Harrison's Reports (1950)

42 HARRISON'S REPORTS March 18, 1950 "The Winslow Boy" with Robert Donat, Margaret Leighton and Cedric Hardwicke (Eagle-Lion, no rel. date set; time, 97 min.) Based on Terence Rattigan's successful play of the same name, "The Winslow Boy" is a compelling Britishmade drama, marked by outstanding performances by Robert Donat and Cedric Hardwicke who are both known to American picture-goers. But as entertainment it seems more suited to class audiences than to the masses, for it is like a photographed stage play— all dialogue and no movement. Moreover, many movie-goers will have difficulty understanding the thick British accents of some of the players. The story, which is based on a famous cause celebre of the late 1800's, revolves around a 14-year-old cadet who is expelled from the Royal Naval College for theft. His father, a retired middle-class bank manager, played by Hardwicke, believes the boy innocent and fights for his honor, first through the Admiralty and then in the House of Commons, but the Attorney General refuses to grant him the right of a civil trial. The struggle seems hopeless until Robert Donat, a famous lawyer and member of Parliament takes up the challenge in the boy's behalf. His brilliant speech in Commons results in a Petition of Right being granted, thus enabling Hardwicke as a private citizen to sue the Admiralty and fight the case in the Lord Chief Justice's Court. Bitterly fought for more than two years, the case attracts nationwide attention and proves embarrassing to Hardwicke's family, particularly to his daughter (Margaret Leighton), who is compelled to break her engagement to a young neighbor. Hardwicke becomes ill and his savings dwindle because of the costly litigation, but he refuses to abandon the fight. In due time Donat wins a brilliant court victory, completely vindicating the boy. Hardwicke looks upon the vindication as well worth the sacrifices made by him and his family. It ends with a hint of romance between Margaret and Donat. The most absorbing parts of the picture are the debates in Parliament and the court room trial in which Donat matches wits with Francis L. Sullivan, the prosecuting attorney. But all this will best be appreciated by mature audiences, who will find it to be an effective dramatic presentation involving the rights and liberties of the common man. It was produced by Anatole de Grunwald, who collaborated on the screen play with Terence Rattigan. Anthony Asquith directed it. Morally suitable for all. "Tarnished" with Dorothy Patrick, Arthur Franz and Barbara Fuller (Republic, Feb. 28; time, 60 min.) Fair program entertainment. Its story about an inherently honest young man who struggles to live down a bad reputation he had earned as a youth is basically familiar, but it holds one's attention throughout because of the deft direction and the competent performances. Considerable sympathy is felt for Arthur Franz, as the young man who tries hard to win the acceptance of the narrow-minded townspeople, and for Dorothy Patrick, who courageously defies even her prejudiced father to help him. Their romance is pleasant and inspiring. There is some excitement in the closing scenes, where Franz rescues from a blazing warehouse Jimmy Lydon, who had tried to frame him for a series of robberies: — Returning to his home town after an absence of seven years, Arthur Franz tries to live down the fact that he had been sent to prison for a youthful escapade. Franz, who had spent the previous four years with the Marines, refuses to cash in on his war record and allows the prejudiced townspeople to believe that he had been in prison all the time. After being humiliated and rebuffed time and again, Franz lands a job in Harry Shannon's boat yard with the aid of Dorothy Patrick, a cannery worker, who sympathized with him. Franz progresses nicely but arouses the jealousy of Byron Barr, personnel manager of the cannery, who had an eye on Dorothy himself. Seeing an opportunity to blame Franz for robberies he and Jimmy Lydon, Shannon's son, had been committing, Barr plants Franz's Marine combat knife at the scene of their latest crime. Franz, accused, denies the robbery, but his alibi is weak because, on the night of the crime, he and Dorothy had gone to Vermont in an unsuccessful attempt to get married without a waiting period. Knowing that no one would believe that their trip was an innocent one, Franz, rather than clear himself at the expense of Dorothy's reputation, prepares to submit to arrest. Meanwhile Lydon, in the act of robbing a warehouse with Barr, gets caught in a bear trap set by the owner. Barr, trying to pry Lydon loose, accidentally starts a fire and runs out on Lydon to save himself. Franz, risking his own life, rushes into the burning building and saves Lydon. Cleared by the truth about the robberies, Franz wins the admiration of the whole town. It was produced by Sidney Picker and directed by Harry Keller from a screen play by John K. Butler, based on a novel by Eleanor R. Mayo. The cast includes Barbara Fuller, Don Beddoe and others. Suitable for the family. "Singing Guns" with Vaughn Monroe, Ella Raines and Walter Brennan (Republic, Feb. 28; time, 91 min.) Replete with action and enhanced by Trucolor photography, this Western should have no trouble keeping the avid cowboy fans entertained, for it has all the tried and true ingredients they enjoy. But what sets it aside from most Westerns is the fact that it stars Vaughn Monroe, the band leader and crooner, whose wide popularity should have a telling effect at the box-office. Many people who are not drawn by Western fare may go out of their way to see Monroe in this one. And they will not be disappointed, for he does surprisingly well as an outlaw who becomes regenerated, even though the story material is routine. Needless to say, he sings several songs, including the popular "Mule Train." Ella Raines, as a cafe owner, Walter Brennan, as a kindly doctor, and Ward Bond, as the sheriff, are competent in standard characterizations. The one criticism that should be made is the unnecessary insertion of doublemeaning dialogue: — Monroe, a notorious outlaw with a price on his head, shoots and severely wounds Bond, who had been tracking him for many months. Not a killer, Monroe takes Bond to Brennan, who persuades him to submit to a blood transfusion that saves Bond's life. Monroe wakes up from a deep, drugged sleep and discovers that his heavy beard had been shaved off and his clothes changed, giving him a new appearance. Brennan explains that he wanted to give him a new start in life and induces him to assume a new name and to take over the job as sheriff until Bond recovers. Learning that a local mining company owned by Jeff Corey was preparing to make a large shipment of gold, Monroe decides to stick to the job until he can make off with the loot. Monroe had already stolen considerable gold from the company because it had jumped his claims. In the course of events Monroe becomes romantically involved with Ella, Bond's girl-friend, who recognizes him as the outlaw and so informs Bond in order to collect the reward. Brennan, confessing that he had hoped to turn Monroe into an honest man, persuades Bond not to arrest him until he has had a chance to accomplish his aim. By the time Monroe is ready to pull off the gold robbery, he falls deeply in love with Ella and decides to go straight. But a situation arises that compels Bond to jail Monroe to save him from a lynch mob headed by Corey. He allows Ella to help Monroe escape so that she may learn the location of his hideout and the stolen gold. Rather than give this information to Bond and bring about Monroe's arrest, Ella, upon reaching the hideout, knocks Monroe unconscious and takes the gold to the Governor. Her action results in a pardon for Monroe, enabling both of them to look forward to a happy, straightforward life together. It was produced by Abe Lyman and directed by R. G. Springsteen from a screen play by Dorrell and Stuart McGowan, based on a novel by Max Brand. Unobjectionable morally.