Variety (November 1950)

Fll^Hi REVIEWS Wedneeclay, November 1, 1950 narrlet Craig Hollywood, Oct. 27, Columbia release of WiUiam Dozier pro- duction. Stars Joan Crawford, Wendell Corey; features LucUe Watson, Allyn Joslyn, William Bishop, K. T. Stevens, Viola Roache, Raymond Groenleaf, Ellen Corby. Directed by Vincent Sherman. Screenplay, Anne Froelick, James ^Ounn; ba'sed on play, “Craig’s •Wife/' by. George Kelly; camera, Joseph WMKcr; editor. Viola L,a\vrcnce; musical score. George Duning. Previewed Oct. 20, '50. Running time. 93 MINS. . ^ . Harriet Craig.............Joan Crawford Walter Craig Wendell Corey CelU Fenwick..... ........Lucie Watson Billy Birkmire A b n Joslyn Wes Miller ............. . .Wilha^m Bishop Clare Raymond .- K-. T. Mrs. Harold Viola Ro.'ichc Henry Fenwick... Raymond Greojileaf I^ottie . .. Ellen Corby Mrs. Frazier . l-iona Danny Frazier Palric Alitcbcll Harriet's Mother ....... Virginia Brissac Dr. Lambert Katharine Mr. Norwood;.. . Mi’Si Norwood. >• .Mr. Winston.... Mrs. Winston ... Miniature Reviews •. * f. • •. Warren . .Douglas Wood . Katbiyn Card , Charles Evans Mira McKinney ^‘Harriet Grai( C o 1). Plushy remake of ‘'Craig*s Wife.” Stars Joan Crawford, Wendell Corey. “Never a Dull Moment” fSongs) iRKO). Fairly divert- ing coniedy with Irene Dunne, Fred MacMurray. “Breakthrough” (WBl Melo- drama about Normandy fight- ing in World. War II. “Undercover Girl” (U). Con- ventional. melodrama starring Alc::is Smith as police agent in narcotics case; mild grosser, “The Magnet” (British) tGFD). For family trade in Britain; may do on lower half of U S. duaiers. High-powered histrionics and a plushy 'production go a long way towards bringing the 1925 Pulit/.cr prize-winning “Craig’s Wife” up- to-date for the curieht him mar- ket. Modern refurbishing glo.s.seS the drama and, as “Harriet Craig.’ it has a distaffer appeal that will help its chances at the' ticket win- dow,....:’ Joan Crawford does a prime job of putting over the selfish title character, equipping it with enough sock to cloak the obviousness that motivates the dramatics. Over the j'ears, plot has lost freshnevss* but script up-dating, the-strong playing, and direction add a sheen tliat keeps it interesting. The Crawford name for the marquees, plus Wen- dell Corey as co-star, ha,ve sales value. Story is more conversation than action, so emphasis is placed on de-: velopment of characterization to give .it a. seemingly good pace. Vin- cent Sherman’s direction points up the; Anne Froelick-James . Gunn screenplay, based on the George Kelly play, in guiding tire players through the plot. Miss Crawford's domination of home and all who live in it takes on Freudian tones in this film re- make. She is a hateful character, selfish to the nth degree in her worship of her home arid the se- curity for which it stands. To keep it as she wants. Miss Crawford nearly breaks up the romance of her cousin, K. T. Stevens, with Wil- liam Bishop, tries to ruin husband Corey’s chances for advancement in his firm, spoils his friend.ship Avith easy-living Allyn Joslyn.; . It takes a little time for Corey to rec- ognize his wife’s character, but Avhen he does he walks out fa.st. leaving her vvith the showplace home which actually is her only love. Producer William. Dozier was as careful in casting as in dressing up physical values. There are no oil- key performances. Corey does a very likeable job in preventing the husband from appearing weak. Lu- cile Watson is seeri briefly but ef- fectively, as are Joslyn and Bishop. Miss Stevens, the dominated cou- : sin; Viola Roache, very good as the housekeeper; Raymond Green- leaf, Ellen . Corby, Fiona O’Shiel and others are among the capablcs. An item for distaff controvA'.sy will be the severe, short hair crop Miss Crawford effects.in the film. It is in keeping with the ma.scuUne note in the psychotic character and is the only physical evidence of the stoi-y’s 1925 origin, a period that saw the boyish bob reaching its peak. Firstrate technical a.ssists help the physical presentation. Ratiiig mention are lensing by Joseph Walker, settings and art direction, and the George Duning music score directed by Morris Stoloff. ■ Broo- • Echdenflarih;' musical in aaOpling , Gershenson. Previewed '50. Runnimi time, .83 Christine Miller. .;. .. , < I ,t. Mike Trent. . . ..,; .less Taylor.,...,....'