Movieland. (1948)

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DISHONORED LADY (Hunt Stromberg United Artists).., . ♦ ♦ Based on Edward Sheldon's and Margaret Ayer Barnes' Broadway play of the same name, 'Dishonored Lady" is a lavish threeact movie with almost melodramatic tenden¬ cies. Hedy Lamarr plays the part of the dishonored lady, co-starring with Dennis O'Keefe and John Loder (Miss Lamarr's hus¬ band in private life), with William Lundigan and Morris Carnovsky among the supporting players. The theme concerns the trials and tribulations of Miss Lamarr through three disassociated periods in her life: first, while undergoing psychological disturbances; sec¬ ond, while attempting to resolve her con¬ flicts; and finally, her trial for murder. La¬ marr fans should enjoy this picture. THE GHOST AND MRS. MUIR (20th Century-Fox) . ♦ ♦ As long as Rex Harrison, who plays the ghost of Capt. Daniel Gregg, is on the screen (regardless of the fact that he's only a ghost), this is a vital and interesting pic¬ ture. He is the dead owner of the house that the widow, Lucy Muir (Gene Tierney) has rented for herself and her little daughter. The Captain and Gene fall in love — only Gene doesn't realize it's love because they are constantly in conflict. The Captain, in order to help her, dictates the story of his life and it becomes a best seller, thus insuring Gene a comfortable income for life. Gene meets another man, George Sanders. The Captain reluctantly takes leave of Gene, kissing her tenderly as she sleeps. He loves her deeply; regrets he never met her in life for they could have had an exciting and vibrant life together. Unfortunately when Rex Harrison leaves the picture, so does all interest. The rest is draggy and obvious. George Sanders turns out to be a heel. Gene doesn't marry. She walks endlessly on the beach while time and tide passes and at the end, after her daughter and her granddaughter both marry captains, Gene dies of old age. The men in your family will be bored by most of this — so will the youngsters. This is strictly a woman's picture and you will laugh and cry with it and wish, with 'me, that we could have seen more of Rex Harri¬ son who is — well — simply divine! DEAR RUTH (Paramount) . ♦ 4 This is a pleasant little comedy, carefully acted by Joan Caulfield, William Holden, Mona Freeman and that sterling comedian, Billy de Wolfe, and expertly directed by William D. Russell. Unfortunately this pic¬ ture missed the boat by two years and the plot is so familiar by this time (Columbia has used this same theme twice!) that you feel you've seen this picture twice before — and you probably have. This is the one about little sister Miriam who writes love letters to bolster up the morale of a bombardier — thoughtfully signing her older sister's name and sending him her picture. Naturally he falls in love with his beauteous correspondent, comes back all steamed up to marry her, only to find her engaged to a civilian. He then learns the crushing truth that his ardent correspondent is the family's enfant terrible. The end, of course, you knew from the very beginning — that Joan Caulfield at the last split second, will run off and marry William Holden, the bombardier. It's a pity this engaging comedy comes too late. A couple of years ago, it would have packed 'em in. GREEN FOR DANGER (J. Arthur Rank). . ♦ Vt An unpretentious little Who-Done-It, this English film has a few fresh twists, yet it is at best a "B" second feature. Two murders are perpetrated in an evacuation hospital during the buzz-bombing horror in England and of course the murderer is the person least suspected by the audience. English fans will admire the restrained acting of Trevor Howard (of "Brief Encounter" fame) and Alastair Sim as Scotland Yard Inspector Cockrill. American audiences will be faintly bored by the leisurely pace and the two whopping loopholes in the plot. NEW ORLEANS (United Artists) . 4 Producer Jules Levey evidently didn’t try quite hard enough with this one. Purportedly the story of American jazz music, "New Orleans" turns out to be an extremely weak story of not much of anything, despite the fine musical talents sprinkled all-too-lightly throughout the picture. Arturo De Cordova and Dorothy Patrick make valiant attempts with their leading roles, but simply don't come across. Appearances by Louis Arm¬ strong, Billie Holiday, Woody Herman, Mead Lux Lewis, and other jazz exponents are fine, but not sufficiently highlighted. DESERT FURY (Paramount) . 4 The most that can be said for this Hal B. Wallis Production is that the scenery is impressive and the Technicolor beautiful. Perhaps it would be kinder to stop here. Lizabeth Scott, John Hodiak and Burt Lancaster — all sterling actors — -are so handi¬ capped by the bad script that you can hardly judge them. Only Mary Astor rises above the dialogue and gives a really outstanding performance. It is almost impossible to unscramble the story. Anyway it takes place in Chuckawalla, a desert town, where Mary Astor owns a gambling house. Her daughter, played by Lizabeth Scott, comes home from school and falls for John Hodiak, a gambler, who is lying low in the desert with his pal, Wendell Corey. In love with Lizabeth is Burt Lancaster, deputy sheriff, but Lizabeth is so infatuated with Hodiak that she runs off with him. At this point, Wendell Corey opens Lizabeth's eyes to the real character of Hodiak, who, in a rage, shoots Corey. Lizabeth runs out and there is a wild ride through the desert as Hodiak pursues her. Eventually Lancaster comes to the rescue and Lizabeth and he fade into a Technicolor sunset for a happy ending. The End Meet Mr. & Mrs. Jean Pierre Aumont in the September issue of MOVIELAND