Showmen's Trade Review (Jan-Mar 1945)

10 SHOWMEN'S TRADE REVIEW January 20, 1945 A Song to Remember (Color) Columbia Drama with Music 113 mins. AUDIENCE SLANT: (Family) A romantice biographical drama of one of the immortals of music. Magnificently produced, expertly directed and marked by excellent acting, this exceptional picture will entrance lovers of Chopin's music and will impress the rank and file of picturegoers as one of the most distinguished pictures produced to date. BOX-OFFICE SLANT: A "prestige picture" and an attraction certain to prove a big money-getter at all types of theatres on the strength of attention it will receive at keyrun showings. Cast: Paul Muni, Merle Oberon, Cornel Wilde, Stephen Bekassy, Nina Foch, George Coulouris, Sig Arno, Howard Freeman, George Macready, Claire UuBrey, Frank Puglia, Fern Emmett, Sybil Merritt. Credits: A Sidney Buchman production. Produced by Louis F. Edelman. Directed by Charles Vidor. Screenplay by Sidney Buchman. Adapted from story by Ernst Marischka. Directors of photog:raphy, Tony Gaudio, Allen M. Davey. Musical adaptation by Miklos Rozsa. Musical supervisor, Mario Silva. Musical director, M. W. Stoloff. Technicolor director, Natalie Kalmus. Plot: Frederic Chopin's teacher makes plans when the boy is ten years old to one day take his brilliant pupil to Paris from Warsaw, where the boy lives with his humble, frugal parents and early in life suffers hatred of the oppression of the Poles by the Russian Tsar. 1 his urge to do something for the liberation of his people is a motive which the teacher admires and encourages as a means of making" Chopin an even greater musician — since it is through music that, the teacher vows, the pianist and composer can help to bring liberation by impressing the world with his great music. When Chopin is 21 he defies the Russian governor general, and with his professor escapes from Poland to Paris, where the young musician immediately attracts the attention of George Sand, feminist novelist who, though notorious for her love affairs, is admired. The young musician is fascinated by Sand and with her goes to Majorca where he composes, but under her selfish urging, refuses to appear in concert. Rich and under the spell of this brilliant woman, Chopin neglects his mission and attachment to the cause of Polish freedom until a girl from Warsaw comes, and through her he is awakened to his patriotic purpose. He gives concerts in all the capitals of Europe to raise money for the cause, though his health is failing. The exhausting labors take their toll and Chopin dies surrounded by his friends but abandoned by the egotistical Mme. Sand. Comment: This is a "prestige picture" and one to make a tremendous impression as entertainment as well as to serve a purpose in expansion of the scope of the screen as a popular medium for fine music. That the admirers of Chopin's music will find it a vastly thrilling experience goes without saying. That this result has been accomplished in a picture equipped with a dramatic romance of established popular appeal is something for the industry to cheer and crow about. As a technical achievement wherein music becomes an integral part of the romanticized story of one of music's immortals, "A Song to Remember" is certain to arouse enthusiasm of the more critical audiences as well as professional critics and writers and producers and directors of the industry. The quality of the piano renditions of Chopin's most popular compositions will pass muster with the devotees of the concert halls. But from the standpoint of the exhibitor this is chiefly an Legion of Decency Ratings (For Week Ending Jan. 20) SUITABLE FOR GENERAL PATRONAGE Nothing But Trouble Sagebrush Heroes Shadows of Death SUITABLE FOR ADULTS ONLY I'll Be Seeing You Mr. Emmanuel Mummy's Curse Thoroughbreds academic virtue. What gives that shadow, from the box-oftice standpoint, theatre substance is a dramatic story that will be perennially up-to-date. There is the ageless conflict between a man's duty to his principles and the distracting allurements of a romantic attachment to a woman with whom he is hopelessly fascinated. That always has, does now and probably always will make "sense" in the theatre. From this basic theatrical virtue, then, the producer, director and actors of "A Song to Remember" have proceeded to give, in terms of the finest motion picture art and craftsmanship, such a performance as cannot fail to interest and play upon the emotions of the average theatregoer with a magnificent procession of alluring spectacle, emotion-stirring drama and romance, convincing character portrayal and lovely music. There are so many