SAFARI
(Paramount) Tullio Carminati goes lion-hunting in Africa; Madeleine Carroll (who is getting plump), goes man-hunting with him; and Douglas Fairbanks Junior goes along, tov, as the big-game hunter in charge of the expedition. He is one of the strong, silent type, who thinks women are just a nuisance, especially on safari, but after several days of romance and jealousy under a tropic sun, opinions are being revised all round. Finally, Carminati gets his lion and a disappointment, Madeleine gets her man (not the one she originally intended), the lion almost gets Fairbanks, and Fairbanks gets Madeleine. This film is competently produced and persuasively acted, but the plot is threadbare; exotic settings cannot disguise the fact that the eternal triangle is exactly the same in Africa as anywhere else. Nor does it really help to cover up the poverty of plot for the hero to introduce a quite irrelevant dissertation on the subject of defending liberty from aggression. The fact that almost every second screen character these days is called on to make a similar topical oration, smacks rather too much of opportunism, of dragging in topicality by the scruff of the neck, The big surprise in "Safari"-and a pleasant one- is the metamorphosis of Lynne Overman into a cheerful Scotsman with a walrus moustache and an accent as thick as porridge.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19401108.2.36.1.3
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New Zealand Listener, Volume 3, Issue 72, 8 November 1940, Page 17
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222SAFARI New Zealand Listener, Volume 3, Issue 72, 8 November 1940, Page 17
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