Harrison's Reports (1945)

190 HARRISON'S REPORTS December 1, 1945 "A Walk in the Sun" with Dana Andrews and Richard Conte ( 20th -Century-Fox, January; time, 117 min.) This is a distinguished war melodrama, produced and directed with great care, and it will probably be hailed by many critics as one of the outstanding war pictures yet made. Its box-office possibilities, however, are questionable, first, because it is a war picture, and secondly, because its appeal will be directed mostly to high-class audiences. It is doubtful if the masses will give the picture the support it deserves, for the action is slowed down considerably by an over-abundance of dialogue. As a matter of fact, except for an occasional burst of battle action, the characters do nothing but talk, talk, talk. True, this dialogue is meaningful, for it concerns that thoughts and reactions of soldiers under battle conditions, but there is so much of it that it comes to a point where one begins to squirm. Another drawback, particularly as far as women are concerned, is that the picture has an all-male cast; there is no romantic interest. The story, which takes place in Italy in 1943, at the Salerno beachhead, revolves around a platoon of American soldiers who become isolated from the rest of the invasion force, and around their trials and tribulations as they strive to attain their objective — a blockhouse, six miles inland, camouflaged as a farmhouse, which the Nazis were using to guard a bridge. The capture of this objective is marked by several thrilling combat scenes, and by individual feats of daring and sacrifice. In between these melodramatic incidents, the story concerns itself chiefly with the reactions of the different soldiers to the conditions that plucked them out of a peaceful civilian existence and placed them on a battlcfront. In many respects, the picture is not unlike "The Story of G.I. Joe," for it is a personalized story of the part the infantryman has played in the war. The characterizations of the soldiers are colorful; each comes from a different walk in life, and on the whole they represent a crosssection of the many thousands of American soldiers who have served. Dana Andrews, the best known player in the cast, gives a good account of himself as the sergeant who finds himself in charge of operations when his immediate superior, lacking confidence in himself, orders him to assume command. Acting honors, however, go to Richard Conte for his excellent portrayal of a cocky machine gunner. Robert Rossen wrote the screenplay from a story by Harry Brown, and Lewis Milestone produced and directed it. The cast includes Sterling Holloway, George Tyne, Norman Lloyd, Lloyd Bridges and others. Unobjectionable morally. "A Letter for Evie" with Marsha Hunt, Hume Cronyn and John Carroll (MGM, no release date set; time, 89 min.) The mistaken identity theme has been used to good advantage in this comedy-drama; it should please most audiences. The story, which revolves around a meek, small-built soldier, who starts a letter-writing romance with a pretty girl, but represents himself as a brawny, romantic fellow by mailing her a picture of his buddy, has a number of novel twists. Most of the comedy stems from the fact that the buddy learns of the romance and takes advantage of the ruse. The manner in which the little fellow attempts to foil his buddy, while keeping the girl from learning the truth, results in many hilarious situations. The ending is satisfying, for the meek fellow, with whom the audience sympathizes, wins the girl : — Marsha Hunt, secretary in a New York shirt factory, seeks romance. She puts a letter in the pocket of a shirt, destined for shipment to an army camp, and invites the recipient to write to her. The shirt is issued to John Carroll, a woman-jilting soldier, who reads the letter and throws it away, but Hume Cronyn, his buddy, a lonesome little fellow, recovers it. He answers the letter and includes a picture of Carroll as himself. Marsha, enthralled by the picture, starts a letter-writing romance with Cronyn. Ordered overseas, Cronyn and his company pause in New York. Eager to meet Marsha, he goes to her apartment and, assuming Carroll's name, tells her that "Cronyn" had been sent away on a secret mission, and that he, as "Cronyn's buddy," had been asked to entertain her. Meanwhile at the barracks, Carroll discovers one of Marsha's letters and learns of the ruse. The next evening he follows Cronyn to Marsha's apartment and, assuming Cronyn's name, sweeps Marsha into his arms. Knowing Carroll's reputation with women, Cronyn resorts to many tricks to keep him away from Marsha, but his efforts are unavailing; Marsha and Carroll become engaged. But before' the marriage can take place both men are sent overseas. In France, Carroll marries a French girl. Marsha, concerned about not hearing from Carroll, visits the home of Cronyn's parents, where she discovers that Cronyn and not Carroll had written the love letters. When Cronyn is returned home wounded, he goes to Marsha and, still assuming Carroll's name, informs her that her lover had been killed rather than hurt her with the news of Carroll's marriage. Marsha, by this time in love with Cronyn, informs him that she knew the truth and slips her arms around his neck. De Vallon Scott and Alan Friedman wrote the screen play, William H. Wright produced it, and Jules Dassin directed it. The cast includes Pamela Britton and others. Unobjectionable morally. "The Man in Grey" with James Mason and Margaret Lockwood (Universal, no release date set; time. 92 min.) This adult romantic drama is a fairly good British costume picture, produced lavishly, but much of it is unpleasant. Set in the early 1800's, the story is a mixture of romance, chicanery, and violence, fascinatingly played by a competent cast. The unpleasantness is caused by the brutal behaviour of the heroine's husband, and by the cruel, conniving antics of his conscienceless mistress, who posed as his wife's friend. Particularly disagreeable are the sequences in which the mistress mercilessly causes the heroine to die, only to be beaten to death herself by the husband. The heroine, who had been tricked into a marriage of convenience, is a sympathetic character, and one understands her reasons for wanting to run away with another man. Their romance provides the picture with many pleasant moments, but one will leave the theatre conscious only of the unpleasantness: — Phyllis Calvert, a pretty London debutante, is tricked by her mother into marrying James Mason, an arrogant nobleman, who did not love her but required a heir for his title. After their son is born, both agree to lead their own lives but to outwardly keep up the appearance of their marriage. Phyllis meets up with Margaret Lockwood, a penniless actress who had been her school chum, and insists that she come home to live with her. Mason, though learning that Margaret had been leading a shady life, falls in love with her and makes her his mistress secretly. Margaret immediately plots to oust Phyllis from the house. Meanwhile Phyllis had met Stewart Granger, a dashing adventurer from the West Indies, and a romance between them is started. Margaret fosters the romance to gain her own ends, then engineers a fight between Mason and Granger, causing Mason to order Phyllis out of the house. Phyllis decides to go to Jamaica with Granger, but the Prince Regent persuades her to return to Mason to avoid a scandal. On her return home, Phyllis is taken ill, and Margaret, furious because her plans had been upset, allows her to catch a chill and die. Mason, frightened that a scandal might tarnish his name, thrashes Margaret to death. Margaret Kennedy and Leslie Arliss wrote the screen play, Edward Black produced it, and Mr. Arliss directed it. It is a Gainsborough production. Not suitable for children.