Cry Wolf (Warner Bros.) (1947)

“CRY WOLF” (Advance General Feature) Errol Flynn, Barbara Stanwyck Teamed in Warners’ ‘Cry Wolf’ Two of filmdom’s leading romantic stars are thrillingly together for the first time in their notable screen careers in “Cry Wolf,” Warner Bros.’ forthecoming drama of adventure and romance that opens at the Strand Theatre Friday. They are Errol Flynn, dashing star of memorable action films like “Robin Hood” and “Captain Bleod,” and Barbara Stanwyck, whose consistently outstanding portrayals in both drama and comedy have made her one of the most soughtafter feminine stars in Hollywood today. Still No. EF 477 DASHING ERROL FLYNN plays one of the most interesting roles of his career in “Cry Wolf,” Both stars have appeared often in the past in pictures on the Warner lot, where Flynn has been under contract ever since he came to this country more than ten years ago and, when mail started coming in from the fans asking that the two be paired, Executive Producer Jack L. Warner lent an ear and soon found the right vehicle in “Cry Wolf,’ Marjorie Carleton’s popular novel of suspense. The result is a highly adventurous screenplay, adapted by Catherine Turney, with overtones of mystery and ro Warner Bros. adventure-drama coming Friday to the Strand. Barbara Stanwyck is his co-star. MAT No. 2A Warner Bros.’ screen version of Marjorie Carleton’s popular novel, “Cry Wolf,” which opened last night at the Strand Theatre, proves to be a highly rewarding motion picture experience. Besides the superlative performances turned in by Errol Flynn and Barbara Stanwyck in this, their initial co-starring venture, the picture boasts a remarkably lively pace set down under the able direction of Peter Godfrey in the film’s exciting opening sequence and artfully maintained throughout, right up to the crashing climax. The story, essentially a modern parallel to the fable of the shepherd’s boy who cried “Wolf,” in jest, too often to be believed when he was eventually faced with actual danger, details the progressive difficulties met with and overcome by Sandra Demarest (Barbara Stanwyck) mance. Like the novel, Warners’ sereen version of “Cry Wolf” tells the story of Sandra Demarest (Barbara Stanwyck) whose young husband, Jim (Richard Basehart) is believed dead. When Sandra arrives at the family’s vast and mysterious Massachusetts country estate, she is greeted with open hostility by Jim’s uncle Mark (Errol Flynn), lone executor and guardian of Jim’s trust. The eerie dangers which both face throughout the film provide a suspenseful background against Still No. BS 410 PUBLICITY which the stars play out their deeply moving romance. The competent supporting cast includes, besides those mentioned above, screen newcomer Geraldine Brooks who plays the important role of Jim’s oversensitive and highly suggestible young sister; Jerome Cowan as Flynn’s righteously respectable brother; and John Ridgely as a brooding caretaker. Directed by Peter Godfrey, “Cry Wolf” was produced for Warners by Henry Blanke. Franz Waxman contributed the film’s original music. LOVELY BARBARA STANWYCK is co-starred with Errol Flynn in Warners’ “Cry Wolf,’ an action drama with overtones of mystery and romance, which opens a week’s engagement at the Strand. MAT No. 2B (Prepared Review) ‘Cry Wolf’ Combines Adventure, Romance in Thrilling Fashion from the moment she determines to put in a claim for a widow’s share in the vast estate left by her late husband, Jim (Richard Basehart). At Jim’s familial home in Massachusetts, Sandra meets and comes to grips with Jim’s uncle Mark (Errol Flynn), openly and _ violently hostile; and further establishes the reality of the terror that exists in the home for Jim’s sensitive young sister Julie (Geraldine Brooks). Only Julie’s cruel and untimely death and an eventual attempt upon her own life convince Sandra that she has, like the boy in the fable, cried falsely and too often over a nonexistent danger. How she meets the real danger and escapes at last by a mere hair’s breadth makes for a rousing climax guaranteed to shatter the stoutest nerves. Substantial credit is due the film’s co-stars for their persuasive handling of difficult roles which would present an impossible challenge to any but the most accomplished performers. Staunch followers of Flynn and Miss Stanwyck alike will thrill anew to their favorite stars in what will undoubtedly prove to be their most memorable roles. Particularly will Errol Flynn astound and delight his fans by his adroit ease in a role that leans heavily on proper projection of a character who must, at various points in the film, swerve the audience’s sympathy first in one direction, then another. Only a deft and totally credible performance can achieve the necessary shift in sympathy which Flynn arrives at so effortlessly. Also noteworthy in the small but excellent company of supporting players, are screen new comers Geraldine Brooks and Richard Basehart, who show extraordinary ability in their respective roles; and Jerome Cowan, as Flynn’s prim and proper senatorial brother; Helene Thimig as a housekeeper of rare moods and abilities; and John Ridgely as the brooding caretaker of the estate whose outstanding talent for fisticuffs eventually resolves the film’s hard-hitting climax. The well conceived and aptly executed screenplay was written by Catherine Turney for producer Henry Blanke, who spared neither cost nor talent to achieve an outstanding picture. Franz Waxman wins special mention for his eerily perfect, and perfectly eerie, “suspense” music that sounds the keynote of doom from the film’s arresting opening sequence to the equally interesting ending.