Harrison's Reports (1947)

146 HARRISON'S REPORTS September 13, 1947 "The Tawny Pipit" with Bernard Miles (Prestige — Univ.-Int'l.no rel. date set; time, 81 min.) A thoroughly delightful entertainment, but it is a picture that will appeal mainly to selected audiences that patronize art theatres. Other picture-goers will probably find the action much too slow and the humor too subtle for appreciation. Produced in England, the story is a whimsical comedy-drama, revolving around the turmoil that is created in a sleepy English village when two rare birds, known as tawny pipits, are discovered nesting in a field nearby. The excitement that is created by the find, and the manner in which the villagers, awed by the importance of the discovery, organize to protect the pipits from harm until their offspring emerge from the hatching eggs, make for some of the most delightful satire that has reached the screen in many a day. Briefly, the story begins with the tawny pipits' discovery by a convalescing British aviator and his nurse, who immediately communicate with her uncle, a leading member of the Association of British Ornithologists. The uncle hurries to the village from London and, upon his verification of the birds' authenticity, he is joined by a delegation of eccentric fellowmembers intent upon observing and studying the pipits' habits. Awed by the knowledge that the birds were extremely rare, the villagers, led by a retired, crochety old colonel, take steps to guard the nest and to prevent undue disturbances lest the pipits be frightened away. The nurse uses her charm to dissuade a detachment of British tanks from crossing the field during war maneuvers, and the Colonel, learning that the field was to be plowed, journeys to London and puts pressure on the Minister of Agriculture to temporarily delay the work until after the pipit's eggs had hatched. In the meantime an unscrupulous member of the Ornithologists' Society lays elaborate plans to filch the eggs from the nest, but he is foiled by the inadvertent interference of the British army. In due time five tiny pipits break through the shells, bringing about great rejoicing in the village. The skillful characterizations, the sly but gentle humor, the simplicity of the story, and the colorful rural backgrounds, add much to the charm of this heartwarming picture. Bernard Miles produced it and collaborated on the direction and screen play with Charles Saunders. The all-English cast includes Rosamund John, Nial McGinnis, Jean Gillie and others. Morally suitable for all. "Ride the Pink Horse" with Robert Montgomery, Thomas Gomez and Wanda Hendrix (Univ.'Int'l., no release date set; time, 101 min.) Those who like their melodramas tough and exciting should find this one highly satisfying, for it holds one in suspense almost every foot of the film. But it is strictly adult entertainment, for the story, in attempting to glorify a blackmailer and arouse sympathy for him, is somewhat demoralizing. The unpleasantness, however, is softened by the fact that in the end he becomes regenerated. As the director and leading player, Robert Montgomery does excellent work. His tight direction sustains the picture's grim mood, yet permits just the right amount of comedy to relieve the tension occasionally. His portrayal of an ex-thug bent on blackmailing a master crook is a vivid characterization. The action is exciting throughout, and at times quite brutal. The excitement is intensified in the sec ond half where Montgomery, wounded and harried by the master crook's henchmen, becomes the object of their pursuit. The entire supporting cast is topnotch, with notable characterizations delivered by Wanda Hendrix, as a wistful Indian girl; Thomas Gomez, as an uncouth but jolly merry-go-round proprietor; and Art Smith, as a Government agent, all of whom befriend Montgomery. Word-of-mouth advertising should do much for the picture: — The murder of a pal, who had unsuccessfully tried to blackmail Fred Clark, a master thief, brings Montgomery to a desert town in New Mexico, where Clark was vacationing; Montgomery sought to avenge the murder and to collect from Clark $30,000 for an incriminating check he (Montgomery) had in his possession. The check could convict Clark for defrauding the Government. With the town celebrating a fiesta, Montgomery is unable to find a room. He is befriended by Wanda, a native girl, who attaches herself to him with a doglike devotion, and by Gomez, who gives him a place to sleep. Art Smith, a G-Man seeking evidence against Clark for war frauds, tries unsuccessfully to make an ally of Montgomery. Clark and Montgomery eventually meet, and the gangster agrees to pay him, arranging tor the payoff to take place in a local cafe. There, through the connivance of Andrea King, Clark's girl-friend, Montgomery is set upon by the gangster's henchmen. He makes his escape but is seriously wounded by a knife thrust in his back. Wanda finds him, mends his wounds, and hides him in Gomez's place. After arranging with Wanda to conceal the check in her blouse. Montgomery, delirious, wanders away from her and makes his way to Clark's hotel suite, where Wanda catches up with him. Clark's henchmen beat him up again, then start slapping Wanda to make her reveal the whereabouts of the check. Their abuse is stopped by the sudden appearance of Smith with a drawn pistol. Grateful, Montgomery takes the check from Wanda and hands it over to Smith, thus allying himself with the law. He walks out of Wanda's life with a heavy heart, unable to declare his love because of her youthfulness. Ben Hecht and Charles Lederer wrote the screen play from the novel by Dorothy B. Hughes. Joan Harrison produced it. "Key Witness" with John Beal, Trudy Marshall and Jimmy Lloyd (Columbia, no release date set; time, 67 min.) A mild program murder melodrama, revolving around a man who, innocently involved in a slaying, becomes a murder suspect by running away from a crime he did not commit. The story is as old as Methuselah, is developed without novelty, and is illogical to boot. Moreover, it lacks action and suspense. As the hapless hero, John Beal is not too convincing, nor for that matter are any of the other players. But they are not to blame, for neither the script nor the direction gave them half a chance. As a matter of fact, there is nothing about the picture to lift it above the level of mediocrity. Play it, if you must, on Bank Night : — When his wife, Barbara Reed, leaves town to visit her sister, Beal, a henpecked draftsman with a flair for inventing gadgets, accompanies his friend, Jimmy Lloyd, to the races. He wins a small fortune and throws a party for Lloyd and two girl-friends, Trudy Marshall and Helen Mowery. Intoxicated, Beal falls asleep in Helen's apartment. Douglas Fowley, Helen's estranged husband, comes to the apartment and, after