Harrison's Reports (1946)

December 28, 1946 HARRISON'S REPORTS 207 Lowery begins an intensive search for Ann, meeting with failure until he receives a telegram from her informing him of her address. He finds her, but she denies sending the wire. Just then Ferguson arrives and, at the point of a gun, demands that Ann turn over to him the documents with which she had been blackmailing him. Aware now that Ferguson had given Ann the pill that had caused the death of Inez's uncle, Lowery subdues him in a hectic struggle. Both Ann and Ferguson are arrested, and Inez, released from prison, starts life anew with Lowery. Fred Myton wrote the screen play from a story by G. T. Fleming-Roberts, Sigmund Neufeld produced it, and Sam Newfield directed it. Unobjectionable morally. "The Man I Love" with Ida Lupino, Robert Alda, Andrea King and Bruce Bennett (Warner Bros., January 1 1; time, 96 min.) A fairly good romantic melodrama, the sort that is best suited for adult audiences because of its sexy overtones, as well as of the fact that certain parts of it are quite sordid. Revolving around a hardened but kind-hearted night-club singer, whose efforts to ad' just her family's problems involve her with a con' scienceless racketeer, the story, which is interwoven with several sub-plots, "wanders all over the lot" and ends up with several loose ends; yet it holds one's interest fairly well, mainly because of the competent performances. The action is slow-moving, but it has good dialogue and on occasion is quite emotional because of the heroine's unrequited love for a once' famus jazz pianist. Ida Lupino, as the heroine, gives a versatile performance, and she is extremely good in her rendition of several popular "torch" songs, which she sings in a throaty, sobbing voice. The story's romantic sentiment gives it definite feminine appeal. It is not, however, a cheerful entertainment, for the doings of the characters give the picture a morbid tone. Arriving in Los Angeles to spend the Christmas holidays with her family, Ida finds them beset with problems. Andrea King, her sister, whose husband was confined to an army hospital with shellshock, and who worked as a waitress to support herself and her little boy, was being pursued by Robert Alda, a cocky night-club operator, who had intimated that, not only she, but also her wayward brother (Warren Dougles) , who, too, worked for him, would lose their jobs unless she was nice to him. Determined to put Alda in his place, Ida flirts with him and secures a job as a singer in his club. His infatuation for her keeps him in line until Ida falls in love with Bruce Bennett, a once-famous pianist, whose inability to forget his former wife had ruined his career. Unable to break up Ida's romance with Bennett, Alda amuses himself with Dolores Moran, "two-timing" wife of Don McGuire, a close friend of Ida's family. He soon tires of Dolores and orders Ida's brother to take her home. Intoxicated, Dolores jumps from the young man's car and is killed. Alda blames the brother for her death and threatens to inform the police unless Ida becomes his mistress. He changes his mind, however, when Ida saves him from being shot by McGuire, who had learned of his affair with his wife. Having saved her brother from being falsely accused of murder, and having prevented McGuire from committing murder, Ida completes Andrea's happiness by seeing to it that she is reunited with her husband, whose ail' ment had been cured. Her family's problems solved, Ida turns to her romance with Bennett. Catherine Turney wrote the screen play from a novel by Maritta Wolf, Arnold Albert produced it, and Raoul Walsh directed it. The cast includes John Ridgely, Alan Hale, Martha Vickers and others. "Humoresque" with Joan Crawford and John Garfield (Warner Bros., January 25; time, 125 min.) A strong romantic tragedy. It is strictly adult fare, but it should prove to be an outstanding box-office at' traction because of the popularity of the two stars. First produced by Paramount in 1920, Fanny Hurst's familiar story about the rise of an East Side concert violinist has been changed considerably. The earlier version was deeply appealing because it stressed a mother's self-sacrifice to develop her son's musical talents. This version, too, has its appealing moments along those lines, but for the most part it is depressing because it concentrates mainly on the young man's romantic relationship with an unhappily maried sc ciety woman, whose protege he had become, and on the emotional conflict both go through because of his mother's objections to their love affair. Although the story is powerfully dramatic in spots, it is not as good as it should have been for such a capable pair of players as Joan Crawford and John Garfield. Their artis' tic acting, however, compensates for the story's short' comings, and women in particular should find it to their liking. As a frustrated woman addicted to drink, Miss Crawford's role is unsympathetic, but her in' ability to find happiness in her genuine love for the hero rouses one's compassion. Garfield, as the restless violinist torn between devotion to his mother and love for Miss Crawford, is very effective. But the one who practically walks away with the picture is Oscar Levant, as Garfield's close friend and counselor, whose witty gags and remarks frequently give the slow' moving proceedings a badly-needed lift. The picture should have a particular appeal to the lovers of good music, for a considerable part of the footage is inter' polated with violin solo and concerto renditions of classical favorites, splendidly played: — Garfield, a gifted violinist educated by the self' sacrifice of his mother (Ruth Nelson) , continues his musical training throughout the depression, oblivious to the struggles of his father (J. Carrol Naish) to provide a livelihood for the family. A family discussion about his idleness stings Garfield into action and he induces his friend, Oscar Levant, a radio pianist, to get him a job with a broadcasting orchestra. Gar' field, a perfectionist, quarrels with the conductor and loses his job. To help Garfield forget his troubles, Levant takes him to a swank party given by Joan, a beautiful woman, who sought to forget her unhappy marriage to Paul Cavanagh by sponsoring unrecognized talent, and by drinking to excess. She takes an interest in Garfield and finances his debut in the musi' cal world. He gains recognition and both fall in love, but his relations with her causes his family to break with him. Meanwhile Cavanagh offers to divorce her. Garfield, delighted, asks her to marry him and persuades her to stop drinking. Garfield's mother, however, still disapproves of the marriage on moral grounds. Dejected, Joan resumes her drinking and, as the radio blares forth the strains of Garfield's violin as he performs at his greatest concert, she drunkenly walks into the sea and commits suicide. Garfield, heartbroken, turns to his music for solace. Clifford Odets and Zachary Gold wrote the screen play, Jerry Wald produced it, and Jean Negulesco directed it. The cast includes Joan Chandler, Tom D'Andrea, Bobby Blake, Richard Gaines and others.