Film and Radio Guide (Oct 1945-Jun 1946)

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44 FILM AND RADIO GUIDE Volume XII, No. 6 aunt who looks after the home interests of three strange young women and their drunken brother. We catch the spirit of the moors and see the foreshadowings of Emily Bronte’s Wuthering Heights. We observe episodes in England and in Brussels that help to explain Jane Eyre. We see the beginnings of the love affair between Arthur Nicholls and Charlotte Bronte, a love that led at last to their marriage. The picture has the title Devotion because it shows how all the Bronte family devoted themselves to admiration of the drunken brother’s real genius, and to efforts to care for him. Olivia de Havilland, Ida Lupino, and Nancy Coleman play the parts of the three gifted sisters. Arthur Kennedy enacts Branwell Bronte. Sidney Greenstreet presents a vivid representation of Thackeray and that great writer’s egotistical certainty of himself. The figure of Charles Dickens flashes by, as he and Thackeray pass with coolness, the one aristocratic, the other interested in the poor. Literary-minded persons who bring a great deal with them will like this story of one of the most amazing of literary families; the general public, knowing little about the Brontes, will find in the story a great deal of human interest. ★ ★ ★ UNITED STATES. British Army Film Unit. Script by Eric Ambler. Commentary by David Niven. Strongly recommended. Avoiloble in 16mm from British Information Services, 30 Rockefeller Plaza, New York 20. 5 reels, 45 minutes. Service fee $1.50. Companion to the United States Army film. Know Your Ally, Britain, the British film that explains the United States to British men and women has in it so much that is both good and amusing that it interests Americans as well. For school presentation, the film has peculiar excellence, first, because it is highly instructive and second, because its pictures and animated maps appeal to young observers. In forty-five minutes of running time, the film tells the story of the discovery, exploration. and development of the American continent, and of the ways and peculiarities of the American people. The animated maps emphasize remarkably well the influence of the great river and mountain systems of the United States. The film shows that the American people work hard, play hard, and keep alert; that they have faith in all peoples, and that they are quick to rise to the defense of liberty. Even the fun that the film slyly pokes at American love of crowds and excitement, of blatant orators and noisy processions, has in it praise for energy and good will. Any school will profit by exhibiting all five reels of United States. F. H. L. * 'k * HENRY V. Shakespeare in Technicalor. United Artists release of British production of J. Arthur Rank. Laurence Olivier, Director. Strongly recommended. With all the antique wonder of Elizabethan London in 1599, the strangeness of the Globe Theatre in its first days, and the jiroud story of Henry V, 1415, the English bowmen, and the triumph of Agincourt, the $2,000,000 Technicolor Henry V stirs one in many ways. The film-story appears to take one actually into the very building in which Shakespeare produced his famous play about English courage against odds. We see the knights and the archers of long ago, and we learn much about the ways of the past. We follow, in seeming reality, the courtship of the twenty-eightyear-old King with the fair Katharine of France. We gain new interest in Shakespeare’s play. As King Henry V, Laurence Olivier is handsome, dignified, spirited, and romantic, satisfying eyes and ears alike. He looks and acts the part. He is the play. He gives the production that epic quality that Shakespeare intended it to have. This magnificently rich production of a Shakespearean play illustrates something new in motion pictures, a new method of stimulating and enlarging the imagination. It begins with scenes of old London and the exterior of the Globe Theatre, then takes us into the place itself and shows us the opening of the play exactly as the people of 1599 saw it. From that, as if in obedience to the Prologue’s command : “Think, when we speak of horses, that you see them,’’ the scenes change to reality, and from then on we follow the fortunes of King Henry and his men in England and in France, seeing, as it were, the work of our own imaginations. “Can thi.s cockpit hold The vasty fields of France ? Or may we cram Within this wooden O the very casques That did affright the air at Agincourt?” For almost the first time we realize the nature of the English archers, the men of Crecy, Poitiers, and Agincourt, whose spirits appeared to return to fight once again for the English, in the time of the desperate plight of the British, in the retreat from Mons in the First World War. We see how they use their bows and how they send great flights of clothyard arrows at the enemy. We are particularly amused to see the