Motion Picture Herald (Mar-Apr 1945)

The Clock MGM — Romance in the City This is an unusual presentation of the very personal romance of two young people, reaching fulfillment in spite of war and the impersonal obstacles of a big city. Made with delicacy and humor, and strongly cast with Judy Garland and Robert Walker in the principal roles, it is an attraction which exhibitors can and will exploit to advantage. Miss Garland, who does not sing this time, and Walker, who is once again in uniform, play their roles with an appealing combination of innocence, bewilderment and confidence in the powers of love. The city to which the corporal has come on his last two-day leave is New York — warm under a cloak of indifference, frightening to a boy from Mapleton but rich in humor, excitement and beauty if you look for them. The girl and boy meet under the clock in Pennsylvania Station. They spend an afternoon sightseeing, an evening falling in love and a night delivering milk while the city sleeps. Separated by the subway, they return to the clock in desperation and decide to marry in the joy of finding each other again. A rearing elevated train drowns out the words of the ceremony, but they make their vows again in an empty church and finally part in the station with new trust in the future. This simple progression slows down from time to time for a scene with the talkative and very drunk Keenan Wynn, which is delightful ; or a poetic in* terlude in Central Park, which is a bit uncomfortable. Supporting roles are incidental but excellently played by Wynn, James and Lucille Gleason and Marshall Thompson. . Arthur Freed and Vincente Minnelli, who produced and directed, usually avert the danger of artificiality. The huge sets reproducing familiar New York scenes are meticulous in detail, and the milling citizens afford amusing, down-to-earth comment on the oblivious couple. The screenplay by Robert Nathan and Joseph Schrank, based on a story by Paul and Pauline Gallico, makes effective use of pantomime and some brief, natural dialogue. Photography by George Folsey is impressive. Seen in the home office projection room. Rcviewer's Rating : Good. — E. A. C. Release date, not set. Running time, 90 min. PCA No. 10395. General audience classification. Alice Mayberry Judy Garlanil Cpl. Joe Allen Robert Walker James Gleason, Keenan Wynn, Marshall Thompson, Lucille Gleason, Ruth Brady. Tarzan and the Amazons RKO Radio— Wild Adventure This jungle drama is not devoted entirely to the super-human feats of Tarzan. The chief interest of the film is the mysterious Palmyrian tribe of women warriors. The elements of adventure and suspense are combined with good direction and capable acting to make another in the Tarzan series that should meet with the approval of patrons interested in this type of entertainment. Johnny Weismuller, as Tarzan, and Johnny Sheffield, as Boy, son of Tarzan, again play the leading parts in the film. As the story opens Brenda Joyce, playing Jane, the mate of Tarzan, returns from a visit in London accompanied by .a group of English explorers who determine to find the lost tribe of Amazons. They solicit the aid of Tarzan in their pursuit but, knowing the hostility of the tribe towards intruders, he refuses. The explorers, however, are able to convince Boy that the cause of civilization will be aided by the search, and with him as their guide the expedition sets forth. When they finally discover the Amazons they are overcome by the great wealth of the tribe and endeavor to carry away its riches. In an attempt to escape with the treasures the explorers are killed and Boy is captured. The faithful chimpanzee, Cheta, gets Tarzan's assistance and he, being a friend of the Amazons, readily arranges for the release of his son. Maria Ouspenskaya, as the Amazon queen, and Henry Stephenson, as the leader of the explorers, add strength to the film by their excellent portrayals. The picture was produced by Sol Lesser, with Kurt Neumann directing, from a screenplay by Hans Jacoby and Marjorie L. Pfaelzer, based on characters created by Edgar Rice Burroughs. The photographic work, under the direction of Archie Stout, lends reality to this fanciful story. 2374 Art kino — War Drama Seen at the home office projection room. Re \A/nit f/"»r A A o viewer's Rating: Fair.—M. R. Y. YYUII IUI I VIC Release date. Block 4. Running time, 76 min. PCA No. 10464. General audience classification. Tarzan Johnny Weissmuller Jane Brenda Joyce Boy Johnny Sheffield Henry Stephenson, Maria Ouspenskaya, Barton McLane. Don Douglas, J. M. Kerrigan, Shirley O'Hara, Steven Geray. The Rebel Clasa-Mohme — Romantic Musical A romantic adventure with pleasing elements of drama and music, this picture newly arrived from Aquila Films studios in Mexico, should be received warmly in Spanish-language as well as class houses. Jorge Negrete, popular Mexican player, is seen in the role of a dashing young Army officer who turns bandit to exact justice for the death of his father. His frequent ballads as well as the colorful and varied costumes and landscaped scenes add pleasant touches of beauty to the Robin Hood flavored drama. When the rebel enters the sprawling hacienda of his avowed enemy by masquerading as a timid music teacher, complications develop in his blueprint for revenge. He falls in love with the master's daughter. A jealous rival for the maiden's hand betrays him to the police. In a riotous climax a band of followers organize -a jail break and Negrete is able to kidnap the girl in time to prevent her marriage to the suitor she doesn't love. The final reel irons out the main hitch when Negrete learns he misjudged the father in thinking him a scoundrel. Jaime Salvador's direction rounds out the film with music, dance and buffoonery in Mexican vein. English titles are well done. Seen at the Belmont theatre, New York, where a mostly Spanish-speaking audience