Modern Screen (Jan-Nov 1947)

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I | Nome,,,,.., , I • Addrett I I^City Store J Hospital Room and Board for Sickness or Accident Per Day Up to Doctor Visits In Case of Accident & *3.00 Surgical Operations up .a $150.00 Time Lost from Work In Case of Accident Per Week Accidental Death ?op '2000.00 Physical Dismemberment $2000.00 Identification Service uP >o $100.00 Ambulance Service no.oo Citing an " actress for the "Oscar" is a little bit tougher for me because my admiration is divided among three or four ladies of note. I think that Rosalind Russell did a remarkably dexterous job with her difficult role in Sister Kenny — an oddly exacting task — and especially was I attracted by the sincerity of her attitude towards the children in the film. I liked, too, Olivia de Havilland's (see page 60) sensitive playing of the tragic heroine — the self-sacrificial mother — in the highly sentimental To Each His Own. Both Miss de Havilland and Miss Russell covered a wide range of ages in their respective roles with fascinating development of each small detail. But I am also quite vividly mindful of Dorothy McGuire's striking versatility in the role of the mute girl in The Spiral Staircase and of Teresa Wright's (see page 34) wistful yearning in The Best Years. Indeed, in my estimation of the virtues (and faults) of all of them, I find my book near a Mexican stand-off. But in the last analysis, I'd give Miss Russell my vote. However, there's no denying that I think the best actress of the year was the aforementioned Celia Johnson, who helped make the British film, Brief Encounter, such a gem. Her unglamorized demonstration of how an English housewife might behave if she found herself desperately attracted to a young (and married) doctor whom she met, struck me as supremely true and finished — a rare exposure of a woman's heart. But she's not eligible for an "Oscar," since Brief Encounter, being an English film, is outside the "jurisdiction" of the Academy. supporting roles raise problem . . . The choice of supporting players for Academy honors must be hard for those who are qualified to make them. So many contradictions are involved. For instance, I think Hume Cronyn was extraordinarily good as the mean-minded Scottish grandparent in The Green Years — but wasn't that a leading role? Likewise Michael Chekhov, as the gaudy ballet impresario in Specter of the Rose, played a character of primary importance in the tale. Philip Merivale was excellent as the doctor who opposed Sister Kenny in that film. His was hardly a "supporting" performance, yet I suppose that is how it is classed. At the same time, a very slight appearance, such as that of comedienne Celeste Holm in Three Little Girls in Blue, a slight picture, would not, I presume, qualify for Academy consideration, but I thought it quite a winning bit. However, I have my own hopefuls. I'd like to see Mr. Cronyn get the nod for his role in The Green Years. And I'm confident that the best supporting actress that I saw during the year was Leopoldine Konstantin, who played the German mother— an awesome creature — in Alfred Hitchcock's Notorious. As for the best child's performance, can there be any question that little Claude Jarman, Jr. (see page 62) who plays the role of Jody in The Yearling will run away with the prize? But, again I repeat, we working critics have no vote in these affairs. Selection is strictly limited to those who work in Hollywood. So are the qualified candidates. Both limitations strike me as wrong. For I feel that some partial determination of the highest film awards of the year should come from outside the industry — and I feel that all film artists in the world should be qualified for consideration. The motion picture is an international art in which the measure of talent and accomplishment should not be made along national lines. That's how we New York critics feel about it — and that is why we give our awards to what we think are the "best" in the year's productions that are laid before our eyes. NO DULL DRAB HAIR When You Use This Amazing 4 Purpose Rinse LOVALON, simple and quick to use after a shampoo, does these 4 things to give YOUR hair glamour and beauty: 1. Brings out lustrous highlights. 2. Adds a rich, natural tint to hair. 3. Rinses away shampoo or soap film. 4. Leaves hair soft, easy to manage. LOVALON does not permanently dye or bleach — merely tints the hair as it rinses. Comes in 12 flattering shades. Try Lovalon. At stores which sell toilet goods HAIR PI>S MEVER LEI YOUR Class pins, club pins, rings and emblems. Finest quality. Reasonable prices from 30c up. Write today. Department Z, 1 Metal Arts Co., Rochester, N. Y. I FREE CATALOG finest Rubber 129