THE IMPOSTOR
(Universal)
How long does one go on making allowances for the foreign artist who finds himself in the clutches of the Hollywood system? When
does one cease blaming the system for the inadequacies of his films and start blaming the man himself? These are questions which might be debated at great length; indeed, they almost involve the theological doctrine of Free Will. I raise them now because the Hollywood productions of the ci-devant great French director, Julien Duvivier, have been growing progressively phonier, and his latest is the phoniest of the lot. It begins to look as if Duvivier was never really keen on resisting Hollywood, was always a collaborationist at" heart. s The Impostor is melodramatic mush, but it opens promisingly enough, with Jean Gabin, as a French criminal convicted of murder, escaping from almost under the knife of the guillotine during the blitz of 1940. With a stolen uniform and papers he reaches North Africa. But not content with having saved his hero’s head, M. Duvivier must then proceed to save his soul by subjecting him to the influence of La Patrie, the trust and comradeship of honest men, and practically every other known device of conversion (including a heavenly choir at the tensest moments).
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19441006.2.35.3
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New Zealand Listener, Volume 11, Issue 276, 6 October 1944, Page 23
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209THE IMPOSTOR New Zealand Listener, Volume 11, Issue 276, 6 October 1944, Page 23
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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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