Picturegoer (Jan-Jun 1938)

PICTUREGOER Weekly REVIEWS by Lionel Collier WALT DISNEY has produced a cartoon masterpiece in Snow White and the Seven Dwarfs, and has fully justified the three years he and his craftsmen have spent on the production. It is what we expected from him; but, none the less, the more one considers the difficulties he has overcome and the inexhaustible stock of ingenuity and skill which the pic: ture displays, the greater becomes one's admiration for the creator. It is difficult, in reviewing a cinematic cartoon of this magnitude, to avoid using a surplus of superlatives, but it is also impossible not to touch on certain aspects critically, and maybe adversely, because it is so great in its general design. Disney has followed the Grimm Brothers' fairy tale faithfully, except that he has avoided to a large extent the touches of sadism in which the brothers usually indulged at some time or another in their tales. The death, for instance, of the Queen who, transformed into a witch, sends Snow White into a deathlike trance by making her eat a poisoned apple, is not so cruel as in its original conception. She is chased by the Seven Dwarfs who have been protecting the Princess, and meets her death by falling over a cliff during a thunderstorm. On the other hand, he has certainly introduced horrific scenes which fully justify the censor's "A" certificate. There is, for instance, a nightmare flight through the woods by the Princess as she runs from the Queen, who had planned to have her murdered. To a child's mind, I could imagine this to be particularly terrifying and lasting in impression, especially if he or she were unaccompanied by an adult at hand to calm such fears. There is something very macabre, too, about the transformation of the Queen — a stylised version, by the way, of our old friend, the silentscreen vamp — into a witch, and a shot showing a skeleton in a dungeon, with one bony arm stretched out towards an empty water-jug, appears to be entirely out of place and gratuitous. In striking contrast to these instances of the macabre — which, incidentally, are brilliantly executed — are the delicate touches associated with the animals which Snow White meets in the woods. These are not caricatured, and their animation is perfectly astonishing in its flowing grace of movement. Indeed, one of the most delightful sequences in the film is when they take Snow White to the Dwarfs' cottage and help her to tidy up the place. The Dwarfs themselves are excellently characterised, and have all the whimsicality that Disney knows how to introduce so well. The one that steals the picture is Dopey, a variation of the village idiot, who does not speak at all. He is a clown par excellence, and one could wish 20 that he might be allowed to appear in further cartoon features. What strikes one most forcibly is the wealth of expression and detail touches that have been introduced in regard to the Dwarfs and the animals. This has not been so happily achieved in the case of the conventional human beings as represented by Snow White, the Prince, and the wicked Queen. Actually, there is more character in the fly which settles on one of the Dwarf's noses and goes to sleep than there is in Snow White who, in spite of delightfully flowing animation, still remains a doll. The Queen, as I have indicated, is a sort of reincarnation of the early Hollywood vamp, and she, too, strikes a note that is alien to the general trend of the fantasy. When she becomes a hideous old witch, and thus a caricature, she blends with the surroundings more harmoniously. All this leads one to the conclusion that Disney should refrain from introducing "straight" human characters into his cartoons. In this respect he cannot be creative, as he has been with the Dwarfs, Donald Duck, and the host of creatures with which he has regaled us. Another feature of the picture is the sense of stereoscopy that has been attained. The backgrounds are exquisitely done, and there is always a depth about Disney's work which never ceases to be a cause for admiration. The colour, too, is remarkably fine and adds to the impression that is generally paramount that these creatures cannot possibly be just lines drawn on paper. Such is the sense of realism they impart by their motivation. After seeing this picture and being wholly enchanted by it, I should like to make a plea that Disney should reconsider his plan of making Alice in Wonderland and Alice Through the Looking Glass, which would offer an unrivalled field for that magic pencil of his. But, please, Mr. Disney, let Alice be a real person, as you once suggested she should be. On the Screens Now c»**100 MEN AND A GIRL General Film Distributors (Universal). American. "U" certificate. Comedy-drama with music. Runs 83 minutes. Deanna Durbin Patricia Cardwell Adolphe Menjou John Cardwell Alice Brady Mrs. Frost Eugene Pallette John Frost Mischa Auer Michael and Leopold Stokowski. Directed by Henry Koster. Screen play by Bruce Manning, Charles Kenyon and Hans Kraly. Previewed December 25, 1937. Story freely based on the film by Marjory Williams appeared in our issue of December 18, 1937. A perfect combination of music and comedy which puts Deanna Durbin still more firmly in the front rank of screen artistes and is refreshingly original in plot and development. The star who, whilst still retaining her charm of manner and unsophistication, acts with the assurance of an old timer. The part of a young girl, daughter of an out of work musician, who succeeds in getting an orchestra of unemployed men conducted by a famous conductor, suits her and she makes the character human and natural. Adolphe Menjou has not a great deal to do as her father but he, too, turns