Harrison's Reports (1945)

January 20, 1945 HARRISON'S REPORTS 11 when the police, seeking to arrest the Devil on an assault and battery charge, are informed by Meeker that Lake was the masked wrestler. And to make mat' ters worse, the Devil's manager, who had never seen his wrestler unmasked, also identifies Lake as their man. The police urge Lake to confess, but the Devil's manager warns him to admit to nothing lest he be barred from the ring. Seeing an opportunity to get himself out of a predicament, Lake confesses to the charge. Dale, assured that Lake was through with wrestling, agrees to marry him. Leslie Vadnay and Richard Weil wrote the screen play, Sydney M. Williams produced it, and Howard Bretherton directed it. Claude S. Spence was associ' ate producer. The cast includes Emmet Lynne, Marjorie Manners, Sammy Stein and others. Unobjectionable morally. "Eadie Was a Lady" with Ann Miller and William Wright (Columbia, January 18; time, 67 min.) A fair program comedy, the sort that may appeal to audiences that are not too exacting in their de' mands. Like most pictures of this type, this one suffers from an inconsequential script; but it serves well enough as a means of putting the production numbers and the comedy across. Ann Miller sings a few songs well, but she is at her best when dancing. As a matter of fact, she does more dancing in this picture than she has done in her last few pictures. Most of the comedy falls flat because it is forced, but Joe Besser manages to get several laughs by his customary antics. One production number, in which classical and "jitterbug" dancing are combined, is both novel and amusing: — Ann, who lived with her socialite aunt in Boston, and who attended exclusive Glen Moor College during the day, furthers her theatrical ambitions by working secretly in the evenings as a chorus girl in William Wright's burlesque show. Wright, unaware of Ann's family background, singles her out for a leading part in the show, and, through a ruse, manages to rid himself of Marion Martin, the show's leading lady, so that Ann could replace her. Ann makes a hit with the audience, but, lest she become a noted star and her double life be found out, she quits burlesque. As a result, Wright's show closes. Through Joe Besser, a former vaudevillian, who taught classical dancing at the college, Wright locates Ann and induces her to appear in a private show at an alumni dinner. Marion, seeking revenge on Wright, informs the police that an obscene performance was taking place at the dinner. A raid takes place and among those arrested are Ann and the college Dean, who had been present at the event. When the college board of directors assemble to take action against Ann and the Dean, Wright, posing as the head of the Athens Art Theatre, explains that Ann had appeared in burlesque at his request to gather material to be used in the college's annual Greek Festival. With the Dean and herself cleared, Ann looks forward to a happy future with Wright. Monte Brice wrote the screen play, Michel Kraike produced it, and Arthur Dreifuss directed it. The cast includes Jeff Donnell, Tom Dugan and others. Unobjectionable morally. "A Song to Remember" with Paul Muni, Merle Oberon and Cornel Wilde (Columbia, no release date set; time, 113 min.) This romantic drama, based on the life of Frederic Chopin, the famous composer, and set to his inspiring classical music, is a finely produced picture. Class audiences, and music lovers in particular, should find it very satisfying. As for its reception by the rank and file, its chances are fairly good, for Chopin's music is melodious, the story, though highly Actionized, has considerable human interest, and the performances by the capable cast are excellent. Moreover, the settings of the 19th century period are magnificent, and the Technicolor photography is a treat to the eye. While no official credit is given, the superb piano playing that accompanies the action is said to be the work of Jose Iturbi, eminent pianist. Most of the human interest is awakened by Paul Muni, as Chopin's music teacher; his unfailing devotion to his pupil, despite the composer's maltreatment of him, is at times quite pathetic. Cornel Wilde, as Chopin, is convincing, as is his piano playing of the composer's works. Merle Oberon, as George Sand, the eccentric woman novelist with whom Chopin becomes infatuated and for whom he detaches himself from his friends and ideals, has a most unsympathetic part, but she plays it very effectively. The affair between them has been handled with delicacy : — Recognising the musical genius of Chopin as a youth, Joseph Eisner (Paul Muni) dreams of the day the boy will give a concert in Paris. It is not until Chopin's twenty -second birthday, when he is forced to flee Poland because of his involvement with revolutionists, that Eisner is able to take him to Paris. There, Eisner brings the young man to Louis Pleyel (George Coulouris), an important impressario, and tries to arrange a concert. Pleyel rejects the request, but Franz Lizst (Stephen Bekassy) , visiting Pleyel's office, recognizes Chopin's talents and induces the impressario to reconsider. Through Lizst, Chopin meets George Sand, who helps him to establish a reputation in Paris. Chopin becomes infatuated with George and, against Eisner's wishes, accompanies her to Majorca. Under her influence, Chopin detaches himself completely from Eisner. The old man, impoverished, once again teaches piano pupils. Wearying of Majorca, Chopin returns to Paris but deliberately avoids meeting Eisner. Eventually, Eisner reminds Chopin of his pledge to contribute to Poland's liberation. Ashamed, Chopin breaks his relationship with George and, despite his ill health, arranges for a European concert tour to raise funds for his oppressed countrymen. The strain, however, proves too great for his frail body. On his death bed, he asks Eisner to bring George to him, but the strong-willed woman refuses his wish. Chopin dies, surrounded by his friends. Sidney Buchman wrote the screen play and collaborated with Louis F. Edelman in its production. Charles Vidor directed it. The cast includes Nina Foch, Sig Arno, Howard Freeman, Maurice Tauzin and others. "The Big Bonanza" with Richard Arlen, Jane Frazee and Robert Livingston (Republic, Dec. 30; time, 69 min.) In the review that was printed last week, this picture was erroneously listed as "The Great Bonanza."