Harrison's Reports (1945)

18 HARRISON'S REPORTS February 3, 1945 "Roughly Speaking" with Rosalind Russell and Jack Carson (Warner Bros., no release date set; time, 128 min.) There is a charming, entertaining quality about this domestic comedy-drama, in spite of the fact that its pace is leisurely and its running time is much too long. Based on the autobiography of Louise Randall Pierson, the story revolves around that lady's colorful life from 1902 to the present day and, through a series of different episodes, some of which are disconnected, depicts how she, as a progressive-minded woman with a determination to get the most out of life, failed to attain her objectives. The depiction of her unconventional family life and her financial ups and downs give the picture many humorous and pathetic moments. Rosalind Russell, as Mrs. Pierson, gives a vibrant and charming performance, winning one's sympathy and admiration by her ability to retain her courage and unfailing sense of humor despite her many heart-breaking disappointments. She receives excellent support from Jack Carson, as her second husband, a happy-go-lucky fellow, who understands her ambitions but strives unsuccessfully to help her attain them. The production values are very good. The story begins with the death of Louise's father when she was twelve-years-old, and her determination, at that age, to make something of herself. At eighteen, she enrolls in college to prepare for a business career, eventually obtaining a secretarial position at Yale University. There she meets Rodney Crane (Donald Woods), a banker's son, and marries him after a whirlwind courtship. In time, they are blessed with four children. Rodney prospers, and the family moves to the country. Tragedy strikes when the children are stricken with infantile paralysis. All recover, except a daughter, who is left a cripple. When Rodney loses his job, Louise carries on cheerfully, even finding employment herself. Rodney, his pride hurt, leaves her for another woman. Months later, Louise secures a divorce and marries Harold Pierson (Jack Carson), an admitted, irresponsible playboy, whose temperament was very much like her own. Harold endears himself to Louise's children and, eventually, he and Louise have a child of their own. They establish a huge greenhouse business for the culture of roses, but they go bankrupt when the rose market becomes flooded. They next become interested in a new type of airplane and, just when success is within their grasp, the stock market crash wipes out their backers. Despite these setbacks, they manage to put the children through college while they themselves go through varying stages of financial worries as Harold tries his hand at selling vacuum cleaners and doing landscape work at the New York World's Fair. Following the attack on Pearl Harbor, they see their three sons off to the war. With their two remaining children in a position to take care of themselves, Louise and Harold again face an uncertain future, but face it unafraid. Mrs. Pierson wrote the screen play from her book, "Roughly Speaking," Henry Blanke produced it, and Michael Curtis directed it. The cast includes Ray Collins, Kathleen Lockhart, Cora Sue Collins, Alan Hale, John Qualen, Andrea King, Robert Hutton, John Sheridan, Jean Sullivan and others. "What a Blonde" with Leon Errol and Veda Ann Borg (RKO, no release date set; time, 71 min.) Despite the familiarity of its story, this program comedy should get by with audiences that are not too fussy. Discriminating patrons, however, will probably find the proceedings pretty dull, for the plot is developed in so obvious a fashion that one knows well in advance just what is going to happen. The comedy situations, which range from slapstick to the bedroom-farce variety, are quite familiar as well as ludicrous, but they provide enough laughs to make it amusing for those who are easily entertained. Leon Errol struggles valiantly with the material, and occasionally is pretty funny: — Errol, a wealthy lingerie manufacturer, is refused additional gas coupons by his ration board unless he obtains riders to share his car. Approached by Michael St. Angel, a young inventor with a process for making artificial silk, Errol employs him as a share-the-ride passenger. Richard Lane, Errol's butler, who retained his job because he knew of Errol's amorous escapades, invites a group of unemployed show girls, including Veda Ann Borg, to live in Errol's home and to act as share-the-ride passengers. Desperate for gas, Errol, whose wife was away visiting her mother, agrees to the scheme. Complications arise when Clarence Kolb, an over-pious, raw material tycoon, who was Errol's only source of supply, pays a visit to the house with his wife. Lest Kolb misunderstand and refuse to do business with him, Errol persuades Veda to pose as his wife, and arranges for her friends to pose as maids. Matters become even more complicated when Kolb decides to stay overnight. In the midst of this confusion, Errol's wife returns unexpectedly. To get out of his predicament, Errol tells Kolb that she was his housekeeper, and arranges for Veda to act as the young inventor's wife. There follows a series of incidents in which every one hides in other people's bedrooms until Kolb discovers the deception and severs business relations with his host. Errol looks to the young inventor to take care of his material needs only to learn that his process cannot be used until after the war. With no gas and with no silk, Errol faces the gloomy task of squaring matters with his wife. Charles Roberts wrote the screen play, Ben Stoloff produced it, and Leslie Goodwins directed it. The cast includes Elaine Riley, Chef Milani and others. Unobjectionable morally. "I Love a Mystery" with Jim Bannon, Nina Foch and George Macready (Columbia, Jan. 25; time, 69 min.) A better-than-average program murder-mystery melodrama. The story unfolds in an interesting manner and, since the involvements of the plot are not cleared up until the finish, one is kept pretty well mystified throughout. The story, of course, is far fetched; but this fact will probably be overlooked by the followers of the eerie-mystifying type of entertainment. There is no comedy to relieve the tension, nor is there any romantic interest. The direction is skillful and the acting good, but the players mean little at the box-office: —