Independent Exhibitors Film Bulletin (1947)

'GENTLEMAN'S' AGREEMENT' A GREAT MOTION PICTURE REVIEWS in This Issue Gentleman's Agreement 20 Mourning: Becomes Electra 20 The Bishop's Wife 22 Road to Rio 22 Niffht Sons: 22 Song of My Heart 23 Out of the Past 23 The Fabulous Texaji 23 Nicholas NIckleby 24 Whispering City 24 The Upturned Glass 24 Pirates of Monterey 25 Big Town After Dark 25 Dick Tracy Meets Gruesome 25 Wild Horse Mesa 25 Rates • • • + generally Twentieth Century-Fox 118 minutes Gregory Peck, Dorothy McGuire, John Garfield, Celeste Holm, Ann Revere, June Havoc, Albert Dekker, Jane Wyatt, Dean Stockwell, Nicholas Joy, Sam JafFe, Harold Vermilyea. Ransom M. Sherman, Roy Roberts, Kathleen Lockhart, Curt Conway, John Newland, Robert Warwick, Louise Lorimer, Howard Negley, Victor Kilian, Frank Wilcox, Marilyn Monk, Wilton Graff, Morgan Farley. Directed by Ella Kazan. Here is solid entertainment, comparable — if not superior to — "The Best Years of Our Lives." It packs an emotional wallo]) — and pulls no punches. It has tremendous heart interest, sustained tempo, a tingliiisr plot, tensely dramatic situations, brilliant dialogue, a powerful cast, superlative production quality and masterful direction by Elia Kazan — in short, it contains to a maximum degree every essential of a truly great picture. This reviewer has seen the film twice — and found its impact even greater the second time. At each screeninc? hard-boiled critics were moved to tears and laughter by the dynamic, poignant narrative and the compelling, human performances. Thanks to Moss Hart's masterly screenplay. Laura Z. Hobson's test-selling novel has lost none of its gripping realism; if anything, Mr. Hart's script is even finer than Mrs. Hobson's book about the problem of anti-semitism. Regardleps of possible audience prejudice for or against its theme, "Gentleman's Agreement" will entertain patrons generally — even youngsters will find it edifying. Already pre-sold to tens of millions throughout the country, "Gentleman's Agreement" should, backed by 20th Century-Fox's extensive exploitation campaign and the individual exhibitor's showm.ansliip, bring in high grosses in most .■situations. Word-of-mouth will prove beneficial. To single out Gregory Peck, Doriithy McGiiire, John Gaifleld and Celeste Holm for their stellar performances would he manifestly unjust to such outstanding; supporting players as Anne Revere, jouthful Dean Stockwell and veterans Sam Jaffe and Roy Roberts. One hates to point out an imperfection in an almost flawless pro'Juction, yet this reviewer cannot help feeling the picture would have beneSttert had not the art directors "gone Hollywood" in designing the over-lavish office sets. EXPLOITATION: Play this up as 100 percent entertainment — a great novel becomes an even greater picture. Enlist the support of clergy, newspaper editors and civic dignitaries in the cause of Tolerance. Avail yourself of the many splendid suggestions contained in the pressbook — • a credit to the 20th Century-Fox exploitation department. The better to write a series of articles on anti-semitism for Albert EVekker's magazine, author-widower Gregory Peck pretends to be Jewish. He takes into his confidence only his mother Anne Revere, his son Dean Stockwell, his sweetheart Dorothy McGuire and her uncle, Dekker himself. He finds prejudice aplenty — ■ his secretary, Dekker's personnel manager, his mother's doctor, Dorothy's family friends, his son's schoolmates, the apartment's janitor, the owner of the New England hotel he chooses for his and Dorothy's honeymoon. Dorothy's reaction to his method of assembling material not only puzzles but annoys him. The final rift comes when she tells Peck's sevenyear-old son, sobbing at his companion's contempt for his supposed religion, that it's just a mistake — • "You're no more Jewish than I am." Peck berates her for the words she lias spoken, a bitter quarrel ensues. Dorothy says she'.s sick of lessons in tolerance and, breaking off their engagement, leaves. Meanwliile, Peck's army buddy, Capt. John Garfield, has been spending all his terminal leave flat-hunting in order that he may take a desirable job offered him and bring his wife and kids east. Due to the housing shortage — and the places he does find are "restricted" — tlie Jewish Garfield cannot get located and is about to turn down the profferred job. Dorothy redeems herself by insisting Garfield and his family move into her cottage in Darien while she, sharing her sister's home nearby, will help them to fight the intolerance of their neighbors. At end, Dorothy and Peck are reconciled, wed. 