GERMANS WITH HUMAN PRINCIPLES

Dominion, Volume 37, Issue 229, 24 June 1944, Page 5

GERMANS WITH HUMAN PRINCIPLES

Much-Discussed “The Moon Is Down”

(By

T.L.)

When John Steinbeck published "The Moon is Down" in 1942, things were looking far trom good tor the Allies, it was natural, thereiore, that he should be reprimanded lor advancing the theory that there are Germans, even in the army und even in positions of authority in tne army, who are aware of the human principles they are constantly defying and who regret that there are such principles for them to overcome. In the film version of "Hie Moon is Down” (King's), the winsonieness ot the Germans seems to have been toned down to some degree, but they are still not very tar from the original models, tor this Steinbeck and the film's producer are the recipients of my congratulations. Perhaps in regard to Colonel Lanser, the head German in the film, and tautly IjmJ' ed by Sir Cedric Hardwicke, Steinbeck even" suggested that the man was enlightened enough to have some small amount of sympathy for the principles be must officially decry. To one who tot upward of three years and more, has been seeing a steady stream of films in which the enemy is universally depicted as not onyl a maniac but a dumb one, "The Moon is Down" comes as a reltet. John ■ Steinbeck might still be regarded as something of n felon in the eyes ot tne court, but if the nation, or as large a portion of it as the filmgoing public, can be persuaded that it is fighting as unsubtle a force as is usually depicted on the screen, it won’t deserve to win the war in a hurry.

. One doubt that was stirred in my mind was based on the colossal amount ot damage that the citizens of this Korwegian town (the film comes right out and tells you that the scene is laid in Norway) are allowed by the Germans to inflict by underground methods. Hnving assassinated a fair portion of the troop of occupation, they blow the living daylight out of the town’s* main asset to tne enemy, the iron mine. Most ot the dialogue of the book, which was fairly superior stuff, has been retained, and it has been aided with an extra dnsh ot action that only the motion picture can give, ’ Henry Travers as the mayor, and Dorris Bowden as Molly, are faultlessly cast.

“SALUTE TO THE MARINES”

If there is one inan'ln the world to potrav the American equivalent of the grizzled old regimental sergeant-major It i» Wallace Beery. S<f, right at the ou tBet ’ "Salute to the Marines’ (Paramount) starts off with a decided edge over the other films that have for their puipose a portrayal of life in the Marine Corps. Beerv barks like a bear, looks as tough as an elephant’s hide, and Is really all sympathy aud sentiment underneath It all. The story"; pleasantly done in technlcol our, concerns the old codgers e ‘t° r . ts .- 0 “get away overseas," a phrase that has come to mean a great deal in our own New Zealand. He finally achieves his object and dies a hero’s death at the unworthy hands of some Japanese. Marilyn well, an up-and-coiniug good-looker, who is also in “Thousands Cheer,” makes herdebut as Beery’s daughter—and, not unnaturally, as the toast of the Marine, C °lfs'a neat and amusing little tale that is behind the reason for “The Affairs ot Martha,” also on the programme. A small, wealthy colony not far from New York Is all of a dither when a gossip-writer announces that the maid in one of the big houses is writing a book which will blow the lid off a lot of the polite goings-on of the “nice people” about the place. Suspicion grows, and the consequent bother produces enough amusement to make “The Affairs of Martha” one of those unexpectedly enjoyable comedies. Marsha Hunt drops her hauteur to become a tricky little maid, cap, apron and everything complete, and Richard Carlson is the son of the house who throws a further spanner into the works by falling In love with the girl who is ’’under suspicion.”