. Liz . . Doc ■ Iloln^es Reed Menig ........,., Moochcr..;.......... Tully..,: : Captain Parker D.'ibe “Bute' Miller . . ,...,. . Pat Gibson........ i.., Robbie Murph. Wally............... Lew , . ......... Collar. .. .. ....; i... the comedy, and where scripting isn’t strong he still manages . chuckles for the average audience. , Plot has MacMurray, the rancher, appearing at a New York charity rodeo. There he meets Miss Dunne, .songsmith. It’s a quickie romance, the couple marry and U’ck west tb the ramshackle ranch that Mac- Murray and his. two mothbrl ess daughters call . home. Miss Dunne is willing, but inep ranch life, and there’s the usual lineup of familiar, gag situations as she encounters the problems , of early rising, bverly fnendly neigh- bors. cooking and stock^feeding clif- ficuities. : ' Incidents build to a point where Miss Dimne accidentally kills the prize bull of eantarikerous William Demarcst, a neighbor on whom MacMurray depends for water. The married couple quarrel, she takes off for the east and tune- cleffing, finds there’s no inspira- j tiori now, so everybody gets to- ^artiy a happy ending. ■ Demarest has little to do other. than be grumpy. Andy Devine adds' some CDinedy as MacMuiTay’s friend. Gigi Perreau and Natalie Wood are good as the little girls. 01 bers helping, where they can are . Philip Oberj Jack Kirkwood and Ann Doran. ' Three songs are spotted in the footage, all written by Kay Swift, ■ who authored the novel on which ! the Lou Breslow-Doris Anderson; script was based. Numbers are “Once You Find Your Guy,” “The! Man With the Big Felt Hat,’* and j “Sagebrush Lullaby,” all sung by Miss Dunne with just moderately Productionwise, picture has-an okay outdoor flavor in settings and other physical props, plus good lensing by Joseph Walker. Brog, brought on too abruptly, and the sudden switch that finds him a^ psycho case doesn’t make much serise. Lovejoy delivers an easy performance that registers. In the featured brackets. Bill Campbell, politically ambitious sol- dier; Paul Picerni and Greg Mc- Clure come over neatly, and there are other interesting portrayals on down the line; Counted among them are Richard Moriahan, Eddie Norris, Matt Willis, Dick Wessori arid Suzanne Dalbert, latter in. briefly for a bit of femme lure in a Normandy village sequence. script by Bernard Girard and Ted Sherdemim mixes light and heavy dialog, and the former is ! good for severar chuckles. Joseph ^I. Breen, Jr., did the. story, basing it on some of his actual War experi- ences. Music, scOre, lensing and other technical credits measure up ; to general market deiriands. Broo;. Uai'vo.rs.nMnternationial vdease of A'u- bi'cy Schenfk production. Stars. Alc.'cis ; Smith, Scott Brady; . features Rich.ard i Egan. Gladys Cieor^je; Edmon Ryan, Ger- ald Mohr, Royal, paho,. Harry Landers. Connie Gilchrist. Ahi^ela Clarke. Directed by Joseph PoVhey'. Screenplay by llarry Esseic, from story by Francis Roseiiwald; camera, Carl Guthrie; editor, Russell direction. Joseph in N. Y., Oct. 27. MINS. . . . . Alexis Smith Scott Brady .... Richard Egan ... .Gladys Ccovgc , .Edmon, Ryan ...... Gerald Mohr . . Royal D.nno .,. Harry Landers .. .Connie Gilchrist .... Angela Clarke ,.... Regis Topmey .. l.,.vnn Ainley . : Ti'istram CoR'in -Lawrence-. Ci'egar ......Harold Gary EUiRaUd ..... / Mel Archer Rreaktlirougli Holly wood j Qct. 31. Warners release of Bryan Foy produe- lioh. Stars David Brian, John Agar, Frank -Love.ioy; features Bill Campbell, Paul PL- eerni, Greg McClure. Directed by Lewis Seiler. Screenplay, Bernard Girard, Ted .Sherdeman; from • story by Joseph L. P.rden. Jr.; camera, Edwin