"PORTIA" Gets The Verdict!

Radio Record, 20 May 1938, Page 27

"PORTIA" Gets The Verdict!

And The Quality of Your Mercy 2s Not Strained .. .

OLLYWOOD dare not admit it, because of the millions invested in the star system, but it is a fact that there is more chance of producing a worthwhile picture from a solid story with obscure players than from a thin plot with big stars. Hamlet, you may Temember, once said something ts the same effect in four words... (for your special guidance, it’s in Act 11, Scene 2). This is one reason why 1 seldom pretend to have a prior engagement when inyited to a preview of what, on the ‘surface, seems to be just another pic-ture--even whe. the omens of success are ubout as propitious as seeing 4 cross-eyed man spilling salt under a ludder on Friday the 18th. Hope springs eternal in the critic’s breast ; and it often springs higher when it hasn’t been weighted down with loads of advance publicity and the prospect of seeing another one of those "positively greatest all-star casts ever assembled." Such was the attitude 1 adopted toward "Portia on Trial," and I suggest that yon may be wise to do the sane. This film was produced by an obscure studio (Republic) ; the director was ap

unknown fel- called George

Nicholls, jun.; and the cast can offer no greater "box oflice" names than those of Frieda Inescourt, Walter Abel, Neil Hamilton and Heather Angel. The only obyious lur is the fact that Faith Baldwir wrote the story. (It wasu’t a lure to me, either, because I’ve never read her). 3ut it’s a rattling good show, all the same, Bricks With Straw DON’T mean by that to suggest that it’s a rattling good show, despite Faith Baldwin’s authorship. Indeed, I rather suspect that ske’s largely responsible for its goodness-she, and _ the direction, and the sincere and restrained acting of most-but not all-of the cast. Miss Baldwin’s story supplies the straw for the emotionally solid bricks which the others have built up into a strong melodramatic edifice. It’s a rather plain and unpretentious structure, with few of the florid touches so frequently found in melodramatic architecture--and it houses good entertainment. There are, undoubtedly, a few cracks and blemishes in the walls. but all the Big Bad Wolves of the critical world could huff and puff till they were blue in the face without making much impression on it.

a Practically Dry BNouGH of metaphors! "Portia on Trial" is a blend of mother-love and court-room drama. Frankly. mother-love films not infrequently have the effect of making me ery-but with the effort of suppressing my eynical laughter, But there’s not much to laugh at in "Portia." Perhaps its a pity there isn’t a bit more. However, don’t let me give you the idea that this is ultra-heavy stuff of the "Bast Lynne" school. No tears stained mother is kicked out into the snow clutching a chee-ild of shame to her boozum. No "Madame X" tactics of going to a pauper’s grave with the lips firmly sealed for the sake of the dear boy....Yet, "Portia on Trial" does contain two wronged women, 4 child of shame (possibly two-I wasn’t sure on this point), a weak but repentant male wrong-doer, and a snarling, heartless old grandfather, With such potential stimulants to the tear ducts, the restrained treatment of the story becomes truly remarkable. Pmotional hysteria is kept firmly in check, and the tears shed by all the characters put together would hardly fill an egg-cup. In brief, though the characters themselves may be theatrical, and the situations are of such sobstuff as novelettes are made of, everybody seems to behave in a more or less normal and rational way. (Ctd, next p.)

Just A Mother PORTIA MERRIMAN (Frieda Inescourt) may be a wronged woman, but not a defeated one. With a cynical and perhaps justifiable contempt for the male sex, she sets herself up as the legal champion of other, less courageous, wronged women, and becomes 4 leading barrister, Her methods are sometimes unethical but they are at least effective, and she wins the ad-miration-if not exactly official ap-proval-of the District Attorney (wWalter Abel). And then the re-appearance of Portia’s son, after many years in EngJand penetrates her armour and she discovers she is Just a Woman-and a Mother. Fortunately, Portia has a friend (Ruth Donnelly), whose caustic comments defeat any attempts by the heroine to over-dramatise her situation. Wrong-Righting HE gains the love of her son, and then jeopardises her new-found happiness by deciding to defend another wronged woman (Heather Angel). This one happens to have shot the boy’s father, who is thus doubly shown to be a man of wrong habits-though whether that is enough to justify murder is another matter, So the story climbs wrong by wrong to its very gripping climax in the court seene, when the heroine, defending the murdress, lays bare her own murky ast, and reveals that the real wrong ‘un all the time has been Grandfather Condon, a shockingly unscrupulous newspaper proprietor who goes round trampling the faces of less fortunate people into news-pulp and _= ruining young romances for the sake of Amhition, Family Pride, Sheer Cusseduess, ete, Fine Material MAY have treated that story somewhat lightly (film critics sometimes have to do that so that people will read their stuff). but Tam per £Zectly sineere in deseribing it as fine material for Frieda Inescourt, who has

