Harrison's Reports (1945)

86 HARRISON'S REPORTS June 2, 1945 "The Way Ahead" with David Niven (20t/i CenturyFux, January; time, 106 mm.) "The Way Ahead" is a superior British-made war melodrama, one of the best produced in recent years. From a box-office point of view , however, its chances are only fair, for today American audiences arc shying away from most war pictures. Moreover, the players, with the exception of David Niven, are unknown in this country, and their British accents are so thick that many patrons may find some of the dialogue unintelligible. The performances, however, are excellent. Those who will see the picture should find it very satisfactory, for it is a stirring, human story about a group of British Tommies, depicting their reactions to army life from the time they start as rebellious recruits drafted from civilian life to the time they become finished fighting men. It is a simple, well-constructed story, told with realism and with a human touch. It tells how a group of typical British men, of different ages and of varied stations in life, are plucked from civilian life to serve their country in the army. Some go willingly while others resent openly the circumstances that tcx>k them away from the comfort of their homes and from the things they loved. Each gripes about the rigors of army life, finding fault with their sergeant and generally behaving in a disgruntled manner, but their commanding officer, understanding human frailties and realizing that their untrained bodies were undergoing unaccustomed stress, patiently endures their bad tempers and complaints, and slowly but surely moulds them into a smooth-working, cooperatvie fighting team, eager to uphold the honor of their regiment. This they do in a thrilling sequence in which their troopship, bound for the invasion of North Africa, is torpedoed, and in a closing sequence, where they best the Nazis in an exciting Tunisian battle. The story's simplicity and straightforwardness, the excellent characterizations, and the natural dialogue are the picture's outstanding qualities. It has considerable good humor, too, and a number of hearttugging situations. David Niven's portrayal of the understanding officer is well done; his consideration for his men as he leads them through their military infancy eventually wins him their unified admiration. Eric Ambler and Peter Ustinov wrote the screen play, Norman Walker and John Sutro produced it, and Carol Reed directed it. The cast includes Raymond Huntley, Billy Hartnell, Stanley Holloway, and others. Unobjectionable morally. "Back to Bataan" with John Wayne and Anthony Quinn (RKO, no release date set; time, 95 min.) Revolving around Filipino resistance against the Japanese invaders, this war melodrama, though not exceptional, is a fairly good picture of its type. Its boxoffice possibilities can best be judged by whether or not your patrons are now receptive to war pictures. It should be pointed out, however, that, since the story's locale is in the Philippines, and since the Japanese have not yet been cleared from the islands, the picture is timely and lends itself to extensive exploitation. But except for its locale and its people, the story, which is supposedly based on actual facts, differs little in content and in treatment from the numerous war pictures that have been based on a similar theme ; nevertheless, the action is packed with thrills and excitement, and considerable stress is placed on Jap bestiality. As a matter of fact, a few of the scenes are too brutal for children. Both at the beginning and at the end of the picture, the producers have employed sequences dealing with the raid on the Cabanatuan Prison Camp, from which American prisoners were freed, effectively tying in the scenes with the main story, which covers the period from the fall of Bataan to the landings on Leyte: — With the fall of Bataan, Colonel John Wayne is ordered to the Luzon hills to organize native guerrilla bands. In need of a patriot around whom he could rally the natives, Wayne rescues from the Japs Captain Anthony Quinn of the Philippine Scouts. Quinn, embittered because his sweetheart (Fely Franquelli) had turned collaborator, refuses to lead his people to further slaughter, but when Wayne proves to him that Fely was feigning collaboration and was actually aiding the resistance movement secretly, he takes on new courage. Under Wayne s leadership, the guerrillas, lacking arms, munitions and food, waylay Japanese patrols to build up their supplies. The Japs alarmed over the increasing resistance, intensify their activities against the guerrillas, but their brutalities serve only to strengthen the determination of the Filipinos to set their country free. After many months of hardship, American submarines bring weapons and supplies to the valiant natives, and finally, on Leyte, having received news of the proposed American landings, Wayne organizes a surprise attack dn an enemy post, holding back the Jap forces from counterattacking until American troops secure their beachhead. Ben Barzman and Richard Landau wrote the screen play, Robert Fellows produced it, and Edward Dmytryk directed it. The cast includes Beulah Bondi, Richard Loo, Philip Ahn, Ducky Louie, Lawrence Tierney, Abner Biberman, Vladimir Sokoloff and others. Unobjectionable morally. "Blonde Ransom" with Donald Cook and Virginia Grey (Universal, June 15; time, 68 min.) This comedy with music is just moderately entertaining program fare. The story is feeble and somewhat nonsensical, but it may appeal to those who can overlook poor story values, for there are a few gags that are funny and at times the situations, a few of which are slapstick, provoke considerable laughter. Moreover, the action moves at a snappy pace. The music, though not exceptional, is tuneful. There is nothing in the plot to direct an appeal to the emotions of sympathy : — After losing $63,000 to gangsters in a crooked poker game, Donald Cook is compelled to give them the deed to his night club as security for the debt, payable within one week. On his way home, Cook is injured in an automobile collision with Virginia Grey, a heiress, who takes him to her home. Virginia's uncle, George Barbier, anticipated a law suit, but Cook, instead of suing, offers to sell him a part interest in the night-club for $63,000. Barbier refuses. Virginia, in love with Cook, determines to help him out of his predicament. She stages her own "kidnapping" and demands $63,000 ransom. Hoodwinked by the ruse, Barbier delivers the money to a place designated by Virginia. The money, however,