The Film Daily (1943)

V ^V fiAllY Monday, May 10, 194 } ft ft MVieUIS Of TH€ IICUI flLIDS ft £ J "The Ox-Bow Incident" with Henry Fonda, Dana Andrews 20th-Fox 75 Mins. HIGH-CLASS WESTERN IS PLEA AGAINST LYNCH LAW; ACTING FINE; DANA ANDREWS SCORES. "The Ox-Bow Incident," derived from the novel of Walter Van Tilburg Clark, is essentially a western but one of superior mold. What sets it apart from the ordinary western is the stress placed on production details, story treatment and acting. The picture is stark entertainment. Since it deals with a lynching theme that is hardly unexpected. The subject is one likely to create a feeling of depression, although there is no denying the fact that the picture is a minor masterpiece of its kind. Another fault of the film is that it takes its time getting under way. The story has been stripped down to the bone, having been worked out with a simplicity and a directness certain to leave a strong impression. Acting, direction and photography are all in the mood of the story, which in effect is a denunciation of lynch law. The film puts over its point by showing what can happen when men take the law in their own hands. The yarn, laid in Nevada in 1885, deals with three lynchings, not one. The victims are a trio unjustly accused of murdering a rancher and rustling his cattle. A mock trial is held by the lynch mob before the men are hanged. It develops later that the rancher isn't dead at all. He was only wounded — ■ and not by the suspected trio. Henry Fonda leads the cast as a cowhand who tries to save the three innocent men. Although he goes along with the mob, he does so in the hope of seeing justice done. Others who attempt to prevent the miscarriage of justice are William Eythe, Henry Morgan, Matt Briggs, Harry Davenport. The victims of the lynchers are Dana Andrews, Francis Ford, Anthony Quinn. The leaders of the mob are Jane Darwell, Frank Conroy, Marc Lawrence, Paul Hurst. The acting is aces. Andrews presses Fonda hard for top honors, giving a moving portrayal of a man pleading for his life. Mary Beth Hughes appears briefly as a girl who throws over Fonda for another man. William A. Wellman has supplied tense direction. Lamar Trotti functioned as producer and screen playwright. He did well in both capacities. The outstanding photography is credited to Arthur Miller. CAST: Henry Fonda, Dana Andrews, Mary Beth Hughes, Anthony Quinn, William Eythe, Henry Morgan, Jane Darwell, Matt Briggs, Harry Davenport, Frank Conroy, Marc Lawrence, Paul Hurst, Victor Kilian, Chris-Pin Martin, Ted North, George Meeker, Almira Sessions, Margaret Hamilton, Dick Rich, Francis Ford, Stanley Andrews, Billy Benedict, Rondo Hattori, Paul Burns, Leigh Whipper, George Chandler, George Lloyd. CREDITS: Producer, Lamar Trotti; Director, William A. Wellman; Screenplay, Lamar Trotti; Based on novel by Walter Van Tilburg Clark; Cameraman, Arthur Miller; Art Directors, Richard Day, James Basevi; Film Editor, Allen McNeil. DIRECTION, Good. PHOTOGRAPHY, Swell. "Squadron Leader X" with Eric Portman, Ann Dvorak RKO 99 Mins. WAR MELODRAMA WITH DIFFERENT TWIST IS ENGROSSING FILM; ACTING, DIRECTION, PRODUCTION VALUES FINE. A lot is to be said in favor of this war melodrama out of England. The treatment is excellent, the acting of a high order, and the direction first-class, with production values impressive. Not Hie least of the film's merits is that it possesses a number of new twists that make the offering different from the usual run of pictures based on the war. Irony is an important factor in the story, a story told with great excitement, gripping suspense and a high sense of drama. The chief characters are played by Eric Portman and Ann Dvorak. Portman is a German ace who, impersonating a captured British flyer, is dropped over Belgium to spread propaganda that it is the English and not the Nazis who are bombing nonmilitary objectives. The trick falls through when the Belgians fail to react as expected. Believing Portman is really what he represents himself to be, they see that he gets safely to England. The German, who studied in England, is in no position to object. When things start getting hot, he forces Miss Dvorak, a girl of German descent formerly in love with him, to help him on threat of blackmail. The girl, now married to an RAF medical officer, finally finds a way of bringing about his arrest. Portman escapes in a Spitfire but is sent to his death by a squadron of his own flyers who have no way of knowing it is he in the British plane. It is a tense climax — tremendously realistic. No little credit must be given to Producer Victor Hanbury for the fine quality of the production, which was directed by Lance Comfort in superlative fashion. Wolfgang Wilhelm did a fine job with the screenplay, which is based on a story by Emeric Pressburger. Mutz Greenbaum's photography is a definite asset. The musical accompaniment is provided by the London Symphony Orchestra. Little criticism can be found with the acting. Portman is most convincing as the German ace. Miss Dvorak's work is marked by great earnestness. Good as these two are, perhaps the most effective performance is that of Martin Miller as a British resident who once worked for the Gestapo against his will. Miller's performance is startling in its uncanny accuracy. Other fine performances are contributed by Barry Jones, Walter Fitzgerald and Beatrice Varley. CAST: Ann Dvorak, Eric Portman, Martin Miller, Walter Fitzgerald, Barry Jones, Beatrice Varley, Henry Oscar. CREDITS: Producer, Victor Hanbury; Director, Lance Comfort; Screenplay, Wolfgang Wilhelm; Based on story by Emeric Pressburger; Cameraman, Mutz Greenbaum; Art Director, W. C. Andrews; Film Editor, Michael C. Chorlton; Special Effects, Harry Miller, Musical Score, William Alwyn. DIRECTION, Fine. PHOTOGRAPHY, Good. A. R. O. McCulloch Dead Gait, Ont.