Harrison's Reports (1950)

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February 25, 1950 31 wick, Dekker orders the ranch hands, including Audie, to go after the killers. This sets off a range war that becomes so serious that Robert Barrat, the territory's military governor, intervenes. Dekker shifts the blame for his part in the affair on Audie, whom he accuses of acting on his own, and to show his good faith he offers a reward for Audie's capture, dead or alive. Embittered at Dekker and still determined to avenge Strudwick's death, Audie spurns Barrat's plea to surrender and begins a career of out' lawry in which he is joined by other adventurous young men. One day, as Audie and his men raid Dekker 's ranch to replenish their supplies, they are trapped by the sheriff and his deputies. A bloody siege begins, during which time Gale learns that her husband was responsible for making Audie an outlaw. Dekker and all of Audie's men die in the battle, but Audie himself manages to escape. But his freedom is shortlived, for in due time he, too, is shot to death by the sheriff, when he is trapped while risking a meeting with Gale. It was produced by Paul Short and directed by Kurt Neumann from a screen play by Robert Hardy Andrews and Karl Lamb, based on a story by Mr. Andrews. Children will probably enjoy it, but it is not a picture for them. "Captain Carey, U.S.A." with Alan Ladd and Wanda Hendrix (Paramount, April; time, 83 min.) A fair enough post-war adventure melodrama that should satisfy the Alan Ladd fans, for he is cast in the type of role that suits his rugged, tight-lipped personality. But, like numerous other pictures in which Ladd has been starred, the success of this one will depend on his popularity, for the story leaves much to be desired; it is complicated and confusing. The good direction, however, has succeeded to a great extent in covering up the plot's strange confusions and aimless wanderings with an effective melodramatic mood, and for that reason the picture should pass muster with the uncritical : — Alan Ladd, an American OSS officer working behind the lines in Italy during the war, makes his hideout in the cellar of an island palace owned by a noble family, whose daughter, Wanda Hendrix, aided him. The hideout is discovered by the Germans, who shoot and capture him after a bloody battle. Four years later, after victory, Ladd, now a civilian, passes an art gallery in New York and recognizes a painting he had last seen in the hideout. He deduces that the man who smuggled the painting out of Italy was the one who had tipped off the Germans, and he decides to return and track down the betrayer. Arriving in Italy, he is shocked to find Wanda still alive and married to Francis Lederer, a politically ambitious baron. Each believed the other dead. To add to his chagrin, he finds the villagers, former friends, now hostile to him, because they held him responsible for the killing of 27 partisans on the night he was captured. Efforts are made by several people to make him return home, but he remains determined to stay and find the betrayer. Aided by Wanda, he starts an investigation that brings about several mysterious murders of people who might have helped him, as well as a number of attempts on his own life. Matters become complicated when a false rumor spreads among the villagers that Wanda herself was the betrayer. In his efforts to protect Wanda, Ladd discovers that Lederer is the culprit. The climax has both men battling it out to the death in the cellar of the palace, with Lederer losing his life. His mission accomplished, Ladd prepares to return to the United States, but he indicates to Wanda that he will soon return for her. It was produced by Richard Maibaum and directed by Mitchell Leisen from a screen play by Robert Thoeren, based on a novel by Martha Albrand. Unobjectionable morally. "No Man of Her Own" with Barbara Stanwyck and John Lund (Paramount, May; time, 98 min.) Although well acted and directed, this adult melodrama is not impressive. The story's combination of mistaken identity, deception, blackmail and murder is so far-fetched, and the happenings so obviously contrived, that one feels as if the author stretched his imagination to the breaking point to invent the situations. As a destitute, unmarried mother who, through a fantastic series of events, is accepted by a kindly well-to-do couple as their widowed daughter-in-law, Barbara Stanwyck manages to give some interest and importance to the involved and over-dramatic plot, but even her valiant efforts are not enough to overcome the feeling that there is nothing real about the proceedings. It is not a pleasant entertainment, but its "soap opera" flavor may appeal to the women: — Barbara, discarded by Lyle Bettger, the father of her unborn child, boards a train for San Francisco. En route she makes friends with Richard Denning and his wife, Phyllis Thaxter who, like Barbara, was seven months pregnant. Both were on their way to meet his parents (Jane Cowl and Henry O'Neill), who had never met Phyllis nor seen a picture of her. Disaster strikes when the train is wrecked and Phyllis and her husband lose their lives, their bodies mangled beyond identification. Barbara survives the crash and regains consciousness in a hospital, where she learns that a son had been born to her prematurely, and that she had been registered under Phyllis' name through a mistake in identity. She decides to continue her new identity for the welfare of her baby. Released from the hospital, she journeys to the home of Mss Cowl and O'Neill, who welcome her as their daughter-inlaw. John Lund, their other son, is delighted to have her with them, and soon falls in love with her. Barbara's happiness proves only temporary when, after many months, Bettger makes an appearance and starts to blackmail her lest he reveal her deception. So as not to disillusion those who had learned to love her, Barbara manages to raise the money he demands, but she balks when he insists that she marry him so that he might cash in on any inheritance that is left to her. Desperate, she determines to kill Bettger, but she finds him murdered by someone else before she can commit the crime. By this time Lund, having learned of her troubles with Bettger, goes to her aid. He finds her with the body and helps her to dispose of it lest the crime be pinned on her. The shock of what happened brings about the death of Miss Cowl, but before she dies she leaves a note confessing that she had murdered Bettger so that Barbara would be in the clear. Barbara refuses to let Lund make the confession known to the police. Months later, after Bcttgcr's body is found, they learn from the police that the killing had been confessed by Carole Mathews, a blonde Bettger had discarded. Barbara and Lund decide to keep her past secret, and to start life anew. It was produced by Richard Maibaum and directed by Mitchell Leisen from a screen play by Sally Benson and Catherine Turncy, based on a novel by William Irish. Adult fare.