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ARIZONA —This exciting hunk of Americana is well over two hours long, but every moment of it moves with rapid-fire precision. It is the graphic story of the birth of Arizona, brought to life in an imaginative yarn by Clarence Buddington Kelland, a native son, and acted by a big company of players.
All the characters in the film are taken from history books, with the exception of those played by Jean Arthur and William Holden. Jean is cast as a rough, tough gal fighting her way in a rough, tough world.
For purposes of this yarn, Jean bakes pies for a living and dreams of starting her own empire. Eventually she starts a freighting business, falls in love with Bill Holden, a wandering soldier boy, and is almost whipped in the struggle for life by a gang of tough guys who don't like to see a gal amass a fortune. She hangs up her six-shooters, reaches for an apron and knitting needles and settles down to being a good wife.
Young Holden, as the romantic influence, turns in a very neat job and marches steadily upward on the road to screen recognition; the boy has a lot of personality. Warren William is fine as the head bully, but a bit too heavy. It isn't his fault; it's the unrelieved meanness of his lines. The other characters are all good.
Two of the things that make this film stand out are the breathtaking scenery (it was filmed right in Arizona, you know) and the photography. The script and direction are jerky in a few spots, but that is because the lads were trying to cram so much punch and excitement into it. Directed by Wesley Ruggles.— Columbia.
* * * *
Jean Arthur returns to westerns for the first time in ages to play opposite William Holden in "Arizona" — a rootin', tootin' epic.
★ ★ ★ ★
LETTER — w Somerset Maugham's most dramatic story meets up with Hollywood's most dramatic actress and the result is one of the finest films of the year.
It is the tale of a woman, happily married, as far as the outside world is concerned, but who has been carrying on a clandestine love affair. She kills her lover when he jilts her and almost gets away with it— but one telltale letter, written in a moment of desperation, proves her undoing.
William Wyler, in directing this yarn, has chosen a very lethargic pace and drives you quietly mad with his masterly deliberation. The story holds you, the acting holds you, but you almost want to cry out, "Get on with it, man; what happens next?" And that's not a squawk, but a compliment. Because it means that he has you on the edge of your seat throughout the film.
The story seems almost to have been written with Bette Davis in mind; you can't imagine anyone else acting it. But by no means is it a one-performance film. Herbert Marshall lends quiet distinction to the role of her husband, and James Stephenson, as her lawyer, makes you wonder why you haven't noticed him before. Get ready for some very important work by this gent.
Best among the minor players are Sen Yung, a newcomer with a tremendous amount of talent, and Gale Sondergaard, who has an increasingly annoying (to stars) habit of walking away with strong, very dramatic scenes. Directed by William Wyler.— Warners.
James Stephenson, brilliant British newcomer, makes a screen reputation for himself in "The Letter" starring a villainous Bette Davis.
12
MODERN SCREEN