Harrison's Reports (1950)

174 HARRISON'S REPORTS November 4, 1950 "Breakthrough" with David Brian, John Agar and Frank Love joy (Warner Bros., Dec. 9; time, 91 win.) "Breakthrough" is a hard-hitting, thrill-packed war melo' drama, dealing with the World War II experiences of an American infantry company involved in the invasion of Europe from the D-Day landing on Omaha Beach to the capture of St. Lo. The picture is most effective in the battle scenes, which are made all the more realistic by the expert way in which authentic clips from both Allied and enemy combat films have been blended in with the staged action. The battle scenes are, in fact, so vivid in their depiction of modern warfare in all its harsh ugliness that they may prove to be much too grim for those who are squeamish. The weakest part of the picture is the story, which is episodic and somewhat contrived, and which is lacking in clear-cut characterizations and motivations. Despite the story's shortcomings, however, it is one of the better war pictures, but just how it may perform at the box-office is a question that the exhibitor must answer for himself since he is the best judge of whether or not his patrons are in the mood to accept a picture of this type nowadays. Primarily, the story concerns itself with the friction between David Brian, the tough, battle-wise company com< mander, and John Agar, a sensitive second lieutenant, fresh from OCS. Chief cause of the animosity between them is Brian's apparent indifference to the tragedies that befall his men, and the abusive attitude he assumes in training Agar on tactical war problems. In due time, however, Agar becomes aware of Brian's deep concern for his men, despite his tough exterior, and eventually, when the rigors of battle turn Brian into a psychopathic case, a condition he recognizes himself when he is assigned to headquarters, he recommends Agar, who had proved his worth, as his successor with the company command. The story concerns itself also with the thoughts and reactions of the soldiers under battle conditions, and with their individual feats of daring and sacrifice as they battle foot by foot across France from one hedgerow to another to dislodge the Germans from the protection these hedgerows afforded them. Here and there some touches of humor are worked in between the melodramatic incidents. The supporting cast is good, with an outstanding job turned in by Frank Lovejoy, as a seasoned top sergeant, whose understanding guidance helps Agar over the rough spots. A brief but effective bit is contributed by Suzanne Dalbert, as a flirtatious French girl in a liberated Normandy village. It was produced by Bryan Foy and directed by Lewis Seiler from a screenplay by Bernard Girard and Ted Sherdeman, based on a story by Joseph I. Breen, Jr. Matt Willis, Greg McClure and Edward Norris are among the others in the cast. Adult fare. "Undercover Girl" with Alexis Smith and Scott Brady (Univ.'Int'l, ~Npvemher; time, 83 min.) A fairly interesting "cops and robbers" melodrama. The story follows a conventional pattern in theme and treatment and, as indicated by the title, the heroine is a policewoman who poses as a shady character to worm her way into the crooks' confidence and ultimately bring them to justice. Although it offers little that is novel and moves rather slowly at times, it does generate enough excitement and suspense to satisfy the followers of this type of pictures. The characterizations are stereotyped, but the players adequately fill the roles assigned to them: — Gerald Mohr, head of a West Coast narcotics gang, kills Regis Toomey, a New York detective, when he rejects a bribe. Scott Brady, a Los Angeles police lieutenant who had been trying to trap the gang, enlists the aid of Toomey's daughter, Alexis Smith, a rookie New York policewoman, who is granted leave to accompany Brady to the coast in an effort to find her father's killer. Under a plan worked out by Brady, Alexis assumes a fictitious identity and represents herself as a Chicago drug operator, a protege of Gladys George, a drug addict, whom the underworld erroneously believed to be dead. Through clever maneuvers she makes contact with the gang and soon wins the confidence of Edmon Ryan, a shady doctor, whose private sanitorium was used as a front by Mohr. Ryan falls in love with Alexis and tells her of his grown son who knew nothing about his shady operations. On the day set for Alexis to buy a quantity of drugs from Mohr, she bumps into Richard Egan, a jilted New York boy-friend. The meeting is observed by Royal Dano, a gang member, who checks up on Egan and discovers Alexis' true identtiy. To keep this information from Mohr, Ryan, for his own safety, murders Dano. Alexis, now aware that she had been found out, persuades Ryan to turn state's evidence and go through with the deal to protect his son from scandal. At the appointed hour for the delivery of the narcotics, with the police all set to close in on the gang, Mohr cagily makes a switch in plans and takes Alexis to another hideaway in an abandoned house. There, as he turns over the drugs to Alexis, word comes of Dano's murder and the reason for it. Alexis bolts from the room and runs through the darkened house with Mohr in hot pursuit. Just then Brady and the police burst in and capture the gang, but Alexis herself gets the drop on Mohr, thus having the satisfaction of bringing her father's slayer to justice. It ends with Alexis and Brady finding themselves in love. It was produced by Aubrey Schenck and direceted by Joseph Pevney from a screenplay by Harry Essex, based on a story by Francis Rosenwald. Adult fare. "Never a Dull Moment" with Irene Dunne and Fred MacMurray (RKO, no rel. date set; time, 89 min.) Good mass entertainment. The family trade in particular should enjoy it, for it has the sure-fire ingredients of a highly amusing domestic comedy, with just the right touches of warmth and human interest. Revolving around a sophisticated woman songwriter who forsakes the luxuries of her New York life to marry a cowhand, a widower with two children, the story, though lightweight, keeps one laughing throughout. Most of the comedy, some of it slapstick, is provoked by her trials and tribulations as she bravely struggles to adjust herself to life on a rundown ranch, and by the invasion of her privacy by overfriendly neighbors. Irene Dunne, who is as beautiful as ever, and Fred MacMurray, are a perfect team for this type of comedy, and they make the most of their respective roles. Andy Devine, as a ranch hand, and William Demarest, as a grumpy ranch owner, contribute much to the comedy: — MacMurray, appearing with Devine at a charity rodeo sponsored by Irene, falls in love with her when Devine arranges a meeting between them in her luxurious apartment. They marry after a whirlwind courtship and set out in his ancient touring car for his ranch in the Rockies. The ranch proves to be a rundown affair, dependent for water on Demarest, and MacMurray's two daughters (Natalie Wood and Gigi Perreau) greet Irene with considerable reserve. Determined to make a go of it, she struggles to make the place a real home and gradually wins the children's affections as she learns to cook, ride and rope a horse, and milk a cow. She even tricks Demarest into agreeing to furnish the additional water the ranch needs badly, only to antagonize him when she accidentally shoots his prize bull. In retaliation, he calls off the water deal and announces that he will take over the ranch in repayment. This turn of events leads to a quarrel between Irene and MacMurray and, to the consternation of the children, she decides to return to New York to resume her songwriting career. She is unable, however, to concentrate on her work because of her longing for MacMurray and the children. Meanwhile MacMurray, to salvage his own finances, had taken to the rodeo again, but he, too, is so disturbed emotionally that he meets with little success. Devine finally solves their problems by dragging MacMurray up to Irene's apartment where, after a joyous reunion, she agrees to accompany him West for keeps. It was produced by Harriet Parsons and directed by George Marshall from a screen play by Lou Breslow and Doris Anderson, based on a novel by Kay Swift. Very good family entertainment.