Harrison's Reports (1946)

March 23, 1946 HARRISON'S REPORTS 47 "Gilda" with Rita Hayworth and Glenn Ford (Columbia, no release date set; time, 110 mm.) This melodrama of love and hate, set against the lavish background of a Buenos Aires gambling casino, should go over well with adult audiences, in spite of the fact that the story is a vague and confusing one. Credit is due Charles Vidor for his expert direction, for, despite the bewildering and somewhat pointless script, he has given to the proceed' ings a sense of excitement and suspense that grips the spec tator from start to finish. So well has he staged the piece that only discriminating patrons will find its vagueness disappointing. It is an unpleasant picture, however, for it deals with crime and passion, and it revolves around characters who are extremely unsympathetic and absolutely devoid of moral sense. Several of the scenes, particularly those in which Miss Hayworth sings and dances, are quite sensuous. It is definitely not a picture for children: — Glenn Ford, a caustic young gambler with an ability to use his fists, becomes confidential aide to George Macready, sinister owner of a Buenos Aires gambling casino, who was secret head of an international cartel, operating in tungsten, which was sponsored by the Nazis. Shortly after Germany's capitulation, Macready leaves on an extended trip, leaving Ford in charge of his operations. He returns from the trip with Rita Hayworth, a worldy woman, whom he introduces to Ford as his bride, without realizing that shewas a former sweetheart of Ford's, and that both felt an intense love and hatred for each other. Macready makes Ford responsible for Rita, and the young gambler, out of loyalty to Macready, is compelled to endure her taunts and to cover up her flirtations with other men. In the course of events, Macready murders a Nazi agent and is compelled to flee the country. He fakes an ocean plane crash, leading all to believe that he had perished. Ford takes command of his operations and marries Rita, but, instead of living with her, he virtually makes her a captive and causes her to suffer for the many taunts he had endured. Meanwhile Joseph Calleia, a secret police agent, closes in on the cartel and persuades Ford to give up his control. He urges him also to effect a reconciliation with Rita. Macready suddenly appears on the scene and, accusing Ford and Rita of double-crossing him, attempts to shoot them. But Steve Geray, a philosophical washroom attendant, stabs him to death. Calleia declares the killing to be one of selfdefense, clearing Geray and permitting Ford and Rita to leave the country and start life anew. Marion Parsonnet wrote the screen play and Virginia Van Upp produced it. The cast includes Joe Sawyer, Gerald Mohr, Robert Scott and others. "Johnny Comes Flying Home" with Richard Crane and Faye Marlowe (20th Century-Fox; April; time, 65 min.) A fair program comedy-drama. The story, which revolves around the trials and tribulations of a trio of exArmy fliers, who seek to build up a private air freight service, follows a familiar pattern, but since its theme is timely, and since it combines appealingly human interest, romance, and some comedy, it should get by nicely with undiscriminating audiences. All the principal characters are sympathetic, and several of the situations are filled with pathos. Most of the excitement occurs at the finish, where the hero risks his life to test a new jet plane, thus earning enough money to finance the purchase of a second plane and to insure the success of himself and his buddies: — Richard Crane, Charles Russell, and Henry Morgan, exArmy pilots, find their civilian jobs boring after the excitement of their war days. By pooling their savings, they buy a war-surplus C-47 and set themselves up in an air freight business. Crane, warned by Army doctors to stay out of the air because of a nervous ailment, becomes business manager of the firm while Morgan and Russell do the flying. Romantic complications enter Crane's life when, over his objections, his partners hire Martha Stewart, an aircraft worker, as their mechanic. The three partners soon find that repairs and but one plane left them in the red and, to make matters worse, their plane is impounded because of inability to meet a repair bill. Their heroic rescue of a stranded millionaire and the subsequent reward enables them to regain their plane, but they realize that, in order to obtain worthwhile hauling contracts, they must have a second plane. Miles, who needed money to pay for his wife's (Faye Marlowe) confinement, secretly signs to test a new jet plane for a fee of $10,000 — enough to pay the hospital and buy an extra plane. Crane begs Russell to give up the flight for his wife's sake, but his friend refuses. On the day of the test, Crane locks Russell in a telephone booth and takes the plane up himself. His successful flight proves to him that he was physically fit to fly again, and the fee insures the payment of the hospital bill as well as the purchase of the second plane. Jack Andrews and George Bricker wrote the screen play, Aubrey Schenck produced it, and Benjamin Stoloff directed it. Unobjectionable morally. "The Wife of Monte Cristo" with Lenore Aubert and John Loder (PRC, April 23; time, 80 min.) By far the costliest picture it has ever produced, PRC takes a big step forward with this adventure melodrama, which has a "Robin Hood" theme. It is a good program entertainment, the sort that has popular appeal, for it offers most movie-goers the ingredients they enjoy — fast horseback riding, thrilling fights, exciting swordplay, and a colorful, dashing heroine, who valiantly risks her life to protect the poor from political oppressors. The plot is not without its inconsistencies, but the average picture-goer will, no doubt, overlook these since the story on the whole is presented in an interesting way. John Loder, as the villainous prefect of police, and Lenore Aubert, as the daring Countess of Monte Cristo, do well in their respective roles, but the choice of Martin Kosleck, as the Count of Monte Cristo, is not a happy one; he lacks the agility and dash one enjoys seeing in the role he portrays. The action takes place in Paris in 1832, and great care has gone into the reproduction of the settings and styles of that period. Not the least of the film's assets is its exploitable title: — With the plague sweeping through Paris, the Prefect of Police and his political cohorts (Charles Dingle and Frits Kortner) secretly capitalize on the poor by selling them poisonous medicine at exhorbitant prices. Monte Cristo, . having dedicated his wealth to fighting tyranny and injustice, disguises himself in a black cloak and mask and, known only as "The Avenger," heads a band of loyal followers who destroy the poisonous medicine casks as they enter the city. During one of the raids, the Count is wounded in the hand. Fearful lest his injury give away his identity, he leaves Paris. Meanwhile the Countess, attending a dinner given by the Prefect of Police, learns that he had long suspected the Count of being "The Avenger." To thwart and confuse him, the Countess, an expert swordswoman, assumes the disguise of the "Avenger" and carries on his work. She flirts with the Prefect and his companions to learn the details of the extortion scheme, and gains from them damaging admissions that lead to the death of the Prefect's collaborators. Eventually, the Prefect discovers the Countess' masquerade and imprisons her. But the Count, his hand now healed, disposes of the Prefect in an exciting sword duel and effects his wife's escape. Dorcas Cochran wrote the screen play, Leon Fromkess produced it, and Edgar G. Ulmer directed it. Jack Grant was associate producer. The cast includes Eduardo Cianelli, Fritz Feld and others. Unobjectionable morally.