A SENSITIVE, SENSIBLE PICTURE Leslie Howard In “First Of The Few”

Dominion, Volume 37, Issue 6, 2 October 1943, Page 7

A SENSITIVE, SENSIBLE PICTURE Leslie Howard In “First Of The Few”

(By

T.L.)

Strictly sneaking. “Tlie First ol the Few” copt Leslie Howard his- life* ff lie had not remained two extra days in Lisbon to attend a charity screening of the film he would not have been on the plane which the Germans shot down. But tragic as is the loss ol one of. the world’s greatest actors, this last film i« an eloquent and stirring memorbil to a man who never gave a bad performance even when Hollywood was doing it. 3 unconscious best to ruin him with trashy stories. , , We have waited a long time —too long —for “’.rhe First of the l-'ew.’ and it was small wonder that the I’lazn hung out tlie “full house” sign long before b o'clock last night. This is a sensitive and a sensible picture. After mouths ot American films —and some British ones, too, for that niattei —in which the handsome democrat scores olf the doltmh Nazi bully without ruffling a hair of bis Head: in which service is merely a short ■"lit to a medal and danger another opportunity for a democratic harangue: after a series of epics in which victory is the prize ot synthetic sweat, without blood, ton, or tears, it is a privilege to find a filin that describes so simply the reactions of common men to a common job. When vou arc dealing with a facsimile of real life you have got to preserve a certain semblance of human speech and behaviour. “The First of the Few does

just that. It is the quietly-told story of the last days of the mau who saved .Loglaud : Mitchell, the man who designed the Spitfire. When hie work is but scarcely begun be learns that he m suffering from a disease that will kill him in a matter of months. If he chooses to rest it may be years. But he does not spare himself for a moment and pushes on with his work till the very moment when death strikes. It would have been fatally easy to dramatize the theme, but Leslie Howard never once falls into the error. His Alitchell is a quiet, sincere worker who does not regard himselt tor a moment as his country’s benefactor. Howard brought all his gifts of intelligence and spiritual integrity to the role. David Niven as a pilot is charmingly nonchalant, endearing and gay. “The First of the Few should stay a long time in Wellington. I do not wish to sound prosy, but I think you 11 be doing voursclf a good turn if yon have a look at this splendid picture.

“HOLIDAY INN”

To find the names of Bing Crosby and Fred Astaire strung across th e tr o“t ol the Paramount Theatre is like discovering that a couple of old friends have suddemy blown into town again. And when the film is "Holiday Inn” the pleasure doubly heightened. When the picture.had its first successful season in Wellington a few weeks ago I wrote myself diy ot adjectives in its praise. But 1 am quite happy to say again the many pleasant things that I have already written about this out-of-tlie-box musical. ■•Holiday Inn” is a hop. stop and a jump ahead of other musical shows because (a) Bing Crosby sings, acts and turns on comedy as lie has never done bet ore (no, not even with Bob Hope): (b) Fred Astaire proves that be doesn’t need any highsalaried dancing partner to show that ho can not only dance but act and play tha fool as well; (c) the music, including the unforgettable “White Christmas," is the best that Irving Berlin lias written in Vears; (d) the settings are a designers masterpiece; and (e) there are a couple of new girls in the show and it is always li pleasure to welcome some new feminine faces to tho screen. . Bing and Fred-are two sides ot a triangular stage act. NVlien the girl walks out on them to marry “the most wonderful millionaire in the world,” they part company and Bing decides to lead a simple life on a farm. But the crowing of a rooster and the friendly moo of a cow can’t compensate for the loss of the life in the show business and he turns the farm into Holiday Inn—to be opened as a night, club‘only on holiday nights. Tliero are quite a few complications, aided and abetted by a number ot excellent songs. “Holiday Inn" is a show to put your shirt on, a winner all the way. Madeleine Carroll—not glimpsed by me since her amusing part with Bob Hope in “M.v Favourite Blonde”—is the star of the second .film, "Safari.” If you like stern and serious stuff you'll like this. Douglas Fairbanks, jun., in the days before ho became a naval man, plays opposite tlie slim and lovely Madeleine.

“THE DESPERADOES”

It wns the late Lord Tennyson who, lu the course of his poem about a “Brook” informed us that “men may come aud nien may go, but I go ou forever”; but it was left to Hollywood to impress upon us Hint Westerns may come and Westerns may go —but the same plot goes ou forever. At least that is what it seems these days—the usual Western consists of a collection of “goodies” and “baddies,” a few character parts, a hero, a heroine, a “vamp,” usually modelled on Mae West lines, both as to voice and curves, and a wealth of grand scenery, plus, for good measure, something iu the way of a super-thrilling climax. "The Desperadoes,” which takes the screen at the .State Theatre to head the new bill, is a combination of all the customary attributes, with Hie addition of as fine teclinlcolour as has been shown to the public since the advent of colour photography. The period of the iilm is 1863. aud tlie venue Utnli. Randolpli Scott, always at home in the saddle, heads tlie cast in the role of a sheriff wliu is more than usually human and who faces all sorts of danger for bis pal, Glen Ford, a desperado who is really a sort of hero. The two men make a team Unit are obviously to the public taste and who should be seen together some more. Evelyn Keyes provides the love interest aud Claire Trevor simply oozes “oomph” of the approved dance‘hall style of the period. The whole show is definitely worth while, and certainly excels in scenic effects. Two highlights are a stampede of horses and a lilting melody that crops up every so often. Those who like Westerns will revel in the picture—and even those who don’t usually appreciate them can’t fail to like it.

