Showmen's Trade Review (Oct-Dec 1949)

20 SHOWMEN'S TRADE REVIEW, October 22, 1949 BOX-OFFICE SLANTS That Forsyte Woman {Continued from Page 17) reveals her love for Philip Bosinney (Robert Young), Irene seeks the family's approval. Philip, however, has only contempt for the family and becomes infatuated with Irene. In a quarrel between Philip and Soames, Philip leaves in haste and is killed in a street accident. Five years later, Irene is happily married to Jolyon. Comment: Topgrade in all departments — production, direction and performances, "That Forsyte Woman" is excellent adult entertainment. Based on Book I of "The Forsyte Saga" by John Galsworthy, this picture is apparently more concerned with the love story involving Irene, Soames Forsyte and Philip Bosinney than with the family chronicle that must have occupied the Galsworthy volumes. For this reason, it is certain to win the admiration of women, for it concerns the conflict of a woman who, married to a man she does not love, fights desperately but unsuccessfully to keep from falling in love with a young achitect who is engaged to the daughter of her husband's brother. As "that Forsyte woman," Greer Garson gives a restrained and impressive performance; she is lovely to look at and has a genuine warmth that will win audience sympathy. In a role quite foreign to his usual dashing cavalier or frontier cowboy, Errol Flynn scores as the arrogant, selfish Soames Forsyte who would not stop until he got what he wanted, whether it was a beautiful woman who did not love him, or a priceless painting or bauble. Because the character he portrays is so difTerent from his others, Flynn stands out, although the other performances, including the smooth and competent acting chores of Robert Young, as the impulsive young architect, and Walter Pidgeon, as the outcast member of the Forsyte family, are not without merit. Indeed, it is the splendid work of all the principals, plus the fine direction of Compton Bennett and the impeccable production of Leon Gordon, that make "That Forsyte Woman" the beautifully done job that it is. The atmosphere of 1880 London society has been convincingly captured, with Technicolor bringing it even more vividly to life. The picture is more for the mature, thinking adult than for the masses, but its love story can scarcely be resisted by most women. Except in the smaller towns and some neighborhoods, it should motivate considerable box-ofifice activity — first, because of its star and literary values, and second, because of its love story most women will talk about. The Reckless Moment Columbia Drama 82 mins. AUDIENCE SLANT: (Family) General audiences should find the skillful pacing of this tersely directed picture sufficiently compelling to hold attention throughout. Discriminating patrons may be made uneasy by a lack of validity in the original story premise, but in spite of this it should prove enjoyable entertainment. BOX-OFFICE SLANT: The James Mason and Joan Bennett names have definite marquee value. This is in no sense a great picture, but is good solid entertainment. Properly exploited, it should hold its own in any situation. Cast: James Mason, Joan Bennett, Geraldine Brooks, Henry O'Neill, Shepperd Strudwick, David Bair, Roy Roberts, Frances Williams. Credits: Producer, Walter Wanger. Director, Max Opuls. Screenplay, Henry Garson and Robert W. Soderberg. Screen adaptation, Mel Dinelli and Robert E. Kent. Plot: A mother objects to the attention paid her 17-year-old daughter by an older man. When the man later accidentally falls to his death, under circumstances involving the girl, the mother is blackmailed with letters written to him by the daughter. The blackmailer relents and sacrifices his life to save the girl from being implicated. Comment: This picture should hold absorbed attention throughout its showing, in spite of a basic falsity in the story premise that discriminating patrons may find disturbing. When questionable character Shepperd Strudwick accidentally falls to his death, Joan Bennett moves the body to prevent the ■possibility of her daughter being involved. The circumstances hardly seem strong enough to motivate Miss Bennett, a lawrespecting Balboa housewife, to conceal the facts. However, the skillful pacing, wellsustained suspense, and able performances by the entire cast should outweigh this story weakness and tip the scales in favor of better-than-average entertainment. James Mason's characterization of the blackmailer, who is softened by Miss Bennett's loyalty to her family, is consistently powerful. The progress of his regeneration from blackmailer to a man who sacrifices his life to save the daughter from involvement in Strudwick's death is well handled and valid. Miss Bennett does her usual competent job. Her part as the mother seems a little cool but this is in keeping with Max Opul's terse, sharp direction characteristic of the picture. Geraldine iRrooks as the daughter is good. Henry O'Neill, Shepperd Strudwick, David Bair, Roy Roberts, and Frances Williams give the principals satisfying support. The low-key photography is excellently suited to the suspense. Give Us This Day (Reviewed in London) Univ.