“TORNADO” At a tender age, and clutching a shilling in a sticky fist, I used to go off on Saturday afternoons to wriggle ecstatically in (he locaj cinema at the breathless adventures of Pearl White, who suffered more, poor girl, than any serial queen before or since. (Her sufferings brought enough coin to the world’s box-offices to allow her to retire from the films and establish herself as one of the wealthiest and most successful real estate agents in California.) I can clearly reinember “The Iron Claw,” which was the last word in serials at that time. Week after week the heroine was left to drown in flooded and verminous cellars, was pushed over precipices, snatched through secret panels or left gagged and bound in burning cottages. But she was always on deck to triumph over evil in the final chapter. And now my old friend, “The Iron Claw" (De Luxe), is back with some modern refinements and added horrors. But alack, It no longer has Pearl White, which won’t worry today’s youngsters one iota. “Tornado,” principal film on the De Luxe programme, is a story which has Chester Morris in the role of an ambitious and persevering miner, who, to make himself right with the girl he loves, alienates his friends find denounces his brother. The girl is Nancy Kelly, and her ambitions spur him on to the position of superintendent of the mine. ' From this point on, the health and safety of the then who work under him are of secondary importance. He drives them relentlessly, and finally an explosion in the mine cripples his oldest friends. This is meaty, heman stuff that packs some hard punches.

The third film is “The Purple V” (not to be confused with the Purple Heart). It is yet another story of a man who manages to elude th» entire Gestapo aud yet .find time for a little loife-making on the side. John Archer, Mary McLeod and Fritz Kortner have the principal rolea. “CHINA”

(Second week). — Alan Ladd’s latest screen effort. "China” (St. Janies), should help him even further along the road to' film popularity, with those fans who have warm memories of his good work in "This Gun for Hire” and “The Glass Key.” “Chiun.” in fact, has been shrewdly fashioned to augment his list of admirers. This time he is a truck driver who has no scruples about delivering oil to the Japanese. Even after Ladd and his side-kick (William Bendix of “Wake Island” fame) pick up an American sehool-teaeher (Loretta Young) and a truck-load of bomhedout Chinese college girls. Ladd stands on his rights as a neutral with a pocketbook to cou«ider. However, when the atrocities of tlie Sons of Heaven finally swing the Americans on the side of the Chinese, the resultant scenes—and the repentant regeneration of Alan Ladd—are put over with

a'forceful wallop by that competent director. John Farrow. The Chinese, too, arc no mere coolies, as Hollywood has so often portraved them, but fighting men with as much guts as their Occidental allies, and often more good sense. “PHANTOM OF THE OPERA'’ (Fourth Week).—When the camera stands back from the stage of the Paris Opera and catches the movement and poetry of the drama, the scenes are worthy of gold frames. It is small wonder that “Phantom of the Opera” (Regent) won an Academy award for the best colour photography of I!M3. It is the best colour that the screen has seen in any year. Even when the Phantom (Claude Rains) is energetically Hawing through the colossal chandelier. I still found myself infinitcly more attracted by the inagniiicent opera scenes that graced the stage. In fact, I fe’t peeved that the murderous activiti n < of the principal character had stilled the voice of lovely Jane Farrar, a voice to which I could have listened <‘nthral’ed for the rest of the evening. Nelson Eddv has never sung better or looked more robust. His newest leading lady.

Susanna Foster, has a voice of true operatic quality, and fetches up nicely in tech nicolour. “THOUSANDS CHEER” This gav. technlcoloured musical comedy nt the Majestic, with Kathryn Grayson Genl' Kellv. Mary Astor and John Boles, is obviously designed to show off tlie weliroeogtnzed talents of Mickey Rooney. Judy Garland. Eleanor Powell, Frank Morgan. Lucille Ball. Red Skelton and other M.G.M. guest stars in a mammoth variety show, but it does manage to slip in a hint of tlie value of military morale for the times In which we move. The heroine is a colonel's daughter who loves a private who doesn’t believe in Ute team spirit of tlie army. T|ii< hurts the colonel's daughter and cuts -tile "oliinei tin somewhat, too. But It is the music- nnd the music of .lose Iturbl in particular—which turns “Thousands Cheer” into one of the best musicals of this season.

“FIRST COMES COURAGE”

When the bells of victory finally ring out, stories win be told tout w.U reduce tlie incredibilities ot Jules Verne to tne pa.est snauows. In (lie tueanliiiie Hollywood is uoiug pretty wen m giving tne world’s filmgoers advance data mi the heroism ot tne conquered ami partiallyliberated peotnes ot Norway. !• rance, liaiy, and a dozen oilier places. 8o far. Norway lieaos the list a.s a place that lots required a cataclysmic war to be noticed by the lilni niaseis. "First. Louies Courage” tl’iaza) is an excellently-con-strueieil, exciting ami Unprintable story ot a girl who went about her daily business in her little Norwegian town, earned the bate of her fellowineu and sutiered it all with an almost Joan-ot-Arc fortitude tor the sake of the land site loved.

