Modern Screen (Jul-Dec 1945)

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Her family thinks she has been having an illicit romance with a young soldier whom she has met casually a couple of times. Corliss, alarmed at this, finally tells them, in desperation, that the father of her child (imaginary) is Dexter, the devoted boy next door. This throws everything into complete chaos. Dexter is in danger of being either shot or horsewhipped, Mr. Archer can't decide which. By the time the situation is unraveled, you'll be worn out from laughing. Robert Benchley has an amusing scene as an uncle who walks in on a family conference at just the wrong time. Darryl Hickman is a properly obnoxious kid brother. — Col. P. S. F. Hugh Herberts "Kiss and Tell" is assured of success before it ever reaches the screen. His "Corliss Archer" is already known and loved by millions through the stage, radio, and books. The George Abbott production, which opened on Broadway in March 1943, has been running ever since. With this background it's a screen natural. . . . The first problem facing co-producers Herbert Abbott and Sol Seigel was the casting of Miss Corliss Archer. Shirley was the first and only choice, but at the time she was being sought for two other parts as well. Herbert's screenplay was laid in the laps of Shirley and her advisers. It was far more eloquent than words — Shirley agreed to do it at once. . . . "Kiss and Tell" was an important milestone for Miss Temple — in it she bade farewell to childhood roles. And when word got around that Shirley was to receive her first screen kiss — well, 'twas the kiss heard round the world. Photos of the event were publicized both here and abroad. . . . Herbert, who's writing a sequel to be produced by George Abbott, tried his best to persuade Shirley to make her stage debut in it. Shirley refused gently but firmly. She's a real product of the films and is wary of the different acting technique called for by the stage. . . . Though Shirley is stage shy, the cast boasts of several stage veterans. Walter Abel, Shirley's screen papa, went to New York at the picture's completion to prepare the production of a play he's planning to give in the early autumn. Katherine Alexander was a member of the original New York cast and the only one to appear in the picture. . . . Jerome Courtland, Shirley's gangling screen beau, reported for induction at Fort MacArthur at the picture's end. His departure interrupted a short but noteworthy career. LOVE LETTERS You know what a lost feeling you get when you suddenly forget a familiar face or name? Multiply that by a million or so, and you have something approaching amnesia. And amnesia is the theme of this picture starring Jennifer Jones and Joe Cotten. It all starts, of course, with the love letters. Alan Quinton (Joseph Cotten) writes them for his friend, Roger Morland, a brother officer in Italy. Roger (Robert Sully), who gets over big with the girls at close range, belongs to the ' Weather cold here. Hope to see you soon," school of thought in letters. So he gets Alan to turn out some tender missives for a girl named Victoria, back home in England. Alan puts a lot of himself in those let ters. Too much, perhaps, for he finds himself definitely disturbed when Roger tells him he has a leave and is going home to marry Victoria. Soon after Roger goes, Alan is wounded, and after a convalescence of many months, discharged from the Army. He comes to England and finds that Fate has pulled one of her fanciest tricks — he has just inherited an estate in Essex, twenty miles from Roger's home, where he and Victoria were to live. Then comes shock number two. Alan learns that Roger has been killed, and when he asks about Victoria, is told she is dead, too, and he'd better forget her. Alan drowns his sorrows at a party that night. There he meets a girl who has a strange attraction for him. She is known simply as "Singleton" (Jennifer Jones). But by the time Alan has slept off his hangover the next day, he has forgotten her in his thoughts of Victoria and Roger. He looks up the Morland case in an old newspaper, and finds to his horror that Roger was murdered. Victoria was accused of the crime, since she was found by the body with a knife in her hand. However, she had completely lost her memory. The doctors said that there was no question but that she was a victim of amnesia, and so she got off with a sentence of only one year. Then Alan finds that "Singleton" is really Victoria. They fall in love. She still remembers nothing up until the moment the police found her by the body of her husband. Alan marries her, anyway— but what will happen if she recovers her memory? Joe Cotten and Jennifer Jones both give superb performances in this drama of love, mystery and amnesia. — Par. P. S. "Love Letters" is Hal Wallis' first production for Paramount. Wallis' pictures have always been among the elite of the industry — in sixteen years, fourteen of his productions have been up for Academy consideration and have won a total of 27 awards. . . . The screenplay was taken from Chris Massey's novel, purchased by Wallis while still in galley proofs. Ayn Rand, author of the best seller "The Fountainhead," whipped it into shape for the screen. . . . Wallis was fortunate in capturing the services of co-stars Jennifer Jones and Joseph Cotten — they're two of David Selznick's most carefully guarded players. Both came to "Love Letters" directly from "Since You Went Away," and play opposite each other for the third time. . . . For director, Wallis chose a man with whom he had been closely associated in all his years at Warners— William Dieterle, who rates among Hollywood's ten top film makers. . . . The main sets designed by Roland Anderson were three complete English houses. These homes were built just as described in Massey's novel and were real honestto-goodness houses — from the fire crackling in the hearth to the rows of crisp vegetables growing in the gardens outside. . . . Though not at all a war story, "Love Letters" takes place in modern England, and the sets and clothes had to be fashioned accordingly. The London scenes show evidences of the rubble and ruins caused by the bomb and robot blitzes. And Jennifer's clothes, though designed by Edith Head, were not the. fashion expert's usual lush creations. The outfits were made strictly in accordance with British, wartime rationing. . . . Ann Richards and (Continued on page 14)