-Int'l Drama 120 mins. AUDIENCE SLANT: (Adult) This fine picturization of Pietro Di Donato's "Christ in Concrete" is a connoisseur's piece with undeniable popular appeal and a strong woman's angle. BOX-OFFICE SLANT: With New York as its locale, this British offering is an art house "must." Its powerful human story and woman's angle also commend it to wider exhibition. Cast: Sam Wanamaker, Lea Padovani, Kathleen Ryan, Bonar Colleano, Charles Goldner, Bill Sylvester, Nino Pastellides, Philo Hauser, Sidney James, Karel Stepanek and others. Credits: Adapted from Pietro Di Donato's novel by Ben Harzman. Music composed and conducted by Benjamin Frankel. Directed by Edward Dmytryk. Produced by Rod E. Geiger and N. A. Bronsten. Plot: In the early 1920s, Lea Padovani goes to New York to marry Sam Wanamaker, a bricklayer, in the belief that he owns a house. After a three-day honeymoon, she learns they must move to tenement rooms and they set about saving the $500 for the deposit. There begins the endless struggle for existence. Children come, expenses increase and Wanamakr is constantly unemployed. He accepts work as a foreman on a building project only because he is desperate, for he knows the contractor is economizing on safety measures. As he fears, the structure crashes and he is buried in falling concrete. Lea receives $1000 compensation for his death and is able to buy the house she craved. Comment: Here is an outstanding connoisseur's picture which can well meet with popular success due to its unquestioned woman's angle. Sensitively directed, finely acted and telling a very human drama of a man's principles and a woman's enduring wish for a home of her own, this will be one of the most discussed films of the year by highbrow and average film fan alike. The setting is New York between the wars and the characters are mainly of Italian extraction, so there should be little embarrassment over the accent problems. Sam Wanamaker appears with distinction as the conscientious bricklayer and Lea Padovani reveals an enchanting personality as his adoring wife. Other parts are admirably cast and played. Director Edward Dymtryk has long wanted to film Pietro Di Donato's "Christ in Concrete" and has given the production excellent treatment. My Foolish Heart RKO Radio Drama 90 mins. AUDIENCE SLANT: (Adult) A woman's story, appealing alike to the feminine heart and the feminine tear ducts. Women will flock to it and take their menfolk along, and the compelling human interest of the love story will hold male interest captive. BOX-OFFICE SLANT: Should keep the cash rolling steadily into any box-office. Exhibitors have the Goldwyn reputation and "touch," a woman's love story, good marquee names, direction and photography to help attract patronage. Cast: Dana Andrews, Susan Hayward, Kent Smith, Lois Wheeler, Jessie Royce Landis, Robert Keith, Gigi Perreau, Karin Booth, Tod Kams, Philip Pine, Martha Mears, Edna Holland, Jerry Paris, Marietta Canty, Barbara Woodell, Regina Wallace. Credits: Produced by Samuel Goldwyn. Directed by Mark Robson. Screenplay by Julius and Philip Epstein based on a New Yorker story by J. D. Salinger. Photography, Lee Garmes. Song, My Foolish Heart, music by Victor Young. Lyrics by Ned Washington. Musical direction, Emil Newman. Plot: Kent Smith, after some years of marriage with Susan Hayward, who has never loved him, asks for a divorce and the custody of their daughter, Ramona. He intends to marry Susan's old friend, Lois Wheeler, who has been in love with him for years. Susan is on the point of telling Smith Ramona is not his daughter but Lois asks her to reflect. Susan thinks back over her happy but tragic love affair with Dana Andrews which is told in a flashback. She falls deeply in love with him but he is not serious about her, until in the army and about to be sent abroad, he writes Susan to join him at the training field and marry him. He is killed in an airplane accident, and Susan, that her expected child may have a father, wins Smith away from Lois. Then, back to the opening scene: Susan tells Smith he may keep Ramona; she knows he and Lois will give her a good home. Lois and Smith witness Susan's affecting farewell to Ramona, tell her she may keep the child and the house, and leaves her. Comment: This is a woman's story, appeal(Conttnued on Page 22)