Harrison's Reports (1945)

192 HARRISON'S REPORTS December 1, 1945 "Snafu" with Robert Benchley, Vera Vague and Conrad Janis (Columbia, J\(ov. 22; time, 82 min.) A moderately entertaining comedy-farce, of program grade. Based on the Broadway stage play of the same title, the story deals with the problems that beset an under-age veteran when he is returned home from the battlefronts by parental request. Occasionally it manages to be really funny, but for the most part the proceedings are tedious. The trouble with the story is that, for the sake of an occasional gag, opportunities to inject human interest have been sacrificed. Moreover, the farcical situations have been contrived in so ordinary a manner that the spectator loses interest in the outcome; he guesses in advance just what the next move of the players will be. The fact that the title stands for military slang of coded obscenity, known to many people, may prove to be a drawback at the box-office. Another possible drawback that should be considered is the fact that Robert Benchley, who plays one of the leading roles, died recently; some picture-goers may be sensitive about seeing him on the screen: — Discovering that Conrad Janis, their fifteen-year-old runaway son, had falsified his age to join the army, Robert Benchley and Vera Vague effect his discharge. Conrad returns home a hero, but finds it difficult to adjust himself to family life, because of his parents' failure to recognize that he had grown into manhood. When Jimmy Lloyd, his overseas buddy arrives in town on a furlough, Conrad invites him to become a house guest. Nanette Parks, a journalism student at a nearby girls' school, visits the house to interview the boy hero, but she mistakes Jimmy for Conrad. Attracted to her, Jimmy poses as Conrad and, after spending the evening with her, trails her to her dormitory room to return a notebook she had forgotten. His presence in the dormitory starts a riot when the girls mistake him for a masher and compel him to flee. Conrad, unaware of Jimmy's experience, finds himself accused of being the soldier in the girls' dormitory. This charge, together with the failure of his parents to understand him, causes him to rebel; he runs off with Janis Wilson, his schoolgirl sweetheart, to be married. Benchley, already harrassed by Janis' hysterical aunt, and by the head matron of the girls' school, finds matters even more complicated when Marcia Mac Jones, an Australian girl, arrives to visit Conrad and announces that she was an expectant mother. Meanwhile Conrad, having changed his mind about marrying Janis, returns home. Everything is finally straightened out when Marcia explains that she was the bride of one of Conrad's buddies, and when Jimmy confesses that he, not Conrad, had visited the girls' dormitory. Louis Solomon and Harold Buchman wrote the screen play, and Jack Moss produced and directed it. The cast includes Enid Markey and others. Unobjectionable morally. (Ed. 7\(ote: In one sequence a Chesterfield cigarette advertisement on a magazine cover is displayed prominently.) "A Game of Death" with John Loder, Edgar Barrier and Audrey Long (RKO, no release date set; time, 72 min.) Originally produced by RKO in 1932 under the title of "The Most Dangerous Game," this remake, like the original, may give enjoyment to morbid people with sadistic instincts, but it may prove a bit too harrowing for average picturegoers. The story, which revolves around a maniacal hunter whose prey is human beings, instead of beasts, is different but hardly pleasurable. One gruesome scene is in the villain's trophy room, where heads of his victims are shown floating in jugs of water. It has considerable excitement and suspense, particularly in the closing scenes, where the villain chases the hero and heroine through the jungle swamps in an effort to kill them. It is a lurid tale, completely void of comedy relief: — Washed ashore after the yacht on which he had been a guest is wrecked, John Loder, an author and big game hunter, finds himself on a lonely Carribbean island. He locates a castle occupied by Edgar Barrier, an ex-Prussian officer, his four servants, and a pack of 6avage dogs. Barrier invites Loder to stay in the castle, and, at dinner, he meets Audrey Long and her brother, Russell Wade, who, too, had been shipwrecked days previously. Warned by Audrey that there was something sinister about Barrier, Loder investigates and learns that Barrier, after causing ships to be wrecked by placing false signals on the water, gave refuge to the survivors. After entertaining them for a few days, he would order the survivors to leave the castle and try to escape from him. He then would hunt them down and kill them. Loder, aided by Audrey and her brother, plot to trap Barrier. But Barrier, learning of their scheme, imprisons Audrey and Loder, and chases her brother to his death. Loder, aware that he and Audrey would be the next victims, taunts Barrier into giving them a sporting chance for their lives. Barrier, priding himself as a sportsman, accepts. Loder outwits him and, after a terrible ordeal, kills Barrier and makes his escape with Audrey in a motor boat. Norman Houston wrote the screen play, Herman Schlom produced it, and Robert Wise directed it. The cast includes Russell Hicks, Gene Stutenroth and others. Not suitable for children. "Vacation from Marriage" with Robert Donat and Deborah Kerr (MGM, no release date set; time, 94 min.) Produced in Britain by MGM, this domestic comedydrama is a delightfully pleasant entertainment. Depicting the changes wrought by the war in the lives of a prosaic married couple, who led a dull, unadventurous existence, the story is a skilful blend of comedy and drama, rich in human appeal. Most of the humor lies in the fact that, after three years of separation, during which each served in the British Navy, and each learned how to enjoy life, both dread the necessity of returning to one another to resume a monotonous married life, without realizing that the other's way of life was what each now desired. The scenes in which they first meet after the separation and come to the realization that the other's personality had changed completely are highly humorous. One's interest is held throughout, thanks to the engaging performances of Robert Donat and Deborah Kerr, as the principals. Although the story has a war background, it has little to do with the fighting: — Donat, a timid office clerk, placidly married to Deborah, a drab, mild-mannered woman, joins the navy at the start of the war. Under the rigors of navy training, he becomes toughened physically, and world-wise mentally. At home, Deborah, tired of an idle life, becomes a Wren. The change from a humdrum existence has a decided effect on her; she blossoms out and soon discovers that she had been missing many pleasures, particularly when she becomes infatuated with a young naval architect. Meanwhile Donat, too, becomes eager for life when he falls in love with Ann Todd, his nurse, while recuperating from wounds in a North African hospital. After a separation of three years, Donat and Deborah each receive a ten-day furlough and both arrange to meet in their London apartment. Each felt morally obliged to return to the other, but the thought of resuming their dull married life was abhorrent to both. Deborah journeys to London accompanied by Glynis Johns, her Wren friend, while Donat takes with him Caven Watson, his buddy. Both tell their friends that they planned to ask for a divorce. Meeting for the first time, Deborah and Donat are delightfully shocked to see the change in one another, but inadvertent remarks made by their friends about what each said of the other leads them into a quarrel. Eventually, however, both become repentant, and the finish finds them in each other's arms. Clemence Dane and Anthony Pelissier wrote the screen play, and Alexander Korda produced and directed it. The supporting cast is composed of English players. Unobjectionable morally.