The sullen, rebellious townspeople went to no pains to disguise their hatred of the Germans who had trampled, not only on their fields but on their very iu-_is and home lite. But .Merle Oberon. ia...tlessiy cast as the daughter of one of the wealthier men of the place, openly consorted with the Genpun olhcers. Humour even said that she was to marry one of them! She, who once had been loved and admired by even the humblest woodcutter, was now Ignored or held up to scorn. Finally the truth came out. The rumour was no idle one—she was certainly to marry the German major. But odd things were happening; important German information was leaking through to the British; sabotage and' slaughter, with the aid of British guns and British explosives, were breaking out like a rash. And then came the big moment—the landing of the commandos, headed by Brian Aherne, who had been doing a useful undercover job in Norway for some time. The last scenes, with the killing of the major and the escape of the main body of the raiding party, have mueh of the excitement that made "Commandos Strike at Dawn” a picture that was talked about. “First Conies Courage” has a quality of production and a certain breathless urgency that makes it wortliy of a place on your list.of what to see.

“I THANK YOU”

Arthur Askey, champion clown of the British screen, is back in Wellington this week with "I Thank You” (State). He has, too, the very able assistance of Richard Murdoch, Moore Marr.,., Roberta Huby and the Ziegfeld dancing star, Blonde Seamen. The story—Arthur and “Stinker" seeking financial backing of the ex-stage-star Lady jjennet in the production of a new show—is cleverely held together with plenty of patter, one or two good Askey songs and large quantities of broken crockery. Audiences, If last. night's full house is any Indication, will be on the edges of their seats throughout the entire evening and short of breath from laughter. Refused an interview with Lady Benmet, Arthur and “Stinker” try to win her confidence by becoming her cook and footman. They are very successful in ruining her living-room, fighting with the neighbours’ cook and getting her Ladyship’s respectable brother-in-law extremely drunk The film, which seemed all to short, finished with the show on the way to success and Lady Bennet well in the running for a leading role in the cast.

Askey is just as his followers like him, especially in his female-cook act. Blonde Seamon’s dancing has a slick American touch while Richard Murdoch as Arthur's hueband and Moore Marriot playing his familiar type of role, lend excellent support. The shorts were outstanding and too good to be passed by? A British feature, “There is Nothing New,” makes a comparison (perhaps timely) between insects and men. The commentary was both witty and informative. The Terry Toon cartoon put the audience in the proper sort of receptive mood for the Askey comedy to follow

“Forest Rangers” (State, Petone).—-An exciting story set among tall timbers and

lumber camps. Fred Mac Murray, Paulette Goddard and Susan Hayward are starring. ..“Pierre of the Plains” (Tivoli). — With John Carroll and Ruth Hussey. Associate feature. “Mutiny on the Bounty;” "Sahara” (Tudor).—Humphrey Bogart stars as an American sergeant who excels In desert warfare. He kills Innumerable Germans. Associate feature: “Frontier Fury.” ' SUBURBAN THEATRES Prince Edward (Woburn).—‘‘We'll Smile Again” and “The Falocn’s Brother.” King George (Lower Hutt). —“It Ain’t Hay” and “Portugal, Cross Roa'ds To Europe.” • De Luxe (Lower Hutt).—“The Strange Death of Adolf Hitler” and "Mexican Spitfire's Elephant." Empire (Island Bay). “Springtime In the Rockies” and "Whispering Ghosts.” Regal (Karorl).—“The Day Will Dawn” and “You're Telling I.” Ascot (Newtown).—"Harrigan’s Kid” and “Moonlight in Havana.” Klnema (Kllblrnie).—“Presenting Lily Mars" and "Wrecking Crew.” Rivoli (Newtown). —“Alaska Highway” and “Calling Dr. Death.” Vogue (Brooklyn). “The Pled Piper” and “A Haunting We Will Go.” ’ Capitol (Miramar). —“Pride of the Yankees" and “Sanders of the River.” Tatler (Lyall Bay).— "This Above All” and “Sun Valley Serenade.”