Harrison's Reports (1945)

February 17, 1945 HARRISON'S REPORTS 27 ican agent. In Panama, Tracy aided by Army Intelligence, deceives the spies by giving them false information. With the desired information in their hands, the spies plot to kill Tracy, but Nancy, who was posing as the Danish girl-friend of a Nazi spy, learns of the plot and enables Tracy to make a safe getaway. The spies, suspecting Nancy's friendship with Tracy, torture her to death in an unsuccessful attempt to make her talk. In San Francisco, Tracy, still feigning cooperation with the spies, boards a Japanese ship to deliver more information and discovers that Richard Loo, a JapaneseAmerican posing as a cabin boy, was directing the spies' activities. The two engage in a murderous fight in which Tracy is killed just as the police arrive. His heroism, however, enables them to crack the espionage organization wide open. Kenneth Garnet and Aubrey Wisberg wrote the screen play, Herman Schlom produced it, and William Berke directed it. The cast includes Regis Toomey and others. "The Enchanted Cottage" with Dorothy McGuire, Robert Young and Herbert Marshall (RKO, no release date set; time, 92 min.) First National made a silent version of this story in 1924 with Richard Barthelmess and May McAvoy. As was the case with that picture, this one, too, is a fine production with a particular appeal for the cultured element among picturegoers. Others, particularly children, may find it difficult to understand and appreciate either the psychological aspect of the story, or the visualization of mental impressions. While it cannot be considered a picture for the masses, it may go over with adult audiences, for the story, having been brought up to date, is timely, and the romance is an unusually appealing one. It should be said, however, that, since the story revolves around a veteran who returns from the war badly disfigured, many persons with loved ones in the service may find the subject matter too depressing. John Cromwell's direction is excellent, as is the acting of both the principal and featured players: — Ordered overseas on his wedding day, Robert Young, a flier, postpones his marriage to Hillary Brooke. He crashes on his first flight, and the accident leaves him badly disfigured. Returning home, he finds that he cannot bear the distressing sympathy of both his family and his fiancee. He isolates himself in a small cottage owned by Mildred Natwick, where he had planned to spend his honeymoon because of its reputed enchantment for young married couples. There he meets Dorothy McGuire, a physically unattractive young spinster, who helped Miss Natwick care for the cottage. Through Dorothy, Young makes the acquaintance of Herbert Marshall, a blind pianist, who helps him regain confidence in himself. Grateful that Dorothy was not repelled by his appearance, and realizing that their lots were similar, Young asks her to marry him. Dorothy, deeply in love with him, consents. Under the spell of their deep love, each sees physical changes in the other, and they credit the phenomenon to the cottage's enchantment. Marshall, though blind, realized that their physical appearances had not changed, but he encourages them to enjoy their happiness. The transformation is so real to the young couple that they welcome a visit from Young's mother. But her tactless pity brings them to the realization that they had not changed. Marshall, however, convinces them that the illusion would never leave them because of their deep love for one another. DeWitt Bodeen and Herman J. Manckiewicz wrote the expert screen play, and Harriet Parsons produced it. The cast includes Spring Byington, Richard Gaines and others. "Circumstantial Evidence" with Lloyd Nolan and Michael O'Shea (20th Century-Fox, March; time, 68 min.) This program melodrama should make a fairly good supporting feature. The story revolves around the efforts of a kindly postman to prove the innocence of his best friend, who had been convicted of murder on circumstantial evidence. In spite of the fact that what transpires is not always logical, it holds one's interest to a fair degree. Moreover, it has considerable human interest. A novel, though incredible, twist has the convicted man breaking out of jail unobserved only to find himself faced with the task of making his way back to his cell lest he lost the opportunity of being granted a new trial. The performances are good: — Enraged when a surly merchant maltreats his young son (Billy Cummings), Michael O'Shea remonstrates with the man and demands that he return the boy's hatchet, which he had taken away from him. In a scuffle for the hatchet, the man is killed when he trips and strikes