DuPar; editor, j Folmar Blangsted: music, William Lava. Trade,shown Oct. 24; '50, Running tinie, 91 lytlNS. Capt; . Hale.,, .David Brian Lt. Joe Mall 9 ry.............. John Agar Sgt. Bell . Fi'ank Love,n)y Domenick .................Bill Campbell Pvt. Ed Bojeck.......... . .. Paul Picerni Pvt, Frank Finley,.........Gi'gfJ McCldre “Four-Eff” Njelson.... .Richfivd Monahan Sgt. Roy Ileivder.son.....,.. .Eddie Norris Pvt. Jimbo Hollis........... Matt Willis Hansen .Dick We.sson Collette.............. . .; Suzanne Dalbert Pvt. George Glasheen...... William Self Pvt. Rothman .Danny Arnold Lt. J.'inis King ...Danic Sue Nolan Lt, Col. Lewis..Howard . Ncgley Xovor a llnll MollH^nt : (SONGS)' ' 1 Hollywood, Oct. 28. . RKO rclea.<!e of Harriet Parsons produc- , tion. Stars Irene Dunne, Fred ..MacMur- ray;- features William .. Demafetet, Andy /' Devine, Gigi Perreau, Natalie Wood, Philip Ober. Jack Kirkwood, Ann Dorari. 'Directed by George Marshall.; .Scrcennlay, I.ou BreSlotv. Doris Anderson; based on novel by Kay SWift;. camera, Jo.seoh AValker; editor, R«,bcrt Swink; sortg.s, Kay Swift; music. Frederick Hollander. T»-i.de- slvowh Odt. 26, .’50, Running time; 89 ...... Triple Dunne Fred MacMurriiy VVilliam Deinarc.st . . . Andy Devine riNS. Kay ... Chris . ]\’ears. Orvle. Tina., Nan... Jed P.ipa Jean • t • .f * • I Dude, ,. Gigi Pe'’''CJ'U , - Natalie Wood i Philin Obtiv .Jack Kirkwdod .. . Ann Doran There's a fair amount of diver- sion in “Never a Dull Moment” to see it thrriugh mnst general situa- tions. Comedy is broad as pltiyed by Irene Dunne, Fred MacMurray aiul others, and the star names will give it some marquee help. ^ The Harriet Parsons prpducljon doe.sn’l always live up to its title in tellin;g the story of a smooth leirime songwriter who falls in love Avith a western rancher and his iinpovei ished acreage a home. Geoi-ge Manshall tibp is a great help in selling the . phy.sical business that goes with An important phase of World II in Europe^—^the hedgerow hop- ping of our troops through Nor- mandy—--furnishes the basis fdr “Breakthrough.;” As a battle film, it is just moderately successful for general release, but it combines au- thentic with irianufactured war footage to sustain the action. Screenplay dedls specifically with a small company of infantry and the part they play in the niai’ch l across NdiTiiandy. GI’s are ex peri- j ericed foot-soldiers, commanded by a tough captain but led iri the field by a green lieutenant. Story is an episodic account of fighUrig and i , the effect war has on the individ- ^ ual, enlivened by the s^ged arid real clajshesi , Bryan Foy’s production guidance , and the direction by Lewis Seiler insure action melodramatics and: sulTicient pace to carry the yarn. Both could have paid better atten-I lion to story and character moti- vation, supervision being needed lo close a few holes and clarify sev- eral abrupt switches in niood of a few of the individuals concerned with the plot. Heading up the cast are. David Brian, John Agar arid Frank Love- joy. Brian i.s the tough company commander, Loyejoy the seasoned, wise sergeant and Agar the green lieutenant./ Latter gets the be.st “Undercover Girl,” by Us very title, suggests a conventional hielo- drama with a twist in that a girl is the gangsters’ foil. Which is cx- ^tly what it is. The Universal re- lease rises slightly above its class by virtue of a fairly exciting script and some excellent photography,! but should prove only a mild j grosser in mo.st situations. j Alexis Srnith has the part of; Christine Miller, who interrupts j her police training in New York to go to California to avenge the [ death of her policeman father,! killed by a narcotics ring. Work- ing with the Los Angeles police,' she gets into the confidence of the ^ posing as a dope-buyer.! While the outcome is obvious,! suspense is maintained by a niim-I ber of pitfalls and fiict lliat she is ] suspected by the gang. Love in- terest is. provided by Miss Smith and. Scott Brady, who is