in a sound" character study. As his friend, a flautist, Mischa Auer is noticeably good and some excellent comedy is supplied by Alice Brady as a brainless socialite and Eugene Pallette as her husband who is tricked into sponsoring the unemployed orchestra. The comedy moments are exceedingly good and while full dramatic licence has been exercised in the credulity of the plot, it has real human feeling behind it and well drawn recognisable characters. The music, for a change, is mostly classical and it is exceedingly well presented. Deanna Durbin sings Mozart's "Hallelujah" brilliantly and Leopold Stokowski, the famous conductor, appears in person. That his conducting is excellent goes without saying but he also proves himself no mean actor. c***THE PRISONER OF ZEND A United Artists. American. "U" certificateKuritanian Romance. Runs 103 minutes. Ronald Colman Rudolf Rassendyll —King Rudolf V. Madeleine Carroll Princess Flavia Douglas Fairbanks, jun. Rupert of Hentzau Mary Asto« Antoinette de Mauban C. Aubrey Smith Colonel Zapt Raymond Massey Black Michael David Niven Fritz von Tarlenheim Lawrence Grant Marshal Strakencz Ian Maclaren Cardinal Byron Foulger Johann Howard Lang Josef Ralph Faulkner Bersonin Montague Love. Detchard William von Brincken Kraftstein Philip Sleeman Lauengram Alexander D'Arcy De Grautet Ben Webster British Ambassador Evelyn Beresford British Ambassador's Wife Boyd Irwin Master of Ceremonies Emett King Lord High Chamberlain Al Shean Orchestra Leader Charles Halton Passport Officer Spencer Charters Porter Eleanor Wesselhoeft Cook Henry Roouemore Station Master Lillian Harmer Station Attendant Directed by John Cromwell. Adapted from the novel by Anthony Hope by Wells Root. Previewed November 20 1937. The daddy of all Ruritanian romances which was a triumph for Lewis Stone when he appeared in it as a silent picture, ages a little, but nevertheless comes up as very good entertainment as a talkie. It has been very well put over with full romantic values and excellent spectacle. Ronald Colman draws a sound contrast between the two characters and makes love most convincingly to the Princess Flavia; he finally has to leave her to the King, whom he has saved from assassination. Madeleine Carroll hardly strikes a regal note as Flavia, but she has sufficient beauty to carry the part. As E'ack Michael, Raymond Massey is ioo theatrically villainous to be quite convincing, but I certainly liked the braggadocio and impudence of Douglas Fairbanks, jun., as Rupert. Aubrey Smith comes right into his own as the faithful Captain Zapt and David Niven scores as Fritz von Tarlenheim, the King's aide-decamp. **BACK IN CIRCULATION Warner. American. "A" certificate. Comedymelodrama. Runs 82 minutes. Joan Blondell "Timmy" Blake Pat O'Brien Bill Morgan March 12, 1938 Margaret Lindsay Arline Wade John Litel Dur Eugene Forde Eddie Acuff Murphy Craig Reynolds "Snoop" Davis George E. Stone Mac Walter Byron Carlton Whitney Ben Welden Sam Sherman Regis Toomey Buck Granville Bates Dr. Evans Gordon Hart Dr. Hanley Spencer Charters The Sheriff Herbert Rawlinson District Attorney Saunders Directed by Ray Enright. The American yellow press appear to be coming in for some hard knocks these days and in this picture which is full of pep and action it receives another, tempered, of course, by reference to the honesty of some of the people engaged journalism. Joan Blondell is both forceful and feminine as a star reporter who makes up the past of a woman suspected of murdering her husband, but who later does a volte face and helps to prove her innocence. As the persecuted wife, Margaret Lindsay is natural and sincere, while Pat O'Brien is very well cast as a ruthless city editor. •"COUNSEL FOR CRIME Columbia. American. "A" certificate. Legal drama. Runs 60 minutes. Otto Kruger William Melti Douglass Montgomery Paul Maddox Jacqueline Wells Ann Mclntyre Thurston Hall Senator Maddox Nana Bryan Mrs. Maddox Gene Morgan Frida^ Marc Lawrence Edwin Mitch Robert Warwick Asa Stewart Stanley Fields George Evans Directed by John Brahtn. Story by HShumate. Otto Kruger gives an interes^ characterisation in this sto of paternal sacrifice. He is cast an unscrupulous lawyer who fac" a death sentence on a murder cha rather than betray the fact that his illegitimate son who is prosecut: him, should know of his parentag It is a human and complex stud well put over. Douglass Montgomery, too, thoroughly convincing as the so" and Jacqueline Wells make the mof the conventional love interest. *»HOT WATER Twentieth Century-Fox. American. " ficate. Domestic comedy. Runs 58 minutes. Jed Prouty John K Shirley Deane Bonnie Jones Spring Byington Mrs. John Jo Russell Gleason Herbert Thompson Kenneth Howell Jack Jones George Ernest Roger Jones June Carlson Lucy Jones Florence Roberts Granny Jones Billy Mahan Bobby Jones Joan Marsh Bebe Montaine Marjorie Weaver Isabel Enfield Willard Robertson Dr. Enfield Robert Gleckler Hal Lynch Arthur Hohl Walter Whittaker Selmer Jackson Maxwell Joseph King Mayor Roberts Directed by Frank Strayer. From an original story by Ron Ferguson and Eleanor de Lamata . Another of the Jones family series which keeps up an exceedingly high standard of quietly amusing entertainment of a domestic order. In this instance, Pa Jones is induced to stand as mayor in opposition to the crooked proprietor of a notorious night club and it leads both him and his family into plenty of trouble. Jed Prouty is as good as ever and the family are exceedingly skilfully portrayed. ♦♦TAKE IT FROM ME First National. British. "U" certificate. Broad farce. Runs 78 minutes. Max Miller Albert Hal Betty Lynne LMi Maguet Clem Lawrence Timber Wood Buddy Baer Kid Brody Zillah Bateman (Continued on page 22)