Film and Radio Guide (Oct 1945-Jun 1946)

52 FILM AND RADIO GUIDE Volume XII, No. 8 tures that tell about plain women becoming glamorous almost over night. Perhaps for men and women alike, Do You Love Me? will prove a kind of fountain of youth. F. H. Law. ONE MORE TOMORROW. Comedy. Warner Brothers. Peter Godfrey, Director. From 0 ploy by Philip Barry. “Let the rich man beware of the gold-digger and cling to one who loves him for himself alone” summarizes the thought and the moral of One More Tomorroiv, an altogether pleasing entertainment. Alexis Smith and Ann Sheridan both appear to delightful advantage in this comedy in which two blondes contend for one mere man, the one appealing by fashionable clothing and society savoir faire, and the other by energetic business life and the spirit of take-care-of-one’s self. If the hero of the story had followed the principle, “Always to court and never to wed is the happiest life that ever was led,” he might have been saved many difficulties. As it was, the hero (Dennis Morgan) makes the mistake of marrying one of the ladies and then wishing that he had married the other. That makes the story of the film, and a very interesting story it is. The hero is one of those happy, irresponsible multi-millionaire sons of multi-millionaire fathers that appear occasionally in motion pictures. His club-loving father (Thurston Hall) just can’t understand him at all, especially when he tries to do anything intellectual and at all worth doing. For no apparently good reason, the very rich hero has as butler an utterly irresponsible boon companion and former pugilist (Jack Carson), with whom he lives in liberty hall, doing as an unattached bachelor would do. Naturally, the bride who enters this establishment quickly wishes a new butler. What stays longest in mind after having seen One More Tomorrow are the pictures of stately Alexis Smith in gorgeous costumes, the clowning of the pugilist-butler, the efforts of a liberal group to publish a liberal magazine, and the energy of Ann Sheridan as a newspaper photographer. F. H. Law. "One More Tomorrow" from a Woman's Viewpoint This is an adaptation of Philip Barry’s The Animal Kingdom. For some reason which eludes this reviewer, it has been felt necessary to try to bring it up to date by making the heroine a crusading photographer and the hero a playboy who reforms under her influence and becomes the editor of a liberal magazine. The hero’s wife and his wealthy father ti’y to make him betray his principles and stop his journal’s expose of the delivery of inferior materials to the army by the copper trusts. All these attempts to inject social significance into what is, after all, a polite social drama, make the resulting picture neither flesh, fish, nor fowl. Alexis Smith, as the false wife, and Dennis Morgan, as the playboy, give superb performances. Jack Carson and Reginald Gardiner are outstanding in minor parts. Ann Sheridan is badly miscast as the photographer but nobly tries to do her best. This photoplay makes us wish that movie moguls would learn to leave good enough alone and not subject a perfectly good play to a lot of unnecessary rewriting. Emily Freeman. ★ ★ ★ SOMEWHERE IN THE NIGHT. 20thFox. Directed by Joseph L. Monkiewicz. Post-war detective melodrama. A war victim of amnesia, George Taylor (John Hodiak), after his discharge from the army, tries to discover his own identity. This is an absorbing topic both for the hero and the audience, especially since the former is so well depicted by John Hodiak. Towards the end, the plot becomes so tangled that a printed synopsis of the story might be welcome if supplied at the end of the picture. In addition to the star, Lloyd Nolan, Richard Conte, and Fritz Kortner deserve high praise. Of the women, I thought Josephine Hutchinson showed the talent and intelligence she displayed on the legitimate stage. The mental processes of a person struggling with loss of memory were portrayed on the screen with fine ingenuity on the part of the director. Carolyn Harrow. RENDEZVOUS 24. Detective melodrama. 20th-Fox. James Tinling, Dicertor. A case of “old wine in new bottles” is what we have in “Rendezvous 24,” a story woven around Anglo-American detectives and German spies. It seems that Hitler’s dream is to be fulfilled by some scientists, who in a laboratory somewhere in a deep recess of the Hartz Mountains of Germany, are experimenting with the atomic bomb. What brings rather timeworn situations and killings up to date is the bomb element. The large cast is highly competent in every respect and expertly directed. Carolyn Harrow.