Between Two Worlds (Warner Bros.) (1944)

Matchless Love Theme of FI\lM VILLAIN Inspiring Film at Strand Still OB 509; Mat 205—30c Eleanor Parker plays the role of a woman who loves her husband more than life itself, in Warner Bros.’ “Between Two Worlds,” at the Strand. (Prepared Review) The most provocative film to come out of Hollywood in many a season arrived last night at the Strand Theatre. It’s “Between Two Worlds,” starring John Garfield, Paul MHenreid, Sydney Greenstreet and Eleanor Parker. Since the film represents a brand new departure into a _ hitherto little-explored field, it will come as no surprise that the Warner Bros.’ studios produced it. Essentially, “Between Two Worlds” is a tender and poignant love story about the lovely—and loving—Ann (Eleanor Parker) and her handsome, sensitive musician-husband, Henry Bergner (Paul Henreid). But not once does this love story descend to the usual celluloid “formula” level. Instead, the film poses a fine moral question—one which should find a timely response among today’s emotionally wartorn audiences. For in these days of Martian unreality when death chooses freely from among the millions, it would be comforting indeed to be able to tear aside the curtains and see what lies beyond. This the Warner Bros. have essayed to do—and the result is at once both stimulating and palliative. Lovers Don’t Want to Live The young lovers, desperately oppressed by the war’s inroads, open the gas jet in their dingy little London flat and take their lives. But respite from their cares — the complete oblivion they sought—is not their lot. Instead, they regain consciousness on a ghostly ocean liner bound for eternity. No longer of earth, not yet in the hereafter, they are literally “Between Two Worlds.” Their fellow travelers are a motley lot. There is Tom Prior (John Garfield), a brilliant but derelict newspaperman who somewhere along the road just missed his chance for greatness; and Maxine Russel (Faye Emerson), a slightly faded showgirl whose lifetime has been one long, unsuccessful fight for a break; Pete Musick (George Tobias), a happy, simple American merchant seaman; and the Rev. William Duke (Dennis King), a_ kindly soul whose entire life has been devoted to his small parish. There’s Lingley (George Coulouris), arrogant, unscrupulous millionaire; and the ClivedenBanks’ (Isobel Elsom and Gilbert Emery), a pathetically mismatched couple. 4 And finally, there are the likeable Mrs. Midget (Sara Allgood), a meek little housekeeper, and the ship’s steward, Scrubby (Edmund Gwenn). Of all the passengers, only Ann and Henry are aware they are no longer alive. Pathetically, the others continue to indulge in all the social proprieties, the hopeless schemings, the petty little conceits so much a part of their lives. It is Prior at last who deduces their true status and in a brilliant denunciation of all he informs his fellow-travelers that they are dead. Stripped now of all the sham security afforded by their lives— money for one, social-standing for another — the group listens apprehensively as Scrubby tries to allay their fears, informs them they will be fairly judged by an Examiner before their final lot is decided. How the Examiner Thompson Sydney Green = Still OB 513; Mat 109 Street) arriveSSydney Greenstreet at last and how each passenger receives a just and eternal fate is in itself an absorbing thesis for a discussion of human frailty and ultimate retri bution. Only the young lovers, Ann and Henry, having taken their own lives, are not permitted the luxury of an _ eternal pattern. Instead, because of a sudden magnanimous rush of fresh air through a bomb-shattered window, they arise wonderingly back in their dingy little London flat. A superlative cast adds considerably to the complete credibility of an otherwise mysticallyconceived film. John Garfield as Tom Prior contributes the most brilliant performance of his career, handling an impassioned role with vast feeling and insight. Paul Henreid and Eleanor Parker are sensitive and convincing in consistently difficult, highly emotional roles; while Sydney Greenstreet comes through with a wholly lovable, extremely welldefined performance as Thompson the Examiner. The film was directed by Edward A. Blatt and produced by Mark Hellinger, with music by Erich Wolfgang Korngold. The screenplay by Daniel Fuchs was based on a play by Sutton Vane. GETS WISH FOR NEW TYPE ROLE Sydney Greenstreet, who comes to the Strand this Friday in Warner Bros.’ “Between Two Worlds,” starring John Garfield, Paul Henreid, Eleanor Parker and Mr. Greenstreet, has chalked up some kind of record for celluloid villany. To put it mildly, it would seem that Hollywood has typed the ponderous actor as a sinister super-menace. But, says Mr. Greenstreet: “That’s the last thing in the world I’d want to have happen to me. I don’t want to be typed. I never played a single villain before coming here to Hollywood.” According to the star, it’s all right for a few times but not as a specialty. In the theatre seventyfive percent of his roles, peculiarly enough, were comedy. “And why not? Look at my size!’” he explains. Mr. Greenstreet, who always wanted “to do a_ philosophical sort of part” has finally got his wish. In “Between Two Worlds,” he plays a genial, colorful gentleman reeking with philosophy—of both