'MOURNING BECOMES ELECTRA' FILM MASTERPIECE FOR ADULTS ONLY Rates • • • -f for class and art houses; less elsewhere RKO Radio 170 minutes Rosalind Russell. Michael Redgrave, Raymond Massey, Katina Paxinou, Leo Genn, Kirk Douglas, Nancy Coleman, Henry Hull, Sara Allgood, Thurston Hall, Walter Baldwin. Elizabeth Risdon, Erskine Sanford, Jimmy Conlin, Lee Baker, Tito Vuolo, Eimma Duim, Nora Cecil, Marie Blake, Clem Bevans, Jean Clarenden. Directed by Dudley Nichols. Produced by Dudley Nichols in association with the Theatre Guild, this film version of Eugene O'Neill's distinguished drama retains all the shattering emotion and terrible power of the original play. It is a credit to RKO and to the entire movie industry. Superlatives fail to do justice to thi.<-, brilliant amalgam of perfect acting, writing, direction and photography. To be held enthralled for nearly three hours by a film, and to reel under its impact long after, is an experience memorable as it is unique. Despite its Theatre Guild sponsorship, its title and its authorship and its generally grim atmosphere, "Mourning Becomes Electra" is not merelv a prestige picture; it is also vital, smashing, sure-<fire adult entertainment. Producer-director Nichols has presented its Oedipus theme with taste and discretion so it will offend no one. The production is to be roadshown in key cities on a reserved seat, two-a-day basis, an arrangement that proved successful with the Theatre Guild-sponsored "Henry V." "Mourning Becomes Electra" is not in Technicolor, but it should far out-gross "Henry V" for several reasons: the story has far greater popular appeal and emotional impact; the cast is better known; its costuming, setting and period are comparatively modern; the acting superior and its dialogue more understandable. Director Nichols, and O'Neill's play itself, have fired with enthusiasm the superb cast into giving scintillant performances, most arresting of them being those by Rosalind Russell, Michael Redgrave and Katina Paxinou. Richard Hageman's music and George Barnes' photography reflect perfectly the picture's gamut of moods, as do Travis Banton's costuming and the sets by Albert S. D'Agostino. Production quality is good. The picture has but one flaw — a minor one — many of the exterior scenes are played against obviously artificial, painted backdrops, and the trick photography is at times apparent. EXPLOITATION: Herald this as one of the truly great film classics. Play up the famous play by Eugene O'Neill, America's foremost dramatist, Nobel Prize winner, three-time recipient of the Pulitzer Award. You can call the performances magnificent. Stress the film's theme: One May Break the Laws of Man, but the Law of God Is Inescapable. Handle the picture with the dignity it deserves. Properly promoted it will bring into your theatres a new and influential clientele. Circularize teachers and students of Literature and Drama. Rosalind Russell, devoted to her father Raymond Massey, is infatuated with Leo Genn, captain of one of Massey's ships. She discovers her mother Katina Paxinou in Genn's arms. Katina has hated her hus band for years, a.'s Rosalind well knows. When Rosalind confronts her mother with proof of clandestine meetings with Genn. Katina vows to give him up. Instead, she inveigles him into getting her some poison with which she kills her husband. When Rosalind's brother, Michael Redgrave, returns from the Civil War, she tries to convince him of their mother's perfidy. But Redgrave, almost unhealthily devoted to his mother, refuses to listen, preferring to believe Katina's accusation of insanity le^veled against his sister. Subsequently, Rosalind convinces Redgrave she's speaking the truth and, when the two eavesdrop Katina and Genn plotting to elope, the youth waits until his mother has left, then kills the interloper. In despair, Katina commits suicide. Redgrave, torn by remorse, falls morbidly ill. Rosalind takes him to the South Seas to regain his health, but he remain.'! sickly, transfers to his sister some of the strange love he had for his mother. Eager to be free so she can marry Kirk Douglas, her childhood admirer, she tries to interest Redgrave in her sweetheart's sister Nancy Coleman, but fails. Redgrave writes out a full account of the familv's tragic history, gives it to Nancy with instructions to have Douelas read it if he plan.n to wed Rosalind. Redgrave then kills himseli. Rosalind recaptures the document and destroys it. Nancy insists Rosalind give up Douglas. Bitterly aware Fate is too much for her and she has no chance of happinesr in this world. Rosalind, shocked by Dougla.s' curiosity regarding the document, breaks with him and immures herself in the gloomy family home as a living tomb. 20 FILM BULLETIN