“IN OLD CALIFORNIA”

John A. Lee wrote a book called "The Yanks are Coming.” I’m told Hint it’s a mystery thriller, but I could detect little similarity between Mr. Lee’s latest effort, and the (Ilin of tlie same name which tills the first half of the De Luxe programme. “The Yanks are Coming" is n noisy, cheerful film in which Henry King anil Ills band, Maxie Rosenbloom, Mary Healy and Purkyukarkus all go to town in a big way. There is a .suitably patriotic setting—l lie story of a whole orchestra which joins Hie Army: all except the conductor, who sees the error ot his ways finally and puts on a uniform in time to conduct bls band tn some hot numbers.

I have always ailmired Binnie Barnes, but I must confess that I scarcely expected to see tlie day when she would blo'ssom forth in a full-blooded IVestern. However. that day is at. hand, and "In Old California” presents Miss Barnes as a saloon singer who is more than friendly with Brill. Dawson, dictator of Sacramento’s nillier grubby politics. Into tlie young town conies n handsome, two-listeil Bostonian (.Inliii Wayne), who plans on selling up in business ns a chemist. His best Boston milliners intrigue Hie singer, who would willingly push her Mr. Dawson into Hie ilisi'iird and concent nil o her attention on tin- good-looking neweoiner. Brill Dawson Ims enough inlluencc round Hie plm-e to foi-lild anyone to rent Wayne n sh(i|i, lull Hiniile Barnes solves tlie <lllll- - by going Into n drugstore partnership unit finding n sho|> for Hie man from Bohloii. Nnlurnlly, tilings gel a liitlc ugly mid there I" lots of shooting and a fair nllC'iupl at n lynclilng. However, fale I'lilchos up in l Bi-ltt Dawson mid nil is well.

Itlnnli- Biii-iu-h plays tier pm-t well—but obvluiiHlv wllli lier tongue tn tier cheek. Tliiil iiriili.villain, Alliorf Dekker, handles tile I-lito lII’ DiiWiuiii with Ills usual eom-lii-teiu-u. John Wnyne is as rugged as ever.

“THE AMAZING MRS. HOLLIDAY”

I'liere are many, many children In 1 lie Amazing .Mrs Holliday" (St. James). mH including Deanna Durbin, who inis kissed quite a few times on the screen amt must. I presume, now be considered groan up. With a charming grace, ratlii-r touching in its new-found gravity. Miss Deninm, as a missionary school teacher, brings net Hock of orphaned charges home ti-inii China. tn order to give the i-hildreii .1 good home, she poses as tlie wiilo" ol ■ commodore supposedly drowned at But as this is one of those Happy B'C' After films the commodore is not ilroaiieil nt all. He turns out in fuel to be u himily old man. ready to adopt the .children and welcome tlie school teacher into h s home as his grandson’s bride. . . Like most of Deanna Durbin s films there are wheels within wheel*, bin. gets into girlish scrapes and “ ut il ”l them again by being well-intentioned, and because everyone loves her. Since the singing is tlie chief concern of alm; -A an? Durbin film, it is good to note that the star’s vocal style is as well-raaniiervil a id restful as ever, anil that two of Her solids —"Mightv Lak a Rose” and the Ohl K'--frnin”—have the pure, simple line of mel odv she does best. Hitherto t, 111 rL ,.‘ a '? usiiallv been light touches In her hlms. there are few tn “The Amazing Mrs Holliday.” But there are lots «nd -ots of children who are counted on to win >our admiration pretty much by t hemsel’.is. As a sort of female Pied Biper. ! eanna Durbin advances herself as a dra ™ ati “ actress of some calibre. She fins long, long way since those delight fu be a-inuings in "Three Smart . Girls and A Hundred Men and a Girl. Stic is u°' v as established in Hollywood as Sid Grau man’s theatre and her career seems destined tn stretch Into infinity.