the theoretical and practical variety. As a man not quite of this world, he’s in a very good position to judge his fellow-men —-and as Thompson the Examitier, that’s just what he must do. Hollywood had been after Mr. Greenstreet for many years but he didn’t capitulate until Warners offered him the role of Gutman, the fat man, in “The Maltese Falcon.” Happy in Film Work He’s happy with his screen work and does not plan to return to the stage for the time being. “The movies are new to me, still,’ the actor explains. “It’s a new technique and I’m getting on to it but there’s always something more to learn. The first time I saw a rush of myself I was terribly embarrassed. It taight me that the lens is the actor’s best critic—because it shows his mind working more clearly than on stage. It shows feelings. You get wonderful cooperation from a camera if you are true—but God help you if you’re not!” In his present role as Thompson the Examiner, to achieve the quality of “ringing true’? was no easy task. The character literally had to be molded out of thin air, as there never was another Examiner quite like this one. Modern Mrs. Fiske Scores In Films on 2 Counts Still OB 504; Mat 118—15c FAYE EMERSON and JOHN GARFIELD It is an established fact, like the roundness of the globe or the law of gravity, that strong and stout-hearted men are as putty in the hands of women with deep, throaty voices. Eleanor Parker, now to be seen in Warner Bros.’ “Between Two Worlds,” starring John Garfield, Paul Henreid, Sydney Greenstreet and Miss Parker, is vocally a modern edition of Mrs. Leslie Carter and Mrs. Minnie Maddern Fiske, talking in the throaty tradition of which Margaret Sullavan is today the best-known exponent. It was Eleanor Parker’s voice, combined with five and a half feet of charmingly apportioned one hundred and eighteen pounds, that gave the young actress her first chance at a movie career. There isn’t much doubt about the acting ability, either. Eleanor has always had her heart set on being an actress, and her dad, head of a high school mathematics department back home in Cleveland, Ohio, has always been pretty swell about it. While still in school, Eleanor’s ability was evident. At ten she was chosen as one of two Cleveland children to ‘be apprenticed to the Cleveland Playhouse. In high school she was president of the Dramatic Society. The young actress has really worked hard for her experience, too. Playing in summer stock in Martha’s Vineyard, Mass., one year she waited on tables to pay her tuition. The next, she was head usher. Eleanor loved it all, just so long as she could smell the grease-paint and be around people who were concerned about “parts,” “sides” and “readings.” As soon as she had been graduated from high school, Eleanor Parker made a bee-line for the Pasadena Community Playhouse. A first-year student, she was not thinking too much about the future when one day, into her life strolled the Warner Talent Scout. He Hears a Voice set ANAS He heard The Voice. He tested her on Tuesday, said yes on Wednesday and on Thursday (which happened to be her nineteenth birthday) signed her to a contract. The following Monday she was on the Warner payroll. She made her screen debut in one of Warner Bros.’ technicolor national defense shorts, “Soldiers In White,” and has been seen subsequently in a variety of films, among them: “They Died With Their Boots On,” “Busses Roar,” and “Mission To Moscow.” In “Between Two Worlds” the young star plays the leading feminine role. Paul Henreid Wins, Hands Down, In Luckiest Catch of Season Paul Henreid, currently to be seen in one of the starring roles of “Between Two Worlds,” the Warner Bros.’ film starring John Garfield, Mr. Henreid, Sydney Greenstreet and Eleanor Parker at the Strand, had his strangest experience during a recent bond tour when a baby was tossed into his lap as he rode in an army jeep through the streets of Boston. A woman, apparently the infant’s mother, made the toss from the sidewalk as the jeep passed. “Fortunately,” said the star, “I’ve learned something about handling babies since I have one of my own. So I made a lucky catch. The woman said she just wanted me to touch the baby for luck. I thought the luck was on my side when I caught the baby safely.” Still OB 22; Mat 210—30c Paul Henreid as the musician who can no longer play, and Eleanor Parker as his wife, in Warner Bros.’ film of eternal devotion, “Between Two Worlds,” now playing at the Strand. WARNER FILM DEBUT FRIDAY Advance Reader) Investigating the world that lies just beyond our own borders, the Warner Bros. have fashioned an exciting film from their findings. The result can be seen in “Between Two Worlds,” which stars John Garfield, Paul Henreid, Sydney Greenstreet and Eleanor Parker and comes to the Strand Theatre Friday. A consistently superior cast, in addition to the stars mentioned above, includes Edmund Gwenn, George Tobias, Sara Allgood, Faye Emerson, Dennis King and George Coulouris. Edward A. Blatt, formerly dialogue director on such films as “Now Voyager” and “Watch On The Rhine” directed the Strand’s new film and Mark Hellinger, last associated with the production of “Thank Your Lucky Stars,” produced it. Daniel Fuchs adapted the screenplay from a play by Sutton Vane, and the music was composed by Erich Wolfgang Korngold.