CROSSROADS

New Zealand Listener, Volume 8, Issue 191, 19 February 1943, Page 8

CROSSROADS

(M-G-M)

FTER a spell of crazy comedy, William Powell is just about back where he started in talkies, His per-

formance in Crossroads reminded me more of his early Interference than of any other of the numerous films in which he has since appeared: perhaps unreasonably, because it is hard for anyone, let alone a critic, to have any very clear memories of a picture that is now about 13 years old. But there it was, and I must say I prefer the old (or the new), melodramatic Powell to the farcical one of recent appearances. If Crossroads is a better-than-average Hollywood story, it’ may be because it is a remake of Carrefour, a French film which we haven’t seen in this country; (Continued on next page)

(Continued from previous page) though without wishing to be hypercritical, I suspect it contains some touches which weren’t in the original and which probably don’t improve it. Hollywood will sacrifice almost anything for a kissing close-up in the finale, and in this instance it sacrifices artistic unity for the sake of a parting shot of Powell embracing Hedy Lamarr. After all, the story by then has become near-tragic, and the switch to gaiety is too abrupt. A small point perhaps, but fairly typical. Amnesia is the basis of the plot-a plot by a clever gang to blackmail David Talbot, a successful ‘French diplomat, into believing that he is really Jean Pelletier, a thief and murderer. Since Talbot has completely lost his memory in a train smash some years before, he can’t be sure who he really is and, from evidence presented by the blackmailers, he soon begins to think that they may be right. There is nothing blissful about this type of uncertainty, especially for a diplomat with a beautiful wife (Hedy Lamarr), and an imminent ambassadorial appointment to lose. Yes, Monsieur Talbot is in a very tough spot. But I mentioned the fade-out kiss) didn’t I, so members of the audience who are begifning to worry on the hero’s behalf (and it will be strange if they don’t), may take comfort. I am still in some doubt as to whether Hedy Lamarr can really act or merely look beautiful, because it is hard to ccncentrate on her acting, and anyway, I am prepared to take her on her face value, But there is no such doubt about William Powell, Basil Rathbone, Felix Bressart, Claire Trevor, and Margaret Wycherley (the mother in Sergeant York). They can act.