Best Films of 1939.

Manawatu Times, Volume 65, Issue 2, 3 January 1940, Page 5

Best Films of 1939.

“PYGMALION” HEADS THE LIST. In contrast to the position in 1938, when in a group of brilliant comedies two dramatic biographies “Zola” and “Victoria” proved tho best pictures, the year 1939, with no particular type dominating the entertainment scene ,it was a comedy that stood out as being easily the best production of the year—a delightful Shavian comedy ‘ 1 Pygmalion. ” And another comedy, “Tovarich” ran it a close second, says the Christchurch Star-Sun. “Fygmalion”: Because it was selected by public acclaim as the most notable film of the year; because Bernard Shaw made certain that in the transition from stage to screen his play suffered as little as possible; because of the subtle contrasts in acting; and becauso of the brilliant performance of Wendy Hiller. “Tovarich”: Because of the fine team work of the French co-stars, Claudette Colbert and Charles Boyer; because of their outstanding individual performances; because, like “Pygmalion”, it was a fine stage play that lost nothing in the transition from stage to screen; and if for no reason, because of the magnificent acting of Colbert, Boyer and Basil Rathbone in the final scene in the kitchen. “Robin Hood”: Because the title rolo was tailored to Errol Flynn’s measure and he played it to the full; because of the fine supporting cast; because of the lovely natural forest settings and the scrupulous attention to detail in tho costumes and properties; and because it was entertainment plus. “Kentucky”: Because of the thrill of its racing scenes, and tho beauty of tho horses themselves; because of the enchanting team of Loretta Young and Richard Greene. “Sweethearts”: Because of the exquisite colour; because of the singing, tho acting, and the cast; because Jeanette MacDonald is the most beautiful actress to be photographed in technicolor; and becauso every moment was a joy. “Vernon and Irene Castle”: Becauso for almost the first time in their long co-starring career Ginger Rogers and Fred Astaire were given characters in which they could sink their own personalities; because it was an accurate biography; and because the dancing was not permitted to over-shadow the play- “ The Great Waltz”: Because of the music and the singing; because of the settings and the costumes; and because of tho acting and the cast. “Four Feathers”: Because it was the screen at its most spectacular; because the characters of the players were always dwarfed by the sombre theme, and becauso of the performances of John Clements and Ralph Richardson. “Housemaster”: Because of Otto Kruger’s acting; because of its unusual locale; because of the competent supporting cast headed By Phillips Holmes and Kynaston Reeves; and because it was novel entertainment. “Say It In French”: Because it was as gay as Paris is reputed to be, as light as a cream-puff and as pleasant to take; because of the little French actress, Olymgpe Bradna, and her team-work witht Ray Milland; and because especially to-day this type of entertainment is welcome. It is interesting to note that technicolour pictures -continue to find their place among the best pictures of the year. Four of 1939’s “best ten” were colour films. While no one type of picture can be said to have swept the pool, the excellence of the several historical romances makes their presence noticeable. Some outstanding films in this class are included in the second ten: “The Citadel,” “Clouds Over Europe,” “If I Were King,” “Marie Antoinette,” “The Man in the Iron Mask,” “Midnight,” “Tho Nearest Thing to Heaven, ” ‘‘The Shining Hour, “Stolen Life,” “Young Mr. Lincoln.”