in charge of the police detail working on the case, and there is an exciting wind- tip in a hide-and-seek sequence in a deserted house. . Miss Smith’s role is routine, btit she makes the most of it, espe- cially in a couple of sequences dealing with the small-fry of the gang. Brady is okay as the policer man, and Richard Egan is good as her rejected lover. Edmon ^Ryan does a convincing job a.s .the gang’s front, a discredited doctor whose only purpose in life is to put his son through medical school, A topnotch job is registered by Royal bano as Moocher. a cijiiS^Hg Skid Row contact of the gang, and a couple of polished jobs are haridled by Gladys George and Clarke, as derelicts. Harry Essex’s .screenplay is a tough and realistic one, and Carl Gurthrie’s camera captures some of its better sequences Sharply. Joseph Pevney’s direction keeps lulls at a minimum and builds sus- pense for a .strong climax. Chan. Paper Gallows ‘Paper Gallows,’* British- made being screened In N. Y. tomorrow (Thurs.), was re- viewed in Variety from Lon- don Feb. 22, 1950. Tabbed by reviewer Myro as a “grim, sus- penseful tTirillcr devoid of cinematograph tricks but packing a hard entertainment punch,” film was credited with being “reliable quota for the home trade and should be a useful attraction on a U, S. double bill.” Story deals with two brothers, writers of crime novels, one of whom goes berserk and kills a man to get Authentic atmosphere. Film is being released in the U. S. by Eagle Lion Classics. Cast is headed by Dermott Walsh, Rona Anderson and John Bentley. chiatrist, quarantined from school, gets a huge magnet by- a trick. But remorse soon sets in as he tries in vain to dispose of his ill- gotten gain. '‘Eventually, he hands it over lb a hospital fund and is hailed as ari anonymous hero. But believes he is wanted by the police, .so runs away from home and gets mixed up with a tough bunch of dead-end kids. Much of the fun is derived from ■the mistaken analysis of the psy- chiatric parent. Obvious care was taken in casting, all roles, down to the smallest bit being filled Intel* ligeritly. The young boy, vvhb dominates the story, is played with a refreshing ingenuousness by William Fox. His parents are in- lelligently portrayed by Stephen Murray and Ka^ Walsh. There is a standout cameo by Keith Robinson as the leader of the' dead-end gang. Julien Mitchell brings conviction to the role of the contract-seeking mayor. W*ylie Watson strikes the right note as the man who makes the magnet a cause celebre,Mi/ro. of Miss Cortese as the latter couple were about to be wed. This incident plunges the 'murderer into a life of brigandage in which he usually steals from the rich to help the poor, However, the life of a bandit corrupts Rrazri and causes him to give Miss Cortese the brusholf in favor of another mistress. Natur- ally, this embitters his first love and she turns the peasants against him. Perforinances of Brazzi and Miss Cortese are good, ^ Other players help c a p t u r e the flavor of the period. Direction of Diulio Colettt is competent as is .the camerawork of Carlo Montuori. Gilb, of lllo Kuliaii (COLOR) ' .■(RUSSIAN)-- . Art kino release of Mosfilm Studios pro- duction. Stars Marina Ladynina, Sergei Luklanov. Directed by Ivan Piriev.. Screenplay, G. N. KuzrietzQV, Nokolai Po- godin; camera, Valentin Pavlov,. At Stan*, fey, N. Y., starting Oct. 28, '50. Running time. 115 MINS. Galina,,................ .Marina , Ladynina . Gordci.............., Sergei. Lukianov Anton............... .Vladimir . Volodin DaslU ...............,... Katya Luchko Lubochka....... -...... . Elena • Savindva! Nikolai... . . .. /.... .Vassili . Davidov Andrei....,...... .> ... . . .Victor Luibimov Fedja#*. .. .•#« . ..•# ....