Screenland (Nov 1944-Oct 1945)

^^hen you're home curled up with a book it doesn't matter if your hair slips its moorings . . . But when the party's in full bloom and the music to your taste, you want a hair-do built for speed and endurance. So anchor it, for keeps, with DeLoncl Boh Pins . . . They have the strength of true love and the grip of a habit . .They'll hold your curls securely, keep your hair-net snugly in place and help make you the glamour-puss of the party. Stronger Grip Won't Slip Out mm niMS Quality :ManuJadurers /or Over 50 years BOB PINS HAIR PINS SAFETY PINS SNAP FASTENERS STRAIGHT PINS HOOKS a EYES HOOK & EYE TAPES SANITARY BELTS TO HAVE AND HAVE NOT— Warner Bros. Exciting entertainment for a variety of verj good reasons. First, Bogart at his salty best. Second, most pungent dialogue heard yet, pointing up most torrid love scenes. Third, first screen appearance of exotic blonde Lauren Bacall, who might be called a combination Lake-Bergman-Hepburn except that her sultry charm is all her own. Hemingway's story about Harry Morgan has been called his best work by at least one critic — well, Hollywood has "improved" on Harry by setting his scene in Martinique, calling upon him to aid the Free French cause, and the blonde. Watch the girl ; listen to Hoagy Carmichael sing and play his own songs. MEET ME IN ST. LOUIS— MGM Ideal family picture, particularly for this season of the year, which will enchant practically everybody with any heart at all. Sally Benson's popular stories about the "typical American family" and their everyday adventures form a framework for this wonderful period piece, a romance with music, all in Technicolor. Judy Garland plays to perfection one of the four sisters whose natural and wholesome doings provide many laughs, and a few nostalgic tears. Margaret O'Brien . as the adorable baby of the family, Lucille Bremer as the provocative beauty, Mary Astor as the attractive mother, Tom Drake as Judy's suitor — all grand. MRS. PARKINGTON— /MGA< In this film version of Louis Bromfield's novel, the romantic appeal of co-stars Greer Garson and Walter Pidgeon reigns supreme. The story covers a great and colorful era — 1875 to 1938 — taking the heroine from a poor mining .town to the heights of New York society, when she becomes the wife of a handsome and ruthless tycoon. She is his "Sparrow" but he finds her business acumen equals his. The surprising thing about this strong union is the weak, selfish grandchildren. Only one great-granddaughter (Frances Rafferty) shows admirable qualities. Edward Arnold, A gnes Moorhead, Gladys Cooper are standouts in a notable cast. AND NOW TOMORROW— Poro/noun* The film based on Rachel Field's novel has all the elements to make it touchingly sentimental — a young doctor who has succeeded in spite of his impoverished background; a beautiful, wealthy but deaf girl of a New England town's first family; and a pert "minx" who falls in love with her sister's fiance. All this, with Loretta Young and Alan Ladd, too ! It's Ladd's first attempt at being a thoroughly nice guy in a movie and after you see what a good job he makes of it, you won't want to see him any other way. Susan Hayward cops some honors in the "other woman" role and Barry Sullivan has a strong appeal, as the "other man." THE SEVENTH CROSS— MGM There is a subtle change of trend in this film based on Anna Segher's novel about the "seventh" fugitive from a Nazi concentration camp, and whether it is premature is not for us to answer. Stressed more than sligiitly is the fact that all Germans may not be double-dealing, black-hearted Nazis. Spencer Tracy plays the starring • role, and handles the psychological reaction of a tortured man rediscovering human kindness as deftly as he holds the suspense of his search for the German underground. Hume Cronyn is good, and Signe Hasso plays a fine romantic interlude. {More Rcvieivs on page 16) 8 Screen LAND