— A. R. 0. McCulloch, prominent Gait industrialist, a director of Gait Theater Co, died here Wednesday "Swing Shift Maisie" with Ann Sothern, James Craig M-G-M 87 Mins. MAISIE IS BROUGHT UP TO DATE IN LATEST OF THE SERIES, WHICH CONTAINS PLENTY OF POPULAR STUFF. This film brings the Maisie series right up to the minute. It puts our heroine in a defense job along with so many others of her sisters. The result is a production that is timely as well as vastly amusing, even though much of the material is far from fresh. Authors and director have given Ann Sothern plenty of opportunity to strut her stuff in a new setting (for her). In her newest adventure Maisie swings it in a swing shift in an airplane factory. Her ingenuousness and feminine allure get her involved in a lot of diverting situations. This time her problem is Jean Rogers, a conniver down on her luck. Maisie, that soft-hearted dope, takes the girl in and treats her like a sister. The gal repays her by appropriating the affections of James Craig, the plant's ace test pilot, to whom Maisie has lost her heart. It was Craig who got Maisie, a former nightclub entertainer, the job in the airplane factory. When Miss Sothern makes it tough for Miss Rogers, the latter gets even by disclosing to plant officials that her rival got he. job by having a friend falsely swear as to the facts of her birth. (It seems Maisie had no birth certificate). At the close of the film Craig, fully wise to Miss Rogers, has renewed his romantic entente with Miss Sothern. Craig and the Misses Sothern and Rogers discharge their assignments well. Giving them good backing are Connie Gilchrist, John Qualen, Kay Medford and one or two others. The Wiere Brothers make a brief but telling appearance in a comedy sequence. The film, produced by George Haight, has the benefit of snappy direction by Norman Z. McLeod. Mary C. McCall, Jr., and Robert Halff devised the screenplay with a light touch throughout. CAST: Ann Sothern, James Craig, Jean Rogers, Connie Gilchrist, John Qualen, Kay Medford, Wiere Brothers, Jacqueline White, Betty Jaynes, Fred Brady, Marta Linden, Celia Travers. CREDITS: Producer, George Haight; Director, Norman Z. McLeod; Screenplay, Mary C. McCall, Jr., Robert Halff; Based on characters created by Wilson Collinson; Cameraman, Harry Stradling; Musical Score, Lcnnie Hayton; Art Director, Cedric Gibbons; Film Editor, Elmo Veron. DIRECTION, Good. PHOTOGRAPHY, Good. "This Land is Mine' In 50-City Premiere Cincinnati— RKO's "This Land Is Mine," was given a spectacular 50city simultaneous world premiere in this area last Friday that was said to have been the biggest opening here since "Hitler's Children" last January. Sponsored by radio station WLW, and with unprecedented newspaper support, the festivities centered around the Albee Theater where long queues formed from early morning until the last show. Final count indicated that this was the biggest single day's business in the theater's history. "Captive Wild Woman" with John Carradine, Evelyn Ankers Universal 61 Mir THIS ONE SHOULD SATISFY THE HO ROR ADDICTS PLENTY; SCRIPT H LOT OF ACTION. V, ' "Captive Wild Woman" should ma horror fans gurgle in sheer ecstasy. T production, turned out by Ben Pivar, oug to prove a strong attraction where films its ilk are appreciated. The development the story gives shocker addicts opportuni after opportunity to scream. The ki especially will respond generously to tl thriller. To guarantee the picture's hold them the authors have judiciously laid mu of their story against a circus backgrour The circus atmosphere heightens the e citement. The youngsters will sit on t edges of their seats as Clyde Beatty, dou ling for Milburn Stone, who plays an anirr trainer in love with Evelyn Ankers, puts on rousing act with lions and tigers. The villain of the piece is John Carr dine, a scientist probing into the myste of glands. He steals a female gorilla frc the circus and transforms it into an allu ing girl by injecting into it glandular e tractions taken from Miss Ankers' sist (Martha MacVicar), one of his patien The doctor's creation (Acquanetta) is e gaged by the circus because of the peculi control she has over animals. The g develops a silent attachment for Stor the trainer. Emotional shock induced her jealous reaction to the sight of Sto embracing Miss Ankers turns Acquanel back into the gorilla. When Carradine tri to use Miss Ankers as a human guinea f to advance his experiments the gori comes to her rescue, killing the villain. T gorilla returns to the circus and is kill through a misunderstanding. The acting is suited to a film of tl nature. Carradine makes an extremely si ister villain. Miss Ankers and Acquanet contribute considerable eye appeal. Plenty of action is generated by the dire tion of Edward Dmytryk. The screenpl of Henry Sucher and Griffin Jay, based a yarn by Ted Fithian and Maurice Piv; is an excellent job of its kind. CAST: Evelyn Ankers, Acquanetta, Jol Carradine, Martha MacVicar, Milburn Stor Lloyd Corrigan, Vince Barnett, Fay Helm. CREDITS: Associate Producer, Ben Piv< Director, Edward Dmytryk; Screenpl. Henry Sucher, Griffin Jay; Based on sto by Ted Fithian, Maurice Pivar; Camerama George Robinson; Art Director, John Goo man; Film Editor, Milton Carruth. DIRECTION, Good. PHOTOGRAPH} Good. Kill Sunday -Matinee Proposal Rochester, N. H.— The City Coui cil has rejected by an 8-6 vote proposal for Sunday afternoon fil shows on the basis of a poll by loci newspapers in which less than 3( ballots were cast. City has a p< ulation of 11,000. The que: however, automatically comes up a referendum at the city election the Fall and is expected to recen approval by a huge margin. D cision will require no further a< tion to be put into effect .