“THE FALCON TAKES OVER”

It. is not often that a ". whodu “ i ] p ’ achieves the status of a screenful,. at the King’s, but it seems that George Saudeis suave portrayal of The Falcon has given “The Falcon Takes Over" enough to warrant it screening at one ot the eitj s leading cinemas. .. , The chief menace in tins new film is Moose Malloy, a great heap of a man who breaks out of prison and eudeav ou. & to get even with his faithless gill fl ' enl *- In his search for the lady Jla J' oy abruptly and murderously with, seveiai Pe The'good old police inspector to provide a suitable opomiig for The confesses himself baftled. Sanders—and immediately things takei a turn for tlie better. In his search tor Malloy and the ex-girl friend, he ™ns up against quite a number of people who would certainly not be found at a W**' jumble sale—gamblers, tortunc-tenois. and some unsavoury underworldliugs. One ° two of these people are no great .o*s to the community when they are bumpp l oft by the obliging Mr. M al 'oy- “J.? 1 porter joins forces with I lie. I ali.ua and a spot of romance helps the pictuic on its "‘rile last time I saw- George Sanders was tn that tine film “The Moon and Sixpence.” I’m not pretending that I lit Falcon Takes Over” is in the same sticot, but Sanders’ acting is ns distingiiis’n-d .as ever. James Gleason and Allen •{c-nkins are in the cast, the first, as the police inspector. the second ns The Falcons t'h'BJ aide. Lynn Bari is a newcomer to t c series but she adds tlie required glamour to the film. Helen Gilbert, whom I List saw in an Andv Hardy film a few .» ears ago. Is cast as a siren in the picture, and makes the most of her comeback.

“ASSIGNMENT IN BRITTANY”

(Second Week).—The latest variation on the growiiigly.populiir spy. theme Is ’"Assignment in Brittany” (Majestic), in which the groundwork for the destruction of a German base is laid by a Frene imuu working for British intelligence. He is landed by parachute near tlie homo town of another Frenchman, a fit'tli columnist whom the British have captured and whom their mint closely resembles. . The scheme calls fdr the spy’s impersonating the prisoner, locating the submarine base and broadcasting the location to hcndquiutei.s by shortwave radio. The 'norit of this kind of story depends a good deal on h.ow carefully it slicks to likelihood and avoids tlie more astonishing coincidences Assignment in Brittany” does wel . sTie sps Is detected and is kicked rouiid a good deal bv the Germans. His subsequent escape‘puts a strain on ones credulltj, but the improbabilities uro overlooked in the excellent acting of Pierre Aumont, the young Frenchman, who has made one other American film and uow taken himself off to fight for De Gaulle or Giraud (depending on who holds the reins when he reaches the Fighting French headquarters in London). Mlles Manlier. ®’'san Peters, Margaret Wycherley and Reginald Owen are other members of an outstanding cast.

“THE PRIME MINISTER”

(Second Week). ,oc all tlie Amertau film companies which make pictures in England. 'Warner Brothers seem the consistently successful. Wellington still has fresh anil pleasant memories of Geor.-e and Margaret” and now comes . The J 1111 1; Minister” (Opera House), which 1 ” f ’ big names In the cast—not on Holl)wood lines, anyway—and yet prov'des lae T l J® l feet gems ot acting. In the M cst of London, where they are well krnnvu, t he stars would be a sure guarantee at the oxofiice- John Gielgud, the grand actor whose Hamlet, was one of the most perfect things that London had seen in a < le cade Diana Wvnyard. who once said tti.it she had finished with films forever: I-ay Compton, polished performer, who is uell remembered in tins country, where -she placed in “Victoria Regina. “The Prime Minister” is tlie story of Disraeli—not George Arliss’s Disraeli hut the great man ns he really might have bi on. Tho story Is necessarily episodic, but tne highlights .provide material for a hn which is too good to ‘be amused. Aud H has one great virlue-history has not been butchered, nt any singe to make a Himgoers’ holiday.

HITLER’S CHILDREN

A, the Tudor, starring Otto Kruger, Bonita Granville, and H. B. Warner is “Hitler’s Children, a story that shocked 30 million readers. Also on pic pro gramme are Lnm and Abner in l»o •Weeks to Live.”

SUBURBAN THEATRES

Vogue (Brooklyn).—“For Me and My Gal” aud “A Passage From Hong Kon S-..„ Ascot (Newtown). — 'lbis Above All and "Dr. Renault’s Secret.” Empire (Islam! Bay).-“Arabian Nights and "Sliut -My Big Mouth.” Capitol (Miramar).— the Gie.it Lie amt “He's My Guy." wi.. ni i Rivoli (Newtown).— Ihcy All Kio»eu the Bride” ami “Mug Town.’ King George (Lower Hutt).— My Ga l Luxe (Lower Hutt). —“Priorities ou Parade" and “Bombs Over Burma. „ Kinema ( Kilbirntei.--“Arabian 5-igbts aud “Shining Victory.” . . Regal (Karori).— "Friendly 1.-.nemies and "T.-irzan’s New York Adventure. Prince Edward (Woburn). —“Broadwnj and "Sherlock Holmes in Wnsliingron. Seaside (Lyall Bny>.-“Balimmi Passage, and “A Niehl at Earl Carroll's.