«... Boris ■ A.ndrey e v- Will SiiiT4^inler (‘11 Delitto di Giovani Episebpo*) (ITALIAN) Lux Film Di-slributing Corp. releas'd of Marcello . D’Amico production. Stars Aldo Fabrizi: features Yvonne .Sanson. Directed by Alberto Lattuada. .Screenplay, Suso Cecchi* Federico Fellini, Pietro Tellini, based on novel by Gabriele d’Annunzio; camera. Aldo Tonti; musical director, Fernando Previtali; English titles, Clare Catalano. At City theatre, N. Y., week of Oct, 25, '50. Running time, 94 MINS. Giovanni Episcopo...... Giro Epi.scopo . Cinevra Episcopo ...... Wanzer Ginevra’s mother Doberli Antonio................. femme against veteran ly ends Aldo Fabrizi • Amedeo Fabrizi .Yvonne Sanson ...Roldano Lupl Ave Ninchi ..Alberto Sordi ...Nando, Bruno Un Italian; English Titles) ‘Flesh Will SiuTender” unreels leisurely tale of a government Tliv (BRITISH) London, Oct. 19. GFD release . of. Michael Balcon-Ealing Studies, productioh. Stars StCDhen Mur- ray.,' K.iy .Walsh;- features.-;WiUIam Fox. Direct ’ by Charlc.s'Ffend; screenplay, T, E. B. Clarke;. camera, Lionel Banes: editor., Bornard Gribblo. At Qdeoh, Lon- don. Ruhning time. 78 MINS. i clerk who becomes a victim of his I own naivete. Stoi^ of this Italian ; import isn’t likely to draw riiany to the boxoffice, . but marque ! strength of Aldo Fabrizi’s name .should help somey hat. I . Based upon a novel by Gabriele d’Annunzio. the screenplay shows 'how the meek clerk loses both his I money and self-respect by his as- ,«ociation with a forger. '\\[hite col- j larite’s chief error in judgment was to wed the thief’s cast-off mis- ! tress. With matters growing stead- i ily worse, he seeks solace in coin- i panionship of his small son. j While such a yarn should gen-; . , ' erate sympathy for the father, it Angela j far short of achieving that ef- ; feet. Major reason is that it’s dif- , ficiilt to feel .son-y for anyone who /continually makes a fool of himself. ! Climax of the plot is rather pat, ! with the worm finally turning when i the clerk fatally stabs the forger. I Ordinarily, Aldo Fabrizi comes ! up with a fine performarics. Un- fortunately/ in this entry, his tal- ents are throttled by the stodgy story. Yvonne Sanson, a buxom 1 brunet, is well cast as the mistress. Roldano Ltipi tends to overplay the role of the forger. Bit of realism i.s supplied by Ariiedeo Fabrizi as the sOri; Directiori of Alberto Lat- tuilda fails to overcome the leihar- gic pacing of the plot, , Gilb. (In Russian; Kngltsh Titles) “Cossacks of the Kuban” is a j typical Russian-made . romantic ; eoiriedy. It is light fare, at times I almost frothy, aithough it is a I matter of individual performances i rather thari story content that sets ; it above m0.st Russo pix. Film is ! a strong entry for Russian-lan- ! guage hou.ses. Simple yarn tells about the rivalry among collective farms, this time being stud-farms of the Kuban country near Siberia, where raising of firie horses and the staiwart Cossack riders are, re- nowned. Plot pits the blonde boss of ,one horse fariri the riioustached Cossack of another—and ultimale- in a quaint romance be- tween the two. There is another love affair, again with a comely gal from one fam going for a tall, handso'ie hoi'seman of the other. There’s the usual hurdle race, with speeding mounts dash- ing over an uneven course, and the trotting races. As with many Russian comedies wifh musical backgrounding this rias plenty of group dancing, specialty acts and much noise, considerable of which could be cut outi But the acting of Marina Ladynina and Sergei Lukianov, helped by support of Vladimir Volodin and Katya Luchko, puls over the inane, familiar 3 ’^arn. Camera work of Valentin Pavlov is good. Ivan Piriev directed\in- evenly. Editing was just one of those, things. Wear, Tlio M«4l lliiooa (Locura De Amor) (SPANISH) Azteca Films rclea.se of Clfesa Protluc- ! lions picture. Stars Aurora Bautlstn. I'Vr- I nundo Re.v, Sara Montiel. Jorge Mistral. ! Directed by Juan de Ordunn. Storj'. Ma*. j nuel Tamayo y Bans; .screenplay, Tamayo, ' Alfredo Echegara.v, Carlos Blanco: com-, era, Jose F. .