Harrison's Reports (1949)

October 8, 1949 163 "The Fallen idol" with Michele Morgan and Ralph Richardson (Sehnic\ Rel. Org., Hov.; time, 94 min.) An excellent British-made production. Discriminating adult audiences, to whom the picture seems best suited, should find it to be one of the choice pictures of the year. Brilliantly directed, finely photographed, and realistically acted by the highly competent cast, it is at once a sensitively developed and absorbing drama of the tragic events that grow out of a child's loyalty to an understanding butler, and of his lying to protect the man because of his mistaken belief that he, the butler, had committed a murder. It is a gripping story, emotionally stirring and filled with consid' able suspense, particularly in the last half, where the youngster's lying efforts to shield the butler only serve to incriminate him. Every one in the cast is just right, but the acting honors go to Bobby Henrey, a nine-year-old boy, whose performance is nothing short oi remarkable, in spite of the tact that he has never acted before. The picture has already won four international film awards: — Bobby Henrey, son of a foreign ambassador in London, hero-worships Ralph Richardson, the embassy butler, who treats him kindly and fascinates him with tall tales about his "adventures" in Africa. But Bobby feels a strong dislike for Sonia Dresdel, Richardson's wife, a stern, humorless housekeeper, who constantly reprimanded him. Left in charge ot Richardson and his wife during his parent's absence from the embassy for a weekend, Bobby, without understanding, stumbles on a secret love affair between Richardson and Michele Morgan, an embassy typist. Richardson tells the child that Michele is his niece, and wins from him a promise to keep their meeting a secret. Miss Dresdel, having had a violent quarrel with Richardson because he had asked her for his freedom, tricks Bobby into telling her of Richardson's meeting with Michele alter he inadvertently drops a hint. On the following morning, she pretends to leave London for several days, but returns later and hides in the embassy. Richardson, taking advantage of his wife's "absence," brings Michele to the embassy. Late that night, Miss Dresdel, unable to locate Richardson and Michele in the building, wakens Bobby and beats him to make him reveal their whereabouts. Richardson, hearing the commotion, rushes to the child's aid. He gets into a violent quarrel with his wife, during which she accidentally slips from a high interior window ledge and falls to her death. The bewildered child, witnessing the fall, mistakenly believes that Richardson had killed her. Richardson, after spiriting Michele from the building, reports the accidental death to the police and conceals from them any information that might implicate Michele. Bobby, questioned by the police, fabricates misleading evidence to shield Richardson, but he lies badly and only succeeds in getting the innocent butler deeper into trouble by bringing out the secret affair between him and Michele. Michele takes Bobby in hand and convinces him that he can help Richardson only by telling the truth. Meanwhile the police find a false clue that convinces them that the death had been accidental and, on the basis of that false clue, the innocent butler wins exoneration. Bobby, aware that the clue was false, and having promised that he would tell only the truth, attempts to point out the error to the police, but they brush him off in the belief that he is an inveterate liar. It was produced and directed by Carol Reed from a brilliant screen play by Graham Greene, based on his own short story, "The Basement Room." Adult fare. "Holiday in Havana" with Desi Arnaz and Mary Hatcher (Columbia, October 13; time, 73 min.) Fair for double bills, not because of the story, but because of the songs, most of which have catchy melodies and are put over in an entertaining way. As to the story, it is trite — it seems as if the author dictated it to a stenographer while half asleep. The spectacular scenes of a carnival in Havana arc wasted because of the lack ot a strong story. In the picture's favor, however, is the pretty fast action. Desi Arnaz has a pleasing personality and with good stories he could become a favorite. No fault can be found with the director, for no director can make a picture good when the story is poor: — Arnaz, a busboy in a Cuban hotel, goes to the suite of Mary Hatcher, a famous singer and dancer on her way to Havana to compete for the grand rhumba prize at the annual carnival, to persuade her to accept a song he had composed. Feeling that a busboy had a nerve to approach her daughter, Minerva Urecal, Mary's mother, douses him with a pitcher of water poured through the transom. Arnaz, thinking that Mary had drenched him, is furious. He manages to obtain a job in the hotel orchestra, and later, when the leader quits, he takes over the band leadership and makes a hit. He persuades the orchestra members to follow him to Havana, where he hoped to find a dancer to join the band. Meanwhile Mary, hounded by her mother to forget Havana and to accept offers to appear on Broadway, slips out of the hotel, borrows a friend's car, and heads for Havana. Her mother, to stop her, notifies the police that she had fled in a stolen car. En route, Mary learns that the police were after her; she hides in Arnaz's bus when she comes upon him and his band. Discovered as a stowaway, Mary, assuming a fictitious name, plays on Arnaz's sympathy and wins his permission to remain on the bus. A strong attachment soon springs up between them. In Havana, Arnaz helps her to elude the police only to find himself faced with arrest. To complicate matters, he learns Mary's real name and, thinking that he had been taken for a sucker, breaks with her. They bump into each other on the day of the carnival and become reconciled after Mary explains that her mother had poured the water on him. At the finish, both dance the rhumba together and win the grand prize. It was produced by Ted Richmond and directed by Jean Yarbrough from a screen play by Robert Less, Frederic I. Renaldo and Karen DeWolf, based on a story by Morton Grant. Harmless for children. STATEMENT OF OWNERSHIP, MANAGEMENT. CIRCULATION, ETC., REQUIRED BY THE ACT OF CONGRESS OF AUGUST 24, 1912, AS AMENDED BY THE ACTS OF MARCH 3, 1933, AND JULY 2, 1946, OF HARRISON'S REPORTS, published Wee\ly at Hew Tor\, H T., for Oct. 1, 1949. State of Hew Tor\. County of T^ew Tor\. Before me, a Notary Public, in and for the State and County aforesaid, personally appeared Al Picoult, who, having been duly sworn according to law, deposes and says that he is the Managing Editor of the HARRISON'S REPORTS and that the following is, to the best of his knowledge and belief, a true statement of the ownership, management, etc., of the aforesaid publication for the date shown in the above caption, required by the act of August 24, 1912, as amended by the acts of March 3, 1933 and July 2, 1946 (section 537, Postal Laws and Regulations), printed on the reverse of this form, to wit: 1. That the names and addresses of the publisher, editor, managing editor, and business managers are: Publisher, Harrison's Reports, Inc., 1270 Sixth Ave., Hew Tor\ 20, N T. Editor, P. S. Harrison. 1270 Sixth Ave., Hew Tor\ 20, H T. Managing Editor, Al Picoult, 1270 Sixth Ave., Hew Tor\ 20, H T. 2. That the owner is: Harrison's Reports, Inc., 1270 Sixth Ave., Hew Tor\ 20, H T. P. S. Harrison, 1270 Sixth Ave., Hew Yor\ 20, H T. 3. That the known bondholders, mortgagees and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages, or other securities are: Hone. 4. 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That the average number of copies of each issue of this publication sold or distributed, through the mails or otherwise, to paid subscribers during the twelve months preceding the date shown above is 2403. (Signed) AL PICOULT, (Managing Editor) . Sworn to and subscribed before me this 28th day of September, 1949. MODESTO F. HELMSTEADT (My commission expires March 30, 1950.)