THE CRYSTAL BALL
(United Artists)
N case it may appear from what I have just written that I am developing morbid tendencies, I had better lose no time in: saving that I also
enjoyed The Crystal Ball, which treats superstition strictly as a subject for comedy. Thanks more to the sprightliness of Paulette Goddard than to anything else, but with some credit also to William Bendix, Ray Milland and the director (Eliott Nugent), this inconsequential effort contains a good deal of real fun. It depicts the complicated love life and professional career of an out-of-work country girl in the Big City who joins a fortune-telling racket to earn her meal-ticket and uses "professional secrets" to win a rich husband (Milland). (continued on next page)
(continued from previous page)
This unethical conduct is at least partly justified by the fact that the young man is in grave danger of being annexed by a merry widow, very blonde, very rich, and very lonely. No member of the audience will need to be clairvoyant to foretell how this contest will ultimately end, but certain impediments to matrimony arise when the heroine’s crystal-gazing activities cause the hero (a lawyer) to be put officially on the mat. This is the cue for the heroine to confess everything, including her Love, and the cue also for you to reach for your hat. But you may do so with some regret that it will probably be another few weeks before you can see the charming Miss Goddard again.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19440811.2.44.3
Bibliographic details
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New Zealand Listener, Volume 11, Issue 268, 11 August 1944, Page 30
Word count
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251THE CRYSTAL BALL New Zealand Listener, Volume 11, Issue 268, 11 August 1944, Page 30
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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