Harrison's Reports (1944)

December 30, 1944 HARRISON'S REPORTS 211 ceedings, which have all the suspense and chills gen' erally found in pictures of this type : — Addison Richards, superintendent of a construe tion project in the bayou country, finds it difficult to keep the natives on the job; a series of strange murders in the swamps had terrified them. Dennis Moore, a curator, and Peter Coe, his Egyptian assistant, ar' rive in the midst of Richards' trouble and announce that they had come to search for two mislaid mummies, last known to have disappeared in the surrounding swamps. They explain that the mummies had been an Egyptian prince and princess more than three thousand years previously, and that the prince had been buried alive as punishment for trying to restore the princess to life after she had died. Moore wanted both mummies for his museum. Unknown to Moore, Coe was an Egyptian high priest, who had been commissioned by his sect to find and return the mummies to Egypt. Martin Kosleck, Coe's henchman, had located Kharis, the male mummy (Lon Chaney), and had hidden him in a deserted monastery pending Coe's arrival. Coe, with a mysterious brew of leaves, brings Kharis to life. The brew brings to life also Princess Ananka, the female mummy, who rises from the swamps. The sun's rays, however, turn her into a beautiful woman (Virginia Christine) . She is found wandering in the swamps by Moore, who gives her shelter in his camp. Coe, recognizing her as Kharis' princess, orders the mummy to capture her. In the ensuing action, Kharis creates a reign of terror as he pursues the princess, murdering those who get in his way. The girl tries to elude him, but he eventually catches her and carries her to the monastery, where she resumes her mummified state. Meanwhile Moore and a posse descend on the monastery and, after a tense battle, destroy the Egyptian priests and the mummies. Bernard Schubert wrote the screen play, Oliver Drake produced it, and Leslie Goodwins directed it. The cast includes Kay Harding, Kurt Katch and others. Too horrifying for children. "I'll Be Seeing You" with Joseph Cotten, Ginger Rogers and Shirley Temple (United Artists, Jan. 5; time, 85 mm.) An intelligently produced, emotion-stirring drama, with a particular appeal to women because of the romantic involvements. It is a timely, poignant story about a shell-shocked soldier, who, on a furlough from a hospital to prove to himself that he had a definite place in society, meets and falls in love with a girl, who herself was on a ten-day holiday from a state penitentiary, where she was serving a six-year term for accidental manslaughter. As the young couple seeking to rehabilitate themselves, Joseph Cotten and Ginger Rogers play their respective roles with keen understanding, winning the spectator's sympathy with their fine traits. One feels deeply the strain under which Ginger labors as she tries to keep her convict life secret from Cotten lest the revelation wreck the new-found confidence she had helped him attain. The action is somewhat slow and somber in spots, but this does not detract from one's enjoyment of the picture, for it has many appealing situations, and the story holds one's interest throughout: — Given a ten-day Christmas leave from prison because of good behaviour, Ginger Rogers boards a train for Pinehill, where she had been invited to spend the holidays at the home of her aunt and uncle (Spring Byington and Tom Tully) , and their daughter (Shirley Temple) . En route, Ginger meets Sergeant Joseph Cotten, who was on furlough from an army hospital, where he had been undergoing treatment as a neuropsychiatric, the result of wounds received in battle. Cotten, pretending he had a sister in town, gets off the train at Pinehill and, shortly after, telephones Ginger and asks her for a date. Ginger's understanding relatives ask her to invite him to dinner. A romance develops between the two and, under Ginger's kindly influence and guidance, Cotten slowly regains confidence in himself. Ginger, too, finds hope in the future under the steadying influence of her genial aunt and uncle. Meanwhile she withholds the truth about herself from Cotten lest its disclosure have an adverse effect on his improved mental condition. At the end of his furlough, when Cotten comes to the house to bid Ginger and the family goodbye, Shirley inadvertently reveals to him the truth about Ginger. He departs from Pinehill disillusioned, leaving Ginger heartbroken. Returning to the penitentiary, Ginger finds Cotten waiting for her at the gates. He promises to wait for her release, and both part with renewed hope for the future. Marion Parsonett wrote the screen play, Dore Schary produced it, and William Dieterle directed it. The cast includes Chill Wills and others. Morally suitable for all. A CORRECTION The Harrison's Reports Partial Index No. 6 (Blue Issue), dated November 25, 1944, mistakenly gave the release date of Paramount News No. 24 as Sunday, November 19. The correct release date of Paramount News No. 24 is Thursday, November 23. As a result of this error, the complete listing of the Paramount News release schedule, as shown in Partial Index No. 6, is out of order. The following is the corrected schedule : No. 24 Thursday (E) Nov. 23 No. 25 Sunday (O) Nov. 26 No. 26 Thursday (E) Nov. 30 No. 27 Sunday (O) Dec. 3 No. 28 Thursday (E) Dec. 7 No. 29 Sunday (O) Dec. 10 No. 30 Thursday (E) Dec. 14 No. 31 Sunday (O) Dec. 17 No. 32 Thursday (E) Dec. 21 No. 33 Sunday (O) Dec. 24 No. 34 Thursday (E) Dec. 30 No. 35 Sunday (O) Dec. 31 No. 36 Thursday (E) Jan. 4 No. 37 Sunday (O) Jan. 7 LOOK OVER YOUR FILES Around the holidays, a copy of your Harrison's Reports may have gone astray. Look over your files and if you find one missing, let us know so that we may duplicate it. A sufficient number of copies of each issue is held in stock to provide for such an emergency.