Harrison's Reports (1952)

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206 HARRISON’S REPORTS December 27, 1952 “Moulin Rouge” with Jose Ferrer ( United Artists, March; time, 118 min.) A superior artistic achievement and entertainment, one that no doubt will be a contender for Academy Awards in direction, acting and color photography. Basically, it is the story of Henri de Toulouse-Lautrec, the dwarf-like Parisian artist who won fame with his paintings of the Can-Can era of Paris in the 1880's, and as such it is a tragic human drama of a deformed genius, whose legs had been stunted in a childhood accident, and whose desire for the love and companionship of women was thwarted by his glaring deformity. Jose Ferrer, as Lautrec, is nothing short of superb, and it is to the credit of his brilliant acting that one feels keenly the bitterness and loneliness he suffers because of his grotesque shape. The superior entertainment quality of this picture, however, is not confined to Mr. Ferrer s brilliant portrayal, for equally important are the other unusual characterizations and the fascinating manner in which the camera has cught the colorful background of Paris in the 1880's. Particularly fascinating are the tempestuous nightlife scenes in the fabulous Moulin Rouge, with its frenzied dancers and gaudy and ribald patrons, all of which endows the film with as lusty a flavor as has ever been seen on the screen. Another important factor that makes this an outstanding film experience is the exceptionally fine color photography, by the Technicolor process. The unusual hues and tints make it one of the finest color films ever produced. The supporting cast is generally unknown, except Zsa Zsa Gabor, who does very well as a flighty Moulin Rouge entertainer. The picture is a natural for class patrons, yet it has zesty qualities that should put it over also with the general run of adult movie-goers. Briefly, the story depicts Lautrec as a man of noble birth who, because of his deformity, had left his aristocratic parents to settle down in the Montmarte district of Paris, where the surroundings and people offered subjects that suited his artistic talents. Shunned by women because of his deformed shape, Lautrec found pleasure in drink and in sketching the Can-Can girls at the Moulin Rouge. One night he saves Colette Marchand, a streetwalker, from the police, and she seeks refuge in his apartment. This develops into a tempestuous affair between them, ending bitterly when he discovers that she had lived with him to support her lover. He returns to the pleasures of the Moulin Rouge, where his sketches win recognition and set him on the road to fame. In due time he develops a close friendship with Suzanne Flon, a beautiful model, who falls in love with him out respect for his genius, despite his deformity, but Lautrec, remembering Colette, keeps their relationship so cool and impersonal that she decides to marry another man. Losing her affects Lautrec deeply; he starts to drink heavily and dies shortly thereafter. It is a Romulus Films production, directed by John Huston, who wrote the screenplay in collaboration with Anthony Veiller, based on the novel "Moulin Rouge" by Pierre La Mure. Adults. “The Star” with Bette Davis and Sterling Hayden (20th Century-Fox, no rel. date set; time, 90 min.) A strong drama, with plentiful human appeal. Bette Davis again turns in an excellent performance, making the character she portrays believable. It is the story of an aging star who had lost her popularity, as well as wealth, and who tries desperately to stage a comeback. Miss Davis certainly deserves admiration for her courage in taking a part that shows her as a faded star, even though it is only in the make-believe world. Subconsciously the picture reminds one of “A Star is Born," in which Frederic March took the part of a once-famous star who had lost his popularity, whereas Janet Gaynor, as his wife, gained fame as a screen actress. In that picture the faded hero took his own life, whereas in this picture the heroine does the sensible thing — she goes back to the man who loved her and who tried to make her forget the past. Sterling Hayden’s role is sympa* thetic and he handles it well. Natalie Wood, as Miss Davis’ 12-year-old daughter, is appealing. There is not much comedy relief: — Flat broke because of bad investments, heavily in debt to her agent and to her ex-husband, and three months behind in her rent, Bette, once a top Hollywood star, appeals to her agent for an additional loan but is unsuccessful. She is also rebuffed by her in-laws and her ex-husband’s wife, who was taking care of Natalie. Despondent, Bette becomes drunk and is arrested for reckless driving. She is bailed out by Hayden, whom she had once selected to be her leading man in one picture. He had not been an actor then, and not since, but he had been in love with her silently for many years. He takes her to his small apartment over his marine repair shop, cares for her with sympathetic understanding, and tries to convince her that, though she is through as a star, she has a bright future as a woman. He even persuades her to obtain a department store job as a saleslady, under an assumed name, but she quits when she is recognized and gossiped about. Warner Anderson, her agent, arranges for her to be tested for the part of an older woman at one of the studios. On the day of the test, Bette changes her makeup in the belief that, if she plays the part young and glamorous, she may get the lead instead of the secondary role. When she sees the results of the test, Bette breaks down and cries in the realization that she is a silly, mature woman trying to be young. Stunned, she is taken by her agent to his home and put to bed. She awakens to find a Hollywood party in progress, and is persuaded to join it, but she leaves when she thinks that she is being ridiculed by the guests. Later that evening, she is approached by a young stage producer who tries to induce her to play the part of a fading actress in a story he owned. As he explains the characterization, Bette suddenly realizes that she is a counterpart of the character, who had denied her birthright and the privilege of being a woman. Without wasting another moment, Bette picks up her daughter and returns to the welcome arms of Hayden. Bert E. Friedlob produced it, and Stuart Heisler directed it, from an original screenplay by Katherine Albert and Dale Eunson. Excellent for adults. “The Importance of Being Earnest” with Michael Redgrave and Joan Greenwood ( Univ.Int’l ., Dec.; time, 95 min.) Photographed in Technicolor, this British-made version of Oscar Wilde’s classic drawing room comedy should go over well with class audiences that patronize the art houses. Being a conversation piece about English morals and manners in the Victorian era, it is much too talky for the general run of movie-goers, most of whom may not appreciate the brilliance of Wilde’s witty dialogue. The story itself is flimsy and artificial, but it has an engaging charm, expert performance and, above all, brilliant dialogue, all of which makes for an entertainment that is light and frothy yet highly enjoyable. It is a lavishly mounted production, and special mention is due to the excellence of the color photography:— To keep the freedom of a playboy in town, and at the same time maintain a high standard of respectability in his country home, where he lived with Dorothy Tutin, his ward, Michael Redgrave, a wealthy bachelor, had created an imaginary brother named “Earnest," whom he supposedly visited when he went to London, and whose name he had adopted in winning the affections of Joan Greenwood. Michael Denison, Joan’s cousin, discovers this deception and, to woo Dorothy, he presents himself to her as Redgrave’s mythical brother. Meanwhile Redgrave had discovered that the name “Earnest” was all-important to Joan, and to solve his dilemma he returns home in deep mourning, declaring that “Earnest” had died, and plans to have himself re-christened in that name. Thus neither Joan nor Dorothy would be the wiser. He is shocked, however, when Dorothy tells him that “Earnest” had arrived earlier. Just then Joan arrives unexpectedly, and the ruse used by both men quickly becomes transparent. Both are compelled to admit that neither is really named “Earnest," and both undertake to be re-christened since the girls insisted that they cannot marry a man not named “Earnest." But such a simple solution is not enough for Dame Edith Evans, Joan’s mother and Denison's aunt, a haughty noble