Hollywood Spectator (Apr-May 1939)

What £ate OheJ took Hike Stirring History in Metro Production NORTHWEST PASSAGE, MGM Producer Hunt Stromberg Director King Vidor Screen play: Laurence Stallings, Talbot Jennings. Based on the novel by Kenneth Roberts Musical score by Herbert Stothart Recording director Douglas Shearer Art director Cedric Gibbons Associate art director Malcolm Brown Directors of photograph: Sidney Wagner, ASC: Wiliam V. Skall, ASC. Film editor Conrad A. Nervig Cast: Spencer Tracy, Robert Young, Walter Brennan, Ruth Hussey, Nat Pendleton, Louis Hector, Robert Barrat, Lumsden Hare, Donald McBride, Isabel Jewell, Douglas Walton, Addison Richards, Hugh Sothern, Regis Toomey, Montagu Love, Lester Matthews, Truman Bradley, Andrew Pena. NOT HER outstanding achievement to the credit of Producer Hunt Stromberg: a stirring, uplifting screen materialization of a page of United States history, turned nearly two centuries ago but alive today with inspiration to those who have difficulties to overcome. It is a picture which ignores screen conventions in the composition of its story. Two hundred pioneer soldiers set forth to wipe out a tribe of murderous Indians, month after month encounter and overcome obstacles which nature stacks against them, accomplish their objective, fifty come back. That is the story, but the screen records it in heroic terms, makes of it a gripping, inspiring drama of which Hollywood has reason to be proud. It is a literary, visual and technical triumph which gives the screen new dignity. Laurence Stallings and Talbot Jennings put in screen play form that portion of Kenneth Roberts’s book, Northwest Passage, which was used in the picture, and adroitly paved the way for a sequel by a line of dialogue in the closing sequence to the effect that the Northwest Passage itself still remained to be discovered. I am quite sure audience reaction to the picture will constitute an imperative demand for a sequel. If the picture does not prove an outstanding box-office success it will be because the public is harder to please than it should be. Direction and Performances <1 King Vidor’s direction is perfect. It was a tremendous emotional and physical job the well constructed screen play put into his hands, and right nobly did he execute it. And right nobly, too, did the cameras of Sidney Wagner and William V. Skall respond to the demands made upon them. Scores of scenic shots are superb examples of composition and photography. Lakes, streams, forests, mountains, cloud effects form beautiful and awe-inspiring backgrounds for the heroic soldiers as they bravely carry on. Vidor's direction is notable particularly for the manner in which he keeps alive on the screen the indominable spirit of the soldiers as they cheerfully meet and overcome the difficulties they encounter. Spencer Tracy has a habit of making us believe no other actor could play any role in which he appears. He does it again here, makes his Major Rogers, the heroic leader of heroes, a real person, not an actor. And thanks to Vidor, we have a new Bob Young who reveals intelligence, emotional power and adaptable acting ability hinted at even in the wishy-washy roles to which he was assigned when he first came to the screen, but which until now he was not given an opportunity to display. Walter Brennan is another who distinguishes himself in Northwest Passage, as does Addison Richards in a highly emotional role. Regis Toomey, one of the finest young actors available to pictures and one of the most overlooked, does quite enough in this picture to point up the folly of producers in not making greater use of him. Competent Craftsmanship The acting pattern is sprinkled with well done bits, too many for individual mention. It is an almost wholly masculine picture, the only actress in it who is given an opportunity to display acting ability being Isabel Jewell, who appears briefly but makes her presence felt. Romantic element is slight; Ruth Hussey and Bob Young are in love when the picture opens, they are holding hands when it ends, and that is all the romance there is in this purely masculine piece of screen entertainment. In all its technical aspects Northwest Passage reveals completely competent craftsmanship. It is a far cry from the Romeo and Juliet sets of Cedric Gibbons to his log fortifications and Indian teepees in this picture, but for atmospheric integrity they can be compared. Film editing is an important job in the production of such sweep and so much activity which at all times must register persistent forward movement. And a well done job did Conrad Nervig make of it. For the scenic beauty which is such a big feature of the picture we have technicolor to thank. A picture to command the serious attention of all students of the screen, one which demonstrates the screen s advantage over all other media as a teacher of history, the only medium which can make it live again before our eyes. May appeal more to masculine than to fem inine tastes, but I have my doubts. Not for children or for young people who$e tastes run to the frivolous. But exhibitors certainly can get behind it with enthusiasm. Biographical Film Scores A Success YOUNG TOM EDISON. MGM Producer John W. Considine, Jr. Associate producer Orville O. Dull Director Norman Taurog Original screen play: Bradbury Foote, Dore Schary, Hugo Butler. Based on material by H. Alan Dunn Musical score Edward Ward Art director Cedric Gibbons Associate art director Harry McAfee Director of photography Sidney Wagner, ASC Film editor Elmo Veron Cast: Mickey Rooney, Fay Bainter, George Bancroft, Virginia Weidler, Eugene Pallette, Victor Kilian, Bobbie Jordan, J. M. Kerrigan, Lloyd Corrigan, John Kellog, Clem Bevans, Eily Malyon, Harry Shannon. IOGRAPHICAL venture which should prove highly successful. Here we have the first half of it, the half that tells us about the boy. On the way is the second helping, the one which will tell us about the man, the Wizard of Menlo, Thomas A. Edison, who illuminated the world. Those who view the first picture will be impatient to view the second — an important box office factor. Mickey Rooney’s name will attract millions of patrons, among them a few million who are interested more in him than in the man the boy became, but after seeing him they will not be content until they see the man. As a ballyhoo for the second picture, the first will prove a huge success, further assured by the fact that Spencer Tracy will play the man. The producer writer combination which made such a human document of Boys' Town — John W. Considine, Jr., producer, and Dore Shary and Hugo Butler, writers — again functions as a unit to make Young Tom Edison a warmly human picture. The boy had much to contend with in his small home town, his series of experiments creating doubts as to his sanity. But we regard our young hero’s woes with more complacency than we do those of the hero of a purely fictional creation: we know in advance that ultimately he will triumph and make the small town proud of him. Such knowledge, however, does not temper our sympathy for him or lessen our regret that he should be misunderstood so sadly. And therein lies the great appeal of Young Tom Edison. No Mugging By Mickey So far we have considered Mickey Rooney ideal casting for every part he MARCH 1, 1940 PAGE FIVE