Harrison's Reports (1943)

40 HARRISON'S REPORTS March 6, 1943 "The Human Comedy" with Mickey Rooney, Frank Morgan, Fay Bainter and James Craig (MGM, no release date set; time, 116 min.) Excellent! William Saroyan's original screenplay has been made into one of the most powerful human interest dramas ever brought to the screen: the person who could resist its deep emotional appeal would indeed be a hardened individual. Much credit is due Clarence Brown for his skillful and sympathetic handling of this heart-stirring story, which revolves around a small-town telegraph messenger boy, his family, and his friends. Through the joys and the sorrows of these people, who have their counterpart in every American home, this film depicts the courage with which the American people are facing life in these trying times. Throughout the action there are scenes that will tug at one's heart-strings, and others that will fill one with rollicking laughter. Although the story is in tune with the present day conflict, there are no war scenes. All the action takes place in a small California town, except for a few brief sequences in an army canteen and in a troop train. In spite of the fact that there is considerable dialogue, a good deal of which preaches Saroyan's philosophy— love for your fellow man, one never loses interest in the proceedings. The characterizations arc wonderfully human, and unforgettable. In Mickey Rooney we find a young high school boy, who works as a telegraph messenger boy from four in the afternoon until midnight, thus helping to support his widowed mother, his older sister, and his five-year-old brother; his elder brother, who had been the breadwinner of the family, had been inducted into the army. Through Mickey's delivering of telegrams, and his contact with the townspeople, is revealed their reactions to the effects of war. Mickey Rooney's performance is unquestionably his best to date. Frank Morgan is splendid as the old-time telegrapher, once the speediest in the business, who constantly fears that the telegraph company will force him into retirement. He drinks heavily to assuage this fear, but is extremely sensitive about his inebriated condition. His counsel to Mickey and the boyish respect the lad pays to him are among the film's highlights. The surprise of the picture, however, is the performance of little Jack Jenkins, who plays Mickey's five-year-old brother. His childish questions, and his expressions of complete wonderment at all that goes on about him, will delight audiences. He is an appealing youngster, who performs naturally, and his ability to register joy, disappointment, and fear marks him as a definite "find." The others in the cast are superb. Fay Bainter, as Mickey's mother, a harp-playing, understanding woman, who tends to her brood and patiently answers her little son's many questions; Donna Reed, her 'teen age daughter, a good girl; Van Johnson, as the son in the army; John Craven, Johnson's buddy, an orphan who never had a home life, but who is made to feel that his home is with Johnson's family; Rita Quigley, Johnson's sweetheart; James Craig, as the robust manager of the telegraph office, a rugged but kindly individualist; Marsha Hunt, a spoiled but understanding society girl, who marries Craig; Darryl Hickman, as little Jack's buck-toothed bosom pal; Mary Nash, Mickey's middle-aged school teacher, who defends him against discrimination — all are lovable characters. There are many memorable scenes, both tragic and humorous, among which are: Mickey delivering to Ann Ayars a telegram informing her that her son had been killed in action, and her giving Mickey candy that she had saved for her boy; soldiers on a troop train quitting their card and dice games to join in the singing of a church hymn; Mickey's reluctance to deliver a rival's singing telegram to his girl; the visit to the library by little Jack and Darryl, who hopes that some day he may be able to read; little Jack's joy when a Negro hobo, on a passing freight train, waves back to him; the kindly old farmer who secretly and gleefully watches a group of children attempt to filch apricots from one of his trees; Mickey's classroom discourse on the human nose; and Mickey discovering Morgan dead, slumped over his typewriter, which held an uncompleted War Department message to Mickey's mother informing her of Johnson's death. All these are but a few of the scenes that play havoc with one's emotions. The story, which is made up of a series of correlated episodes, is void of intrigue or villains. It is a simple, honest tale about plain people, and the every-day incidents that occur in their daily lives. Its simplicity is refreshing, and its emotional impact is genuine. "The Human Comedy" is a credit to its maker, as well as to the industry itself. Howard Estabrook wrote the screen play from William Saroyan's original. Clarence Brown produced and directed it. Morally suitable for all. "Slightly Dangerous" with Lana Turner and Robert Young (MGM, no release date set, time, 94 nttn.) Although this farce lacks a substantial story, it offers enough comedy and romance to satisfy the rank and file. It is a story of rags to riches, via the deception route, in which Lana Turner quits her job as a soda clerk in a small-town store, goes to the big city, "glamourizes" herself, and deceives an old millionaire into believing that she is his long lost daughter. Most of the comedy is brought about by the efforts of Robert Young, the store manager, to discredit her, and to bring her back to the town. Although the story is thin, and it is developed according to formula, it does not become borcsome because the action is breezy throughout. The production values are good: — When Lana Turner finds her life as a soda clerk in a small-town department store monotonous, she blindfolds herself and mixes whatever drink a customer orders. The customers are delighted, but Robert Young, the manager, is not. He calls Lana into his office, and reprimands her. She becomes hysterical, and rushes out of his office; everyone believes that Young had molested her. The following day, Lana disappears from town, leaving a suicide note. All are convinced of Young's guilt, and he loses his job. Lana, however, is very much alive. She goes to the big city where she spends her last dollar to remodel her personality. While passing a newspaper office, Lana gets into an accident in which a can of paint hits her and ruins her newly acquired glamour. When Eugene Pallette, the publisher, asks Lana for her name, she feigns amnesia. She leads Pallette to believe that she is the long missing daughter of Walter Brennan, an industrial tycoon. With luck and much subterfuge, Lana convinces Brennan that she is his daughter. Young recognizes Lana from newspaper photographs, and follows her to the city. When she refuses him recognition. Young determines to show her up. He confronts her with a fake marriage license, and insists that she is his wife. Because she had claimed amnesia, Lana cannot deny it. She has no choice but to go with him. Meanwhile, in checking Young's claim of marriage, Brennan discovers that Lana is not his daughter. Brennan follows in pursuit, but by the time he catches up with them, they had fallen in love with each other. Young and Lana confess the hoax, but Brennan prefers that Lana go on being his daughter, and he gives them his blessing. Charles Lederer and George Oppenheimer wrote the screen play, Pandro S. Berman produced it, and Wesley Ruggles directed it. The cast includes Dame Mae Whitty, Alan Mowbray, Ward Bond, Pamela Blake, and others. Adult entertainment.