A hundred million movie-goers must be right... (1938)

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not uncommon to the screen is brought out in the remarkably few instances where Variety cites a picture that isn't making the deliberate bid. One follows: 'The Young in Heart' (United Artists) takes its title from the little old woman whose pathetic eagerness for companionship touches the affections of a conniving and indolent family. When she meets them on a Paris train after they have been exposed and expelled from a Riviera resort, she is captivated by their tall tales of troubles and delighted with their courage in their predicament. It is the simple and rather wistful paradox of the story of course, that while the tiny old heroine sees her sponging guests as 'young in heart/ it is actually she who is so. And it is this young in heart quality in her that endears her to the grafting family and eventually brings about their reformation. It is this quality, too, which has enchanted the director and cast and which will be irresistibly winning to an audience. Under Richard Wallace's direction, the fragile story is never permitted to lapse into bathos. The humor and sentiment is ingeniously blended so that the picture is gay without being arch, and tender without being saccharine. Its characters are human and true and it is shot through with laughter, yet it will leave, as they say, not a dry eye in the house. (Hobe.) And now, the other extreme: "The Storm" (Universal) : Thoroughly hokey but reasonably entertaining he-man thriller, about shipboard wireless operators. Loaded with enough rock-emand sock-em action to supply a whole Dick Tracy series, including several shipwrecks, fires, drunken brawls, a shipboard appendectomy by radio instructions, a flock of slugfests, romance, a brother-against-brother angle — and oh yes, a storm at sea. There's nothing much more to say about The Storm/ except that it's a typically proficient Hollywood job of making acceptable Class B entertainment out of a script-writer's file of rip-roaring melodrama. It's never for a moment plausible, but on the other hand it's almost never dull. (Hobe.) 166