini springs back into the consciousness of film audiences with a bang in "The Black Swan," the screen version of one of the novelist's most exciting tales of derring-do. Historical romance is offered at its best in this production, a lavish Technicolor affair crammed with entertainment value. Swashbuckling, romance and red deeds of valor crowd the story to provide thrills and excitement that should bring a fervid response especially from the younger patrons. Robert Bassler deserves unstitnted praise for making this a sock showman's picture. In Henry King he found a director who was able to whip the action of the Sabatini story into a turmoil that guarantees "The Black Swan" undivided attention from those who see it. The smashing progress of the film is a tribute to the quality of King's direction. Ben Hecht and Seton I. Miller have made the work of Bassler and King easier by giving the Sabatini novel a screen treatment that leaves little to be desired. It is a lusty script of solid proportions that misses no trick in its quest of material to hold audience interest. This is the story of Henry Morgan, famous freebooter, and his motley crew. The tale opens with the pirate chieftain's return from England to assume the governorship of Jamaica after his pardon by the British king. The chief line of the plot has to do with a bloody feud between Morgan and one of his former captains who defies his orders to abandon buccaneering for the pursuit of more lawful activities. The minor thread of the plot concerns the attempt of Morgan's chief aide to win the daughter of the deposed governor from the man to whom she is betrothed. It is the heroic work of the love-smitten expirate that brings about the downfall of the rebellious captain and creates the film's happy ending. Need it be said that the ex-governor's daughter, after doing a hard-to-get for most of the footage, succumbs to the ardor of our reformed pirate? The acting is of a high caliber. Tyrone Power is the pirate who goes for the exgovernor's gal, who is enacted by Maureen O'Hara. Laird Cre?ar takes the Morgan role, with George Sanders appearing as the rebel captain. All turn in fine performances, Cregar and Sanders standing out like two robust characters of romantic fiction come to life. There are other topnotch portrayals by Thomas Mitchell. Anthony Quinn, George Zucco, Edward Ashley, Fortunio Bonanova. The Technicolor in "The Black Swan" has an amazing auality about it— a quality that makes each frame take on the appearance of a painting done in oil — with rich deep hues that are a treat to behold. Yes, the visual appeal of this film is tremendous. Too much cannot be said for the creative photography of Leon Shamroy. Alfred Newman has enriched the film with a grand score. Earl Luick has dressed the players in eve-srriDping costumes. CAST: Tyrone Power, Maureen O'Hara, "Jungle Siren" with Ann Corio, Buster Crabbe PRC 68 Mins. KIDS SHOULD FIND ACTION IN THIS AFRICAN JUNGLE MELODRAMA CAUSE FOR EXCITEMENT. The sight of Ann Corio of strip-tease fame cavorting in an African jungle setting is the primary allure of "Jungle Siren," a production in which imagination and reason take a back seat. Youths and such elders whose tastes in entertainment are primitive are the ones on whom this film will have to lean. To these the excitement and action, of which there is no dearth, should carry considerable appeal. Miss Corio, dressed in sarong, plays the daughter of slain missionaries who is being taken care of by a white doctor. All through the film she carries on a vendetta against the tribe that slew her parents. The tribe is being stirred to a war fever by a Nazi agent operating in the jungle. The action picks up when two Americans with the Free French forces come on the scene to circumvent the Nazi agent. Miss Corio proves a great help to the two men, one of whom is Buster Crabbe, in their work of putting the villain out of business. The girl's acivity in behalf of Crabbe's safety takes on a romantic hue before all the fuss is over. Miss Corio fares fairly well as the heroine of the piece. Crabbe is just adequate in his part. Other roles are taken by Evelyn Wahl. Paul Bryar, Milt Kibbee, Arno Frey, Jess Brooks. Sam Newfield's direction stresses action all the way through. The screenplay was out together by George W. Sayre and Sam Rob'ns from an "original" by the former and Milton Raison. The producer is Sigmund Neufelrl. Johnny Lange and Lew Porter have added an iota to the film's entertainment with a tune called "Song of the Jungle." CAST: Ann Corio. Buster Crabbe, Evelyn W*hl Paul Brvar, Milt Kibbee, Arno Frey, Jess Brooks, Manart K;ppen, James Adamson. CREDITS: Producer. Sigmund Neufeld; Director, Sam Newfield; Screenplay. George W. Sayre. S*m Robins; Based on Story by George W. Savre. Milton Raison: Cameraman. Jack Greenhalgh; Film Editor, HolKrook N. Todd; Song Johnny Lange, Lew Porter. DIRECTION, Fair PHOTOGRAPHY, Fair. Laird Cregar. Thomas Mitchell, George Sanders, Anthonv Quinn, George Zucco, Edward Ashley, Fortunio Bonanova. Stuart Robertson, Charles McNaughton, Frederick Worlock. Willie Funs', Charles Francis, Arthur ShieMs Keith Hitchcock. John Burton, Cyril McLaglen, Clarence Muse. Olaf Hvtten, Charles Irwin, David Thursby, Frank Leigh. CREDITS: Producer, Robert Bassler; Director, Henrv King; Screenplay, Ben Hecht, Setton I. Miller; Adaptation, Se*on I. Miller; Based on novel by Rafael Sabatini; Cameraman. Leon Shamroy; Technicolor Director. Natalie Kalmus; Music Score, Alfred Newman; Art Directors Richard Dav, James Basevi; Film Editor, Barbara McLean. DIRECTION, Fine. PHOTOGRAPHY, Superb.