details of outstanding excellence, yet the general and final impression is that here is a work of such sincerity, such expert craftsmanship, that only the picture as a whole should be considered. Charles Vidor's direction seems a masterpiece of effective development of his story material, of bringing to full flower the talents and skills of his pl.'iyers, of almost inspired use of his cameras, and of impecca'ole taste. The production is a gem of sparkling beauty. The acting of P.iul Muni as the somewhat eccentric professor is probably the most carefully detailed and consistently developed portrayal of this actor's very distinguished career on stage or screen. Cornel Wilde, young actor and little known, very likely will step into the galaxy of the elect of the screen for his sensitive, restrained and completely convincing characterization of Chopin. In appearance, gesture and dialog, this young actor carries on without a falter in scene after scene with the resourceful and gifted Muni. Merle Oberon seems a most happy choice for George Sand, and endows the part with a brittle beauty and sensuousness that proves an invaluable asset to the story. "A Song to Remember" is a picture to be presented in the key of quality entertainment— but entertainment to capture and hold and appeal to ail lovers of fine screen drama. Motion Picture Industry RED CROSS WAR FUND WEEK March 15th thru 21st, 1945 Grissly's Millions Republic Mystery 72 mins. AUDIENCE SLANT: (Adult) A suspenseful and exciting picture to please average audiences, especially the mystery fans. BOX-OFFICE SLANT: Good for top position in houses where mystery fare is a specialty; in others, it will give firm support to a leader. Cast: Paul Kelly. Virginia Grey, Don Douglas, Elisabeth Risdon, Robert H. Barrat, Clem Bevans, Francis I^ierlot, Addison Richards, Eily Malyon, Adele Mara, Paul Fix, Byron Foulger, Joan Blair, Grady Sutton, Frank Jaquet, Will Wright, Louis Mason, Tom London. Credits: Directed by John English. Original screenplay by Muriel Roy Bolton. Photography, William Bradford. Produced by Walter H. Goetz. Plot: Realizing that grasping relatives are eagerly awaiting his death, a millionaire changes his will just before he dies. His death occurs after he has killed the dissolute husband of his favorite granddaughter. With suspicion pointed at her, the young girl, with the help of the family lawyer, buries both men in one coffin. An investigator involved in the case straightens things out and saves the girl's life. Comment: This is excellent program fare and particularly good in those spots where murder mysteries are popular. The suspense — a necessary complement to this type of film — is created by slick story construction, and the murderer's identity can't be guessed until the producer is ready to play his hand. Paul Kelly, Virginia Grey, Don Douglas and Elisabeth Risdon again display the badge of expert trouping, with the females getting the best of it, histrionically. Adele Mara, a newcomer, does fairly well, but she'll need further grooming before she's ready for stardom. From the production viewpoint, there are many magnificent sets and settings. Hangover Square 20th Century-Fox Drama 77 mins. AUDIENCE SLANT: (Adult) Mental derangement of a split personality engrossingly presented in a crescendo of suspenseful action. Adult audiences will be intensely interested and entertained. BOX-OFFICE SLANT: Potent marquee names and word of mouth should produce healthy grosses. Cast: Laird Cregar, Linda Darnell, George Sanders, Glenn Langan, Faye Marlowe, Alan Napier, Frederic Worlock, J. W. Austin, Leyland Hodgson, Clifford Brooke, John Goldsworthy, Michael Dyne, Ann Codee, Francis Ford, Charles Irwin, Frank Benson, Connie Leon, Robert Hale, Leslie Denison. Credits: Produced by Robert Bassler. Directed by John Bratim. Screenplay by Barre Lyndon, based on the novel by Patrick Hamilton. Photography, Joseph La Shelle. Plot: Laird Cregar, prominent composer in the early 20th century in London, is distressed and confused by his lapses of memory. He consults George Sanders, a neurologist, connected with Scotland Yard, who advises him to cease arduous work on his piano concerto. Seeking diversion, Cregar becomes fascinated by singer Linda Darnell. In one of his "moods" he strangles Linda, carries her body to the top of a Guy Fawkes day gigantic bonfire which consumes all trace of the murder. His normal personality returns leaving no memory of the murder. The concerto is presented before a distinguished audience. Memory of his crime returns during his playing and Cregar is unable to continue. He is arrested by Scotland Yard men who have be{Continucd on Page 38)