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THE NATIONAL GUIDE TO MOTION PICTURE
^ SWING HIGH. SWING LOW— Paramount
THAT vivid climb toward stardom started by Carole Lom1 bard in "Twentieth Century" three years ago here reaches glory, for, while this photoplay is the smoothest possible blend of laughter and tears, of torch numbers, fine production, direction and camera work, it is Lombard's art that makes this a great emotional experience.
Carole, by turns beautiful, comic, drab, heart-stirring, dominates every scene of the story of a girl who marries "a lazy charming boy, gives him ambition, makes a star of him and gets her heart broken for it. Fred MacMurray who did such a beautiful job teamed with her in "Hands Across the Table" again troupes masterfully. Arthur Hornblow has given it superlative production; Mitchell Leisen's direction is positively poetic; the song hits will haunt your memory. It's all perfect, and it's all Carole's.
^ ON THE AVENUE— 20th Century-Fox
rv\KK YL ZANUCK'S new musical is a fitting addition to his L/pre\ ious big successes. It has everything that goes to make up swell entertainment; Irving Berlin's delicious new songs. Alice Faye's torching, Dick Powell singing love lilts, and Madeleim Carroll's amazing pulchritude, plus the nutsy nonsense of the Kit/. Brothers, mad moments with Cora Witherspoon and a nifty group of dazzle girlies with plenty of leg action. The slim story is about the richest most blue-blooded girl
in the world who burns up when a skit satirizing her family's
pea idillos is written into a revue by Dick Powell. Madeleine
it for revenge, but falls in love all the harder for all that.
Uke feels pretty dismal when she finds Dick returns Made
I ' lo\c and manages to think up a sweet piece of revenge.
The production is satisfactorily gorgeous without being ini redible It 's a swell dish.
52
<h \ PTJT^
A Review of the New Pictures
warn
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YOU ONLY LIVE ONCE— Walter WangerUnited Artists
CUPERBLY produced, magnificently acted, here in all it: ^compelling realism is the very warp of high drama in thi present day. A searing crime story, a tender and beautifu love idyll, it is also a powerful, if subtle, indictment of what environment, economic pressure, and justice, too often literally blind, can do to two people caught inexorably in the toils of a brutal, grinding life cycle.
Austrian Fritz Lang has done an even finer directorial job here than in the much vaunted "Fury."
Eddie was a third offender. Joan, loving him, believing in his ultimate reform, persuades the public defender (who loves her) to have Eddie paroled from prison. They start life anew, married, supremely happy. On their wedding night, Eddie's past catches up with him, and after some of the most dramatic scenes ever filmed, he is back in the Death House— found guilty of murder. What happens then is amazing, and terrifying in its implications.
Not since "Street Scene" have you seen a Sylvia Sidney like this — compassionate, sympathetic, utterly natural, she is per feet. William Gargan cannot be overpraised for his gentle understanding Irish Father Dolan. But it's necessarily Henry Fonda's play. As the cynical, desperate, bewildered Eddie, his acting is inspired.
The photography is sublime. See this by all means.