Independent Exhibitors Film Bulletin (1947)

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OUOKS What the Newspaper Critics Say About Neiu Films Virtues Outweigh Faults in ''Fiesta' Reading between the lines, it appears that practically all of the New York film critics enjoyed M-Gl-M's "Fiesta," although some seem reluctant to admit it. PM's Seymour Peck presents his view quite frankly. He says, don't take this lavish Technicolor musical literally, it was not meant to depict Mexico as it is, but if "you go along with Tiesta." on its terms. . .there are things and people in it to make its 100 minutes likeable." He likes Ricardo Montalban, the attractive Mexican star, and most of the other players; lie likes the bullfighting scenes; he likes the music. On the other hand, the story is called "implausible" by Otid L. Guernsey, Jr., of the Herald Tribune, and "lame and weary" by Abe Weiler, of the Times, but both of these critical gentlemen proceed to recount several most entertaining virtues in the film. Guernsey finds the "by-play far more intriguing than the central theme" . . . "the bullftghttng scenes are staged with claritj and suspense" ... "some fine Mexican dance duets." The Times reviewer admires the bullfighting sequences, terming them "aut'^en THE GHOST AND MRS. MUIR 20TH CENTURY-POX "Qo much enchajiting fantasy, that it is a pity that the film does not settle for it. Instead, "-he new Music Hall offering dissipates a delightful notion in a stilted and preposterous climax." — GUERNSEY, N. Y. HERALD TRIBUNE. "■por about half its length, shows signs of developing into one of Hollywood's top accomplishments in ingratiating whimsy. . . What might have been an amusing, lighthearted ghost story bogs down into commonplace romance." — COOK, N. Y. WORLDTELEGRAM. "Oomantic fantasy is gently humorous and often sparkling good entertainment, but only up to a point. . .Falls to pieces somewhere about halfway through .. .Pleasurable film, despite its failings." — PRYOR, N. Y. TIMES. "■^Jovel and diverting entertainment thanks chiefly to Harrison's interpretation of a salty, bearded wraith .. .With his leaving goes most of the film's vitality, too." — PELSWICK, N. Y. JOURNAL AMERICAN. "TLJarrison's disappearance stops the picture pretty dead... When he goes, audience interest goes with him... Only the insistently romantic will be entranced by the tedious final reels.'' — CREELMAN, N. Y. SUN. IVY UNIVERSAL-INTERNATIONAL "■period English shocker with more pomp than persuasion... High-life doings in London pad out a show which has a minimum of suspense." — BARNES, N. Y. HERALD TRIBUNE. "TJas a false ring despite the glossy surface .Its unpleasant story is superficially plausible without digging deep enough to excite true horror or compel belief on all levels of comprehension." — WINSTEN, N. Y. POST. '"Cor all the imposing sets and costumes and the slick polish that this picture affords, there are some dreadfully dull stretches ...Depends upon sustaining suspense by dangling the question, •Will Ivy get away with it all?'" — PRYOR, N. Y. TIMES. "Tt isn't fast, but it builds solidly. . .Though the end is as inevitable as Judgment Day, the means of reaching it abound in decorous surprises. . .Wonderfully absorbing flapdoodle, always beautiful to look at." — AGER, PM. "TTandsomely, even lavishly, spun out. . .Leisurely character study of a mercenary murderess. . .Effective from the standpoint of mood and atmosphere. But heavy direction robs it of the element of surprise demanded of such melodramas." — PELSWICK, N. Y. JOURNAL AMERICAN. Joan Fontaine's clear sophisticated beauty dominates the strange tale of 'Ivy'. . Well-made picture. . .Emphasis on light and angle builds up a brooding quality." — CREELMAN, N. Y. SUN. MY BROTHER TALKS TO HORSES METRO-GOLDWYN-MAYER "■fTas a good idea and rich moments of laughter, but it is only passably entertaining. .. Clouded with philosophical and moral dissertations which are forever canceling