Harrison's Reports (1954)

6 HARRISON’S REPORTS January 9, 1954 “The Glenn Miller Story” with James Stewart and June Ally son (Univ.'lnt'l, February; time, 116 min.) Excellent! Biographical of the career of the late Glenn Miller, the famed dance bandleader, who disappeared at the peak of his popularity while flying to Paris to entertain American troops, the production, photographed in Tech' nicolor, is a stirring and heart-warming human interest drama, expertly directed and flawlessly acted by a fine cast. It is the kind of picture that will have wide appeal, for it is sentimental, has tears and laughter, a tender and charming romance and, of course, many popular song hits identified with Miller and played in his inimitable style. The remarkable thing about Glenn Miller’s music is that it has lost none of its popularity in the nine years since his death; his recordings are still among the top favorites. But though the music is an important part of the film’s entertainment values, it does not overshadow the human elements of the warmhearted story, which traces Miller’s career from the time that he was an itinerant trombonist in 1925 to his tragic death in 1944, depicting his burning desire and determination to create a “new sound" in popular music, his struggles in fulfilling his dream, his charming romance and marriage, and his wholesome family life. James Stewart, as Miller, comes through with another one of his outstanding portrayals; he gives the characterization a quality that highly sympathetic and endearing, and for that reason one feels keenly his his joys disappointments, as well as the tragedy of his sudden death. June Allyson is completely winning as his wife. Outstanding among the many musical highlights is a jam session in a 1928 Harlem nightclub in which Louis Armstorng and Gene Krupa team up in a rendition of the “Basin Street Blues.” Another highlight is where Frances Langford and The Modernaires appear with Miller’s band in an overseas service show. All in all, the fame of Glenn Miller’s music the popularity of the players, and the favorable word-of-mouth advertising that the picture is sure to enjoy, should make it one of the top boxoffice attractions of 1954. Opening in 1925, the story depicts Miller as a struggling trombonist who dreams of having his own band and of creating something new in popular music. He gets his first break when he obtains a job as a trombonist-arranger with Ben Pollack (playing himself), a popular bandleader. When the touring band stops in Denver, Miller calls on Helen Burger (June Allyson), his college sweetheart, whom he had not seen in two years, and tells her of his intention to in .apUje .of the fact that she was engaged to In New Yo^k, .Miller leaves Pollack to try '% his luck ajjay arr^pger, but he meets with no success and ends li5'fet^e,jTo booa ’ns moraic, Ae teiepnoiies Heieii ana persuAJElrfr liiW: Thfelr life' l»ecomes one in wbch Miller plays in orchestra pits of various theatres to tke out a livelihood. But in due time Helen manages to save $1800 and persuades him to organize his first band. Luck is against him, however, and the band folds in Boston. To complicate matters, Helen becomes ill, and he is compelled to sell all his equipment to meet the hospital bill. Miller finally gets an unexpected break when Si Schribman (George Tobias), a ballroom operator, ofi^ers to finance a new band. During rehearsal, the trumpet-player accidentally splits his lip and Miller uses a clarinettist as a substitute. This gives his music arrangements the “new sound" he had been searching for, and it wins immediate popularity. From then on Miller’s band gains fame and he becomes wealthy. At the peak of his popularity, he accepts a commission as a captain in the Air Force and, at his own request, is sent overseas with his band to entertain the troops. His career comes to an end when a plane flying him to Paris for a special Christmas show disappears over the English Channel. It was produced by Aaron Rosenberg, and directed by Anthony Mann, from a screenplay by Valentine Davies and Oscar Brodney. Fine for the family. “Personal AfiFair” with Gene Tierney, Leo Genn and Glynis Johns {United Artists, January 15; time, 82 min.) This British-made adult drama ofi^ers a thought-provoking study of the damaging efi^ect that malicious gossip can have on the lives of innocent people. As an entertainment, however, it is cheerless and slow-moving, and seems more stiited to the classes than to the masses. Revolving around a ’teenaged schoolgirl’s infatuation for her handsome teacher, a decent married man who becomes the victim of poisoned minds when she disappears, the story has its intriguing and tense situations, but there are moments when the proceedings become tedious, mainly because of the director's tendency to dawdle on unimportant matters in an apparent attempt to give the film an arty touch. Leo Genn is sympathetic as the harrassed teacher, and Glynis Johns is appealing as the ’teen-ager, but it is somewhat difiicult to accept her as a 17-y ear-old girl. Gene Tierney is competent as Genn’s American wife, but her possessiveness robs her of sympathy: — Although aware that Glynis, one of his pupils, had become infatuated with him, Genn, accustomed to such “crushes," pays little attention. A man of high integrity, Genn is keenly interested in his school work and very much in love with Gene, his wife. But Gene, recognizing the light in Glynis’ eyes, openly accuses her of being in love with Genn when she comes to their home one evening for special tuition. The accusation makes the girl hysterical and she rushes away from the house. Furious over the irreparable harm that Gene may have caused the impressionable girl, Genn quarrels bitterly with her. Later, he arranges to meet Glynis in an effort to calm her nerves. When Glynis fails to return to her home that night, Walter Fitzgerald, her father, confronts Genn, who admits that he had met her that night but insists that she had caught the bus home. Glynis’ failure to return home the next day, coupled wih the fact that her beret is found floating in the river, starts gossip among the villagers and before long the entire community suspects Genn of foul play. The police are called in, and Genn is made to account for his movements. Torn between her love for her husband and the vicious gossip of the villagers. Gene begins to doubt Genn’s insistence that he knows nothing of the girl’s whereabouts. After an absence of three days, during which life becomes unbearable for both Genn and his wife because of the web of intrigue and suspicion that is spun by poisoned minds, Glynis returns home and explains that she had been staying with a girlfriend in London in order to straighten herself out. Her return clears the air of liasty suspicions and enables Genn and his wife to resume a normal life. It was produced by Antony Dainorough, and directed by Anthony Pelisaier, from a screenplay by Lesley ^torm. It is a T. Arthur Rank Organization presentation. Adults; • ' ■ ■ T '■ “Charge of the Lancers” with Paulette Goddard and Jean Pierre Aumont (Columbia, no rel. date set; time, 74 tnin.) Photographed in Technicolor, this is a routine but passable costume adventure melodrama. It does not, however, rise above the level of program fare, and will serve best as a supporting feature. Set in the days of the Crimean War and dealing with the adventures of a French-born British oSiceT whose espionage activities bring about the capture of Sebastapol, neither the story nor the heroics are believable, but it has enough action, excitement and romantic by-play to get by with those who are not too fussy about the quality of their screen fare. Jean Pierre Aumont, as the hero, and Paulette Goddard, as a flirtatious gypsy who aids him and wins his heart, are no more than adequate in meeting the demands of their roles. The direction is ordinary. There is some comedy, but it is pretty weak: — To help the Allied forces capture the Russian naval base at Sebastapol, Aumont and Richard Stapley, a fellow British officer, arrive at field headquarters with the model of a new cannon, powerful enough to blast through the thick walls protecting the base. The Russians manage to capture Stapley and question him about the new weapon, but he feigns