Hollywood (1941)

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Hundreds of thousands of women remarkably helped. WORTH TRYING! ■ ISIMrtf^iaaMiUtlM By SARA COUPONING CITIZEN KANE **** RKO-Radio Here it is — the picture that's caused more talk, speculation, debate and controversy than anything out of Hollywood since Gone With the Wind. Orson Welles — the same Wonder boy who startled the nation out of its wits a short time ago with his radio presentation of a Mars invasion — has written, directed, produced and acted in a movie of tremendous scope and power. It was released under a spotlight the like of which has never been equalled. By the time the question of whether or not RKO would release it had been settled, public interest had reached a new all-time high. The fact that it is supposed to closely parallel the life of an eminent living newspaper publisher was the source of the turmoil. Be that as it may, it emerges a cynical, ironic, and intensely absorbing story you can't afford to miss. It makes the average movie seem tame and flighty by comparison. The underlying theme of the film is "For what shall it profit a man if he gain the whole world and lose his own soul." The picture opens with Charles Foster Kane, multi-millionaire publisher, dying in his fabulous castle, Xanadu. As he dies, his heavy lips murmur one last word, "Rosebud." The editor of a news feature is determined to find what lies behind this strange enigma, believing that if he can decipher its meaning, he will have the secret to the strange nature of Kane. A reporter is assigned to seek out every person who has been associated with Kane in his colorful past. In this way the story unfolds in absorbing manner. At the end, the mystery remains unsolved. The final identification of "Rosebud" sheds little light on the strange man named Kane. Cameraman Gregg Toland has done amazing things with his medium. The picture is technically perfect. The supporting cast is composed of players hitherto unknown to movie-goers. All are excellent in their roles, particularly outstanding being Dorothy Comingore, Joseph Cotten, Everett Sloan and Ruth Warrick. ZIEGFELD GIRL -fc** Metro-Goldwyn-Mayer If you've always longed for a chance to see behind the scenes of a famous musical stage show, here's your opportunity. Ziegfeld Girl gives you that chance for exactly two hours and fifteen minutes. Girls, girls — and still more lovely girls — parade across the screen in mass numbers in this glorification of those who were touched by the magic Ziegfeld wand. The story, which is really three stories interwoven, follows the adventures of three of the Ziegfeld beauties who found themselves tagged by the master showman. Most strongly emphasized is the tale of the little redhead from Flatbush who couldn't take fame in her stride, who chose the easy way to comfort and luxury, and to a final tragic end. Lana Turner has this role, and while she is exquisitely beautiful, she moves through her part petulantly and blankly. Hedy Lamarr is the wife of a concert violinist who becomes temporarily separated from her husband when Ziegfeld makes her a star. Of the trio, only little Judy Garland manages to keep her feet on the ground. This picture marks Jimmy Stewart's last appearance on the screen for a year, now that he has gone into service for Uncle Sam. It is regrettable that he appears in so few sequences. Outstanding in a small part is Philip Dorn as the husband of Hedy. This Holland-born actor brings a charming restraint and interpretation to his role that mark him for great things to come. Paul Kelly, Ian Keith, Charles Winninger, Edward Everett Horton and Jackie Cooper are all exceptionally good in their supporting roles. Tony Martin sings a beautiful new tune you'll find yourself humming for days after — You Stepped Out of a Dream. Gorgeous show numbers are staged at intervals throughout the picture, featuring Metro's much publicized and beautiful Ziegfeld Girls. THE DEVIL AND MISS JONES *** RKO-Radio The "richest man in the world" (Charles Coburn) discovers with horror that the employees of one of his many department stores have hanged him in effigy. He determines to get to the root of the trouble, so he poses as a shoe salesman. The adventures that befall the rich old gent in his sly spying cost him much of his dignity, but eventually change him from a stern financial tycoon to an understanding old fellow. Romance comes his way, too, in the form of Spring Byington, who portrays a warm-hearted saleslady. Jean Arthur is the Miss Jones of the title, who befriends Coburn. She is in love with Robert Cummings, young labor agitator, who delivers his best work to date. Miss Arthur brings to her role a loveliness and ability hard to match and her dramatic scenes are handled in the capable Arthur manner. However, it is Coburn who romps away with the picture. His characterization of the richest man is a delight to behold. The labor-versus-capital theme has been handled delicately. A novel opening is used to placate the rich — watch for it — and some inoffensive fun-poking is employed against the laboring factions. PENNY SERENADE -*** Columbia This marks a radical departure for Cary Grant from all those sophisticated, screwball parts he has enacted so happily in the past few years. In Penny Serenade his role is one of heavy, dramatic tragedy (in one scene he cries) . As always, he comes through with a winning performance. [Continued on page 61] 58