appreciated if audibly. Reviewer's Rating: Good. — Mandel Herbstman. Release date, March 9, 1945. Running time, 112 min. General audience classification. Juan Manuel Jorge Negrete Ana Maria Maria Elena Marques Julio Villareal. Miguel Angel Ferriz, Felipe Montoya, Fernando Soto, Federico Pinero. The House of Fear Universal — Mystery Thriller The screen adaptation of Conan Doyle's "The Adventure of the Five Orange Pips" is a typical specimen in the Universal series, maintaining its customary high level of dialogue and logically flowing sequences. One shortcoming, however, lies in the film's lack of realism. As the weird murders and obscure goings-on are flashed upon the screen, they seem no more emotionally gripping than a disassembled jig-saw puzzle. Even when murders begin multiplying at Holmes' feet, he appears as unstirred and mechanical as though he were working out some cryptogram. In the plot, an eccentric company of seven retired gentlemen, calling themselves "The Good Comrades," have insurance policies made out to the last surviving member. When one by one they start disappearing, to have their mutilated bodies turn up under the most sinister circumstances, Sherlock Holmes and his faithful Dr. Watson entrain to their retreat in an eerie Scottish mansion perched high above the sea. The direction of Roy William Neill, who also produced, has sprayed the film with such conventional melodramatic touches as secret passageways, storm-swept nights, poisoned needles, clatter-shutters, etc. When the crimes leave only two members, Holmes strikes suddenly and comes up with a surprise solution. Basil Rathbone's intense characterization of the famous detective, is well balanced by the blundering amiability of Nigel Bruce's Dr. Watson. Seen at the Rialto theatre, New York, zvhere an afternoon audience seemingly enjoyed the sleuthing. Reviewer's Rating: Average. — M. H. Release date, March 16, 1945. Running time. 69 min. PCA No. 10243. General audience classification. Sherlock Holmes Basil Rathbone Doctor Watson Nigel Bruce Aubrey Mather. Dennis Hoey. Paul Cavanagh, Holmes Herbert, Harry Cording, Sally Shepherd, Gavin Muir, Florette Hillier, David Clyde. A poem written by a Soviet correspondent a front telling how the faith of their loved on< home sustains men in battle has been adapted b author, Konstantin Simonov, for the Ru screen. Produced at the Central Art Film Stu Moscow, the film follows the story of a so forced down behind enemy lines and of his who refused to believe him dead. For English-speaking audiences, the picture been dubbed with the voices of American ac The dialogue in familiar American idiom rem the language barrier which has prevented the 1 sian films from achieving wide distribution \ but has its own disadvantages. However skillll' done, the words heard are at variance with thi. movements of actors on the screen, and often, American slang seems unnatural to the charai portrayed. The theme, however, has an appeal for all tions at war. Valentina Serova portrays the as a fragile woman with an abiding faith that love will bring her husband back. For conti there is a friend whose faithlessness is discovi with tragic results. The husband is a stern sol who joins a partisan group and fights his way I to her. Lev Sverdlin adds a touch of humoi their friend, a highly sceptical photographer. Boris Ivanov and Alexander Stolper directed film, which is more effective in its earnestness t in the technical aspects of its presentation. Seen in the Stanley theatre, Neiv York, whei small afternoon audience watched quietly, viewer's Rating: Average. — E. A. C. Release date, March 17, 1945. Running time, 79 General audience classification. Lisa Valentina Se Nikolai Boris Bl Misha Lev Sve Nikolai Nazvanov, Nina Zorskaia, Piotr Geraga, E Tiapkina, Anton Martenov, Eda Sipavina, Alex Aps< SHORT SUBJECT THE ENEMY STRIKES (WAC-Univ.) War I nfornmtion Film Grimness is the keynote of this production: effect achieved pictorially and by skilled narrat The effect is to convince that wars are not o; until the last battle is won. Our march throi France is shown, and our optimism* at home lated ; the German breakthrough in Belgium shown, and the rallying of Americans is relat our current victories are pointed up, and the wa ing given that in the words of the narrator, "wai wasteful, unpredictable, uncertain, dangerous, tnanding constant wariness, constant preparat for the worst. . . ." The German breakthrough scenes are from c tured film. By American excerpt, or Gern intent, they have a deadly earnestness in it:; tingling. The Germans shown beside and astr1 American vehicles, smoking American cigaref and cigars, are paratroopers, husky, unafraid, of a peculiar sturdy brutishness of the hardei professional soldier whose end is always death. It was produced by the Army Pictorial Servi through the Office of War Information. — F. E. Release date, March 15, 1945 10 minu. MEMO FROM BRITAIN (20th-Fox) March of Time After five years of war, the British homelandno longer threatened by invasion but the batt; scarred Britons have new problems and new aspii tions. This is the crux of the report on Britain home which the March of Time editors have co? piled as a companion piece to the release on "Br ish Imperialism" of last August. There is a i minder, too, that British sacrifices for the w effort have been high — high in casualties, both s< vice and civilian, high in forfeited liberties a bodily comforts. For their all-out effort, the Br ish people are demanding and being promised a bi ter way of life, with security as the keynote. T presentation is personal and . sympathetic, off eri varied pictures of "the plain people" of Brits learning new jobs and developing new social at tudes. The commentary, spoken in lightly-accent British tones, is mild and persuasive. — E. A. C. Release date, March 23, 1945 16 mimit PRODUCT DIGEST SECTION, MARCH 24, I*