Harrison's Reports (1951)

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January 6, 1951 HARRISON’S REPORTS Grant finds reason to believe his story and, since Neal had the only successful gold mine in the vicinity, he begins to investigate it quietly, and discovers that it had a rear exit leading to Krah’s mine. Grant accuses Neal and his cohorts of stealing Kroh’s gold, but Neal, anticipating the accusation, sets of some concealed dynamite to kill Grant. The explosion leaves Grant pinned in the debris, but Chinook rushes to Krah’s cabin, attracts his attention, and leads him to Grant. Freed, Grant gives chase to Neal and his gang, who had fled with the stolen gold. He overtakes them and compels them to surrender. Neal then confesses to the murder of Anne’s father as well as of the other missing men. As Grant sets out with his prisoners for headquarters, Anne remains behind as a full partner in Krah’s gold mine. Lindsley Parson produced it, and Frank McDonald directed it, from a screen play by Charles Lang, based on a story by James Oliver Curwood. Suitable for the family. “Odette” with Anna Neagle, Trevor Howard and Marius Goring (Lopert Films, no rel. date set; time, 106 min.) A gripping British-made melodrama, based on the true war experiences of Odette Churchill, Frenchborn member of the British Military Intelligence Service, who was decorated with the George Cross for her courage and heroism during World War II. Not only has it all the thrills, excitement and suspense that one expects to find in a picture dealing with espionage activities, but it also offers a stirring tale that is charged with deep emotional appeal because of the heroine’s courage and fortitude in the face of unspeakable tortures inflicted upon her by the dreaded German Gestapo. Some of the torture scenes are so realistic that they are terrifying. Anna Neagle, as Odette, turns in a brilliant portrayal; she makes one feel deep the indignities she suffers at the hands of the Nazis, and the courage she displays fills one with deep admiration. Trevor Howard, as Peter Churchill; Peter Ustinov, as a Russian-born British agent; and Marius Goring, as a suave Nazi spy, are impressive. The direction and production values are outstanding: — Odette Sansom, a Frenchwoman living in England with her three children, accepts an invitation to join the British Secret Service and, after an intensive training period, is sent to Cannes to join Peter Churchill, head of her particular group of British agents. He sends her to Marseilles to secure the plans of the dockyard from the Nazis and, despite a narrow escape from German soldiers, she successfully completes the dangerous mission. Henri (Marius Goring) , a German Colonel in charge of the enemy’s Intelligence Service, becomes alarmed at the success of the British agents and organizes an intensive spy hunt. Odette goes into hiding while Churchill is recalled to London. Henri, learning of Odette’s identity, contacts her and informs her that he hated the Nazis, that he had a plan to end the war quickly, and that he needed her aid to communicate with the British War Office. Odette, however, does not believe him, and later, when Churchill returns to France, both are caught and arrested by Henri and his agents. In love with Churchill and seeking to save him as well as herself from death, Odette tells the Gestapo that she is his wife and that he is a relative of the British Prime Minister. The Gestapo decides that both may be valuable as hostages; nevertheless, both are subjected to brutal treatment in an unsuccessful effort to make them talk. The cruelties inflicted by the Gestapo leave Odette a physical wreck, and she is eventually sent to the Ravensbruck concentration camp to await execution. Meanwhile the Allies had invaded France. In due time the American troops near the concentration camp, and the camp commandant, alarmed, decides to hand Odette over to them to save his own skin. It ends with Odette returning to London, where she is reunited with her children and with Churchill, whom she later marries. It was produced and directed by Herbert Wilcox, from a screen play by Warren Chetham-Strode, based on the “Odette” biography by Jerard Tickell. Adult fare. “Seven Days to Noon” with an all-British cast ( Distinguished Films, no rel. date set; time, 93 min.) A very good British-made thriller. Although no one in the cast is known to American audiences, it is the sort of picture that lends itself to extensive exploitation because of its intriguing topical story, which revolves around a brilliant but somewhat demented scientist who, fearing that his life’s work in atomic power will be used for the destruction of mankind, vanishes with an atom bomb and threatens to blow up the heart of London unless atomic bomb production is halted. It is a fantastic tale, but it is so well done that it keeps the spectator on the edge of his seat. The title is derived from the fact that the scientist sends an ultimatum to the Prime Minister giving him until noon Sunday, a period of seven days, to comply with his demand lest he explode the bomb. Naturally, Scotland Yard takes matters in hand, and the fanatical pacifist becomes the object of a dramatic nation-wide manhunt that generates more and more suspense as he roams around post-war London with the bomb in a suitacse and eludes capture. The plot’s development is fascinating; Government officials keeps the news from the people for the first few days to avoid panic, but when they are unsuccessful in their efforts to apprehend the scientist the Prime Minister takes to the radio to declare a state of emergency, during which he apprises the people of the danger and outlines a plan for the evacuation of the area threatened with obliteration. The scenes of the evacuation are amazingly believable because of the actual London locales. The action becomes highly suspenseful in the closing reels, where the military, with but a few hours left before the bomb is to be exploded, fine-combs the deserted evacuation area, capture the scientist while he prays alone in a church, and deactivate the bomb seconds before the time set for it to explode. Although the story is handled in a serious and understanding manner, it has some good touches of comedy to relieve the tension. Barry Jones, as the scientist, Andre Morell, as a Scotland Yard superintendent, and Ronald Adam, as the Prime Minister, are impressive in the principal roles. Roy Boulting produced it and wrote the screen play in collaboration with Frank Harvey, based on a story by Paul Dehn and James Bernard. It was directed by John Boulting. Unobjectionable morally.