Screenland (Jul–Dec 1946)

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With the added attraction of Elizabeth Taylor, this latest film in the Lassie series packs a wallop and provokes a heart-throb, for it presents the great canine performer as a dog of war suffering battle-shock, saved by the devotion of an adorable young girl. First of all, though, is the enchanting opening sequence, in pantomime, showing Lassie as a pup lost in the Canadian wilds, growing up in the company of fawns, bears, crows and other wild creatures of the forest. Children will love this. Grown-ups will marvel at Lassie's performance, thrill at the war scenes, take Elizabeth Taylor right to their hearts.^ Frank Morgan, Tom Drake, Selena Royle in cast. DEAD OF N IGHT — Universal Release How narrow is the margin between dreams and reality, the natural and the supernatural, fact or fiction, is graphically, dramatically shown in this Ealing Studios production based on original stories by H. G. Wells. It starts with a dream which Mervyn Jones relates to tea guests, including Michael Redgrave and _ Roland Culver among the unfamiliar English cast, at Pilgrim's Farm — the same people he has met before in his nightmarish dream. In an attempt to reach a rational explanation, each person present tells of a strange episode in his personal life. Give them all careful analysis, and you have engrossing film fare which really makes you think. THE SEARCHING Wl N D — Wallis-Paramount For those who regrettably followed the appeasement policy, this film version of Lillian Hellman's play will strike hard where they feel it most — their consciences. You could go a long way before you could find a better picture in that respect, and in view of superb performances by Robert Young, as the undecided statesman, Ann Richards, his wife, and Sylvia Sidney, the foreign correspondent who should have married him, giving him the benefit of her keen foresight. The film presents an interesting kaleidoscopic history from the beginning of Fascism to the end of the last war, but an abundance of dialogue tends to drag the action. Whether you find it tedious or not, the message it brings is well worth your time. Watch for appealing new man, Douglas Dick. ANNA AND THE KING OF SIAM— 20th-Fox A motion picture so fascinating in its fantastic setting, so significant in its scope, so superb in its direction and performances that it will surely rate high on the list of "Bests of 1946." Here is cinema accomplishment of Academy Award calibre in every department. Based on the biography by Margaret Landon, this story of a true woman pioneer, Anna Owens, (Irene Dunne) who went to Siam to teach the sixty-three children of the King, has enormous interest as it traces the tempestuous encounters of the high-spirited Anna with the strange, sardon ic King Mongkut, her courageous stand against barbarism, and his gradual progress to more enlightened thinking. Irene Dunne's Anna fine; Rex Harrison's King — great! LADY LUCK — RKO The fickle behavior of that phantom lady — who so many gamblers believe smiles or frowns especially for them — causes the wheels to go round for the stars of this delightful treatise on the subject of how to make an easy dollar. Robert Young, fortune's pet, does all right for himself and his bankroll until he meets the beautiful Barbara Hale who is trying to rehabilitate her grandfather (Frank Morgan) after his last financial downfall at the races. She cures both of them of their gambling ways, but finds, in the meantime, there is something to be said on both sides. It's gay and frivolous with little attention given more serious, sometimes disastrous, results of gambling. DO YOU LOVE ME?-20th Century-Fox A gay musical in Technicolor with the | talents of Harry James and Dick Haymes prominently displayed and the charm of | Maureen O'Hara in the contrasting charac i terization of a spinsterish dean of a sedate college who turns on the glamor all add up to good entertainment. The brainy beauty is the pivot of a bang-up romance involving the Trumpet, the Crooner, as well as Reginald Gardiner, symphonic orchestra leader, Richard Gaines, business manager of the school— all getting in each other's way and causing plenty of intricate situations, neatly unraveled in the final sequence. As for songs hits, how about "I Didn't Mean a Word I Said," "As If I Didn't Have Enough on My Mind," the title tune, "Do You Love Me?" or "Moonlight Propaganda"? All are solid. 13 SCREENLAND