Movie Makers (Jan-Dec 1949)

342 Hints from Hollywood 20th Century-Fox * Urns set for early fall release follow closely the traditional, tried-and-true pattern of film making in the movie capital. Lack of fresh viewpoints or new directions — however disappointing this may be — does not detract from their value as object lessons in cinematic technique. Amateurs are urged to examine them in this light. — D.C. CHASE AND CHANGE Johnny Stool Pigeon: The activities of Treasury Department narcotic agents are the special concern of this Universal-International picture. In the course of the proceedings, which involve tracking down a gang of desperate dope runners, the film covers a wide territory, including San Francisco, Vancouver, Tucson and Nogales across the Mexican border. The story and the characters are all pretty standard stuff. But amateurs should be interested in the handling of travel sequences, background scenery and settings involved in the plot. The exciting chase sequence at the end is an excellent example of dramatic cross cutting to accelerate tempo and stimulate suspense. Also, the transitional devices employed will offer hints to amateur filmers in the use of time and space lapses and parallel action sequences. THE MASTER'S TOUCH Under Capricorn: Alfred Hitchcock and Ingrid Bergman have combined their justly celebrated talents in this Transatlantic Pictures production of Australia in the early 1800's. Dramatically, the results are disappointing. Technically speaking, however, the picture provides a good deal of in MOVING CAMERA and "wild" walls are seen again in Hitchcock's Under Capricorn. terest for the film student. A master of motion picture techniques, Mr. Hitchcock combines smoothly integrated continuity and dramatic camera angles with his own unique methods of movie making. Here again is the unbroken flow of scenes made possible by use of "wild" walls and the "Rosie" dolly, first seen in Rope. Amateurs who would advance their understanding of the medium might do worse than study even the lesser productions of this proponent of true film art. INTRODUCTION My Friend Irma: This laboriously contrived Paramount release is based on the equally labored CBS radio program of the same name and nature. Aside from the innocent inanities of Irma, the story is the well worn one of two young girls' adventures in Manhattan and the subsequent triumph of love over ambition. The theme itself can scarcely intrigue anyone beyond the age of eight. Amateurs may be interested, however, in the presentation of the introductory sequence. Instead of the customary lead title assembly, the picture opens with the theme song, My Friend Irma, which is accompanied by a panoramic view of New York City. As the camera cuts to a street scene, a brief commentary describes the peculiar mental processes of Irma, as the young lady herself appears in a typical action to prove the point of the commentator. At the climax of these scenes the lead and credit titles are faded in, thus providing an interesting variant of normal usage. FOUR SPEEDS FORWARD Thieves' Highway: This fast moving adventure drama from Twentieth Century-Fox deals with the "speedball" truckers on California's Highway 99, a hard hitting and colorful crew indeed. Directed by Jules Dassin, who made Naked City, and produced by SAN FRANCISCO'S Market Street is one of featured settings in Thieves' Highway. Robert Bassler, who co-produced The Snake Pit, the picture has many of the same qualities that made those two films outstanding. Again, authentic backgrounds and natural settings add honesty to exciting action. It marks, as well, the debut of Valentina Cortesa, young Italian actress, before American audiences. TRAVEL TREATMENT Savage Splendor: Heralded as the first full-color film of the Dark Continent, this RKO release was produced by the Armand Denis-Lewis Cotlow African Expedition, which covered some 22,000 miles by car and truck, through many of the most remote parts of that strange land. While the interest inherent in the subject matter makes for lively film fare, the producers did not take full advantage of their material. They seldom varied their shooting from eye level camera position — a weakness also present in amateur travel pictures— thus slowing the film's pace to a dull monotony. Excessive use of the swish pan in the early sequences detracts seriously from what might have been attractive landscape studies. The colorful tribal dances and the big game hunts provide the most exciting and stimulating portions of the film. The unfortunate commentary should prove an evocative example for every amateur of how not to write it.