out comic nonsense with sentimentality." — BARNES, N. Y. HERALD TRIBUNE. tic, colorful and exciting." Aaron Copland's theme song, "EI Salon Mexico," and the "torrid rhythms" of the indigenous Mexican dances, Weiler says are "impressive." He, too, points to Senor Montalban as a promising newcomer to the American screen. In contrast, Eileen Creelman, in the Sun, reports the "Fiesta" story as "better than most used in musicals," but decries the lack of realism in the bullfighting scenes. However, the picture is "pretty and gay" and Montalban is a striking newcomer, she says. The Journal-American's John Maynard compares the idea of Esther Williams posing as her matador-brother to Lana Turner playing centerfield for the Yankees in place of Joe DiMaggio without detection. But he cautions his readers not to take this "foolishness'" too seriously, since " 'Fiesta' is for the most part a handsome, attractive afifair with a lot of good dancing and pleasant music, and some really fine bullflghting sequences." Irene Thirer rates the picture "good" entertainment on her N. Y. Post Movie Meter. "panciful and delicately amusing little picture. . .Although it will appeal to a limited audience, of whom few will bs found at the Rialto Theatre, it will give double pleasure to those who are attuned to its unusual vibrations." — WINSTEN, N. Y. POST. "TPhree stars... Even prosaic souls... will find much to enjoy... Some of the humor is on the silly side, but mostly the comedy is a refreshing development from everyday affairs." — MASTERS, N. Y. DAILY NEWS. "'T'he notion as a whole strikes me as basically an attractive one ...but it all gets sort of wearing after a while. . .Racing sequences are exciting and now and then splendidly so." — MAYNARD, N. Y. JOURNAL AMERICAN. notion for a movie and falls short of its potential entertainment value only because of the inadequacies of Butch Jenkins in the Utle role." — COOK, N. Y. WORLD TELEGRAM. THE PRIVATE AFFAIRS OF BEL AMI UNITED ARTISTS "Tncredible that a picture could be made from a Guy de Maupassant novel and be as tiresome as this... Blame the whole mess on Albert Lewin, who not only directed but wrote the screen play." — CROWTHER, N. Y. TIMES. "T ev/in's scenario tends to be repetitive, containing just too many love affairs, but much of the dialogue is excellent and his direction is generally effective.. Erratic though it certainly is, surmounts most of the obstacles to films of its type." — GUERNSEY, N. Y. HERALD TRIBUNE. " A udience's enjoyment of the picture is in direct ratio to its ideas on the subject of Mr. Sanders' irresistible appeal... Chief charm is its ability to capture the mood and atmosphere of the period. . .Entertaining, if overlong, conversation piece." — PELSWICK, N. Y. JOURNAL AMERICAN. '"pilled with good talk, a combination of wit and philosophy. It moves deliberately, with no attempts at a brisk pace, content with excellent close-ups, dialogue, with the backgrounds that give the film a ring of authenticity." — CREELMAN, N. Y. SUN. LOST HONEYMOON EAGLE-LION "pix)thy, but nevertheless clever and entertaining little comedy ...Offers some novel twists and provides real fun.' — CREELMAN, N. Y. SUN. "lyjever quite makes the most of most of its situations. . .Passably ^ risible capers here and there and an occasional sparkle to the dialogue, but by and large, the story, an amiable adventure at best, is obvious and lethargic. ..Adequate nonsense." — WEILER, N. Y. TIMES. "Tjoverty in comedy ideas. . .Every kind of a joke that could be remembered about such a predicament is rung in. The audience stays several steps ahead of the plot through the whole picture. One assumes, of course, the audience stays." — COOK, N. Y. WORLD-TELEGRAM. "•pveterminedly contrived farce. . .Pranchot Tone, an able actor ^ when properly cast, is definitely not at his best as a slapstick comedian, and heavy-handed plotting doesn't help much either."' — PELSWICK, N. Y. JOURNAL AMERICAN. JULY 7 , 1947 25