his head against an obstacle. To those witnessing the fight it appeared as though O'Shea had struck the man with the hatchet. Protesting his innocence, O'Shea becomes panicky and prepares to leave town, but Lloyd Nolan, his old friend, compels him to remain and clear himself. At the trial, O'Shea is convicted on circumstantial evidence and sentenced to die. Stunned, O'Shea denounces his friend for interfering with his getaway. Nolan, despite O'Shea's animosity, keeps a watchful eye on his young son and tries desperately to obtain a new trial. His efforts, however, are to no avail. With but one week left before O'Shea goes to the chair, Nolan hits upon a scheme to save him. He organizes a boxing contest among a group of young boys, including the sons of the trial judge and the governor, and arranges for the boys' parents as well as the witnesses to attend the event. Under the guise of a quarrel, the sons of the judge and the governor re-enact the exact circumstances of the fight that had convicted O'Shea, with one of the boys falling to the ground. Immedi' ately, eye-witnesses accuse one of the boys of striking the other with a hammer. The boys reveal the ruse and all present become convinced of how an accident can be mistaken for murder. Impressed, the governor decides to grant O'Shea a new trial. Meanwhile O'Shea had broken out of prison and had come to town for a last visit with his son, but when he learns of the new turn in events he finds himself faced with the problem of getting back to his cell lest his absence be discovered and his chance for a new trial ruined. He succeeds in re-entering the prison unobserved and, subsequently, is freed. Robert Metzler wrote the screen play, William Girard produced it, and John Larkin directed it. The cast includes Trudy Marshall, Ruth Ford and others. "Keep Your Powder Dry" with Lana Turner, Laraine Day and Susan Peters (MGM, March; time, 93 min.) Undiscriminating audiences may find this service comedydrama fairly entertaining, but those who are even the least bit discerning will probably find it quite ordinary and tiresome. In its favor is the marquee value of the players, but their talents are wasted on a plot that is artificial to the point of annoyance. The story, which revolves around the intense dislike and rivalry between two young women in the Womens Army Corps is made up of familiar ingredients and lacks depth. Their eventual reconciliation after a quarrel that almost costs them their commissions as officers, and their realization that duty to their country rises above personal matters, is a rehash of situations that have been done many times. In contrast to the constant bickering between Lana Turner and Laraine Day, Susan Peters, as their mutual friend, is cast as a reserved girl whose quiet heroism plays a major part in bringing the other two to their senses. But even her role is a synthetic one: — Informed that she must prove herself worthy to gain her inheritance, Lana Turner, a wealthy playgirl, enlists in the WAC, planning to resign after receiving the money. At training camp, Laraine Day, daughter of a general, who had enlisted to keep the military tradition of her family unbroken, is openly contemptuous of Lana, sneering at the thought of a social butterfly making good in the WAC. Lana, angered, determines to match Laraine's prowess as a soldier. Susan Peters, who enlisted when her husband was sent overseas, becomes a self-appointed peacemaker between the two. After making good in Motor Transport, the three girls go on to Officers Candidate School. Lana and Laraine forget their animosity and become friends until Laraine learns of Lana's original motive for enlisting. Lana, now thoroughly patriotic and imbued with a desire to become an officer, fails to convince Laraine that her attitude had changed. Their enmity flares up anew, and Laraine determines that Lana shall not become an officer. While serving as deputy commander, Laraine goads Lana into disobeying orders, thus causing her to face dismissal from OCS. The commanding officer (Agnes Moorchcad), however, understanding Laraine's motive, informs her that she herself was considered poor officer material. Both girls plan to resign. Meanwhile Susan, who had just learned of her husband's death, puts aside her own grief and tries to reason with them. In face of Susan's quiet heroism, the girls become ashamed of themselves. They ask the commanding officer for permission to remain in the Corps, even if only as enlisted women. Miss Moorchead, however, permits them to remain eligible for graduation from OCS. Mary C. MaCall, Jr., and George Bruce wrote the screen play, George Haight produced it, and Edward Buzzcll directed it.