\guayo; English titles. Her- man G, Weinberg. At Park Avenue.. N. Y., starting Oct. 26, '50. Running time, 115 MINS. , Dona Juana..............Aurora Bauii.sia Don F'elipe................. Fernando Hey Aldara Sara Montiel Captain Don Alvar .,.. .. . Jorge Mistral Don FiJiberto de Vere ..Tesus Tordesillas Don Juan Manuel.......;.. Manuel Luna Admiral. ........ . .... ,Junn Espantaleon Charles 1st ............. Ricardo Aeero Dona Elvira Maria Canetc Marliano . Manuel Arho Inn Keeper. .Felix Fernandez Chievres. Noble . Hernan Arturo Ttir.riri .Luis Pena Sanebez . Com'ado S. Martin (In Here picture Dr. Brent .Mrs, Bret/t . ^. Johnny. Brent..; Harper ...... .. Nannie , , . Nannie’s Friend. Kit Pickering ... ..;. The r^Iayor ..... Spike ...... ..... . Stephen Murray ........ Kay Walsit ., . . . . . William. Fox .. . Meredith Edwards . .. . Gladys Henson Thora Ilird .Michael Brooke. Jr. . W.vlie .Watson . . . . ; Julien Mitchell Keith Robinson IS II I I pi I'll P Siolii ti o (TI Passatore’) ■ ' (ITALIAN), :- Lux Film Dislributing Corp. release Film Distributing Corp. release of . Giovanni Laterza production. Stars Valen- I lina Cortese. Hos.sano Brazzi. . Directed by ' Duilio Colettl. Screenplay, T, PineDi, F. LFellini: camera. Carlo Montuori; music, n ji J , 1 Enzo MasftUl: English titles. Glare C’.'itar By Its tiTOme arid trCcltmCRt, , The i If-no. At Citv theatre. N. V.. week of Get. Magnet” is bound to clean up iri Running timei 9< mins ^ the family trade theatres here, i 1.1 ’s good. Clean entertairiirient;: in ; the best, tradition of English hu- . nior. l^or the overseas iriaTket it i must be regarded a.s a lightweight I offering, sincf without star names. It might do well ori a dual bill. T. E. B. Clarke, whb.se strong Sense of comedy timing contribut- ed largely to the success of “Pass- port to Pimlico.” again kcores with Barbara'. Stefano-. i .. Priest ' . .. f'endurme I Sola ’’^^'Uher of GigJazzo. . Stefa no .Valentina Cortese ..... Ro.s.sano Bra/.zi ..... . Carlo. Nlnehi .. .. Carlo Campaninl .. Lillian Laino Bella St.'T.'icc Sainati .... Crmillo Pilotto his light touch here. Charles ; B.o. pro.spocts are 1 gobs to , shake in the footage as story deals j Frend's direction capitalizes strong- - as both star^^ Vale to inak(? mainly with his gaining battle ex-! ly on the humorous angles and l and Ro.s.sano Brazzi, i ■s diiTc- pcricnce, arid he does a very good l eharacterizalions. American audiences. (In Italian; EngUsh Titles) “Bullet lor Stefarib.” a celluloid chronicle of I9th century romance and adventure, adds up to fair en- terlainment for art house pairon.s. good inasmuch i ?ntina Cortese j are familiar to : jblL So dobs of his more Brian, but a number dramatic scenes are The yarn, describes a typical boy- ish prank. Schoolboy son of a psy- Cast in Brazzi kills a Robin Hbod vole, his rival for the hand Spanish; English Titles), is a superb Spanish-made that won’t win' deserving revenue in the U.S, simply because: it’s overly long, lacking change of pace arid minus a Latin-Americari name that would be known to American patrons. . Despite tiii.s; it should do fairl.v well in some arty theatres, especially H edited judiciously with an eye to pruning some obvious extraneous matter. Director Juan de Arduria, v.v.o has ([ibrie.'a .skillful job, has made a sympathetic if sometimes pverW somber treatment of the tra.gic life of Dona Juana, daughter of Queen Isabel and King Ferdinand of Spain. She i.s depicted as a woman who is first madly in love with her worth less hubby, PhU iP. Archduke of Austria, and secdricliy vvith her role of Queen of Spirin/ But the scripters have made it t(;b much a succession of intrigues against her as plotting members or her court try to make Philip k'-ug and have her declared irisarie. 7 bis conspiraicy succeeds only a' Juana is actually driven slight*^' off the and her .. — is seldom a moment of levity, witn the tragic overtones’ stressed. Production is mounted hami- somely. Aurora Bautista, as (aa riVad queen, is fine in this, ner initial pic. She is a leading stagB (Continued on page 18) IS actually GiTven ‘ beam by all this plotUng r mate's philandering. Tpci’P