the poise and contro] of the mature actress, If you liked her in "Call It a Day" and if you thought( as I did) that she was practically all that was worth noticing in the maudlin "Sweet Aloes," don’t miss her in "Portia 0 Trial." She's good! Next highest marks go to Ruth Donnelly and Heather Angel. The only stridently false note in the

SUPUTLURUEADEUEGUSTEESEPEREREDUDELEPSURESRERESEDACESEEL EP UDERE CRESS CELI EEE EES acting is struck by the irritatin, young man who plays the part of Portia’s son. He has a tooth-paste smile and aftempts to be awfully English, I didn’t notice his name and I couldn’t find it out. Which was, perhaps, a good thing. Such a poor actor dlocsn’t deserve even to get his name in the papers. But don’t let this, or the fact that the story gets tungled up with itself in places, put you off seeing "Portia

on Trial." It’s specially notable as a successful attempt to treat melodrama on sensible, sophisticated lines- without tearing a passion to tatters, "Portia on ‘Trial.’ RepublicB.E.F, Directed by George Nicholls jr. Starring Frieda Inescourt. First release: Auckland, May 20. Not So Hard-Boiled "QOMETHING to Sing About," the first production from the new Grand National studios, really gives that company something to sing about. Beginners’ luck? Perhaps, but there’s probably a lot more to it than that, since the star is James Cagney and the director was Victor Schertzinger who, among other things, set Grace Moore on the road to fame in "Oue Night of Love." I hope that "Something to Sing About" will now set Cagney back on that same road. Possibly some of you will not share that hope, because little Jimmy has never been very popular in this country-this being due, more than likely, to his ungallant habit of socking his heroines in the jaw, and the scandalous way in which he smashes furniture. My own opinion, however, is that Cagney és, at a conservative estimate, one of the ten finest actors .on the screen. In his new film, the hard-boiled egg has gone slightly soft. And he- could afford to. Maybe the little rebel has been chastened by his quarrel with Warners (now patched up); possibly he has discovered that although being ultra-tough may bring critical plandits, it doesn’t bring much fanmail. Cagney Dances AN YWAY, it’s a more restrained and likeable Cagney you’ll see in "Something to Sing About"’-and a more versatile one. He dances, and when I say dance, I mean dance, Quite likely the advertisement writers will also try to tell you that he sings. Don’t believe a word of itunless you eall it singing when a fellow recites the words of a song to music, as Cagney does in one scene for the benefit of a bunch of girls. All the same, Cagney has everyone fooled about his voice for the first few minutes of the picture-and therein lies one of the finest "trick": openings you're likely to have come across for years, This opening sets a merry pace for a musical satire on Hollywood, ineluding a lot of amusing leg-pulling at the expense of publicity departments, "yes-men," temperamental actresses, equally temperamental produeers, the star system, and a few more of the film industry’s quaint inyentions, — It’s old stuff, of course, and the satire isn’t as sharp as it was, for example, in "Stand-In"-but it’s likely to be more popular for that very reason. Also because it’s presented with musieal honours, Meet Miss Daw HIS seems a suitable occasion to infroduce Evelyn Daw to your notice, and it’s a pleasure to do it. She’s Jimmy’s teading lady, and al. though her acting needs some polishing round the edges, she’s got a voice

which makes up for nearly everything. It’s always nice, isn’t it, to meet a girl these days who doesn’t sing bass. On the whole, Hyelyn Daw (no relation of Jack’s) is a most attractive young person with an obvious future if properly handled. The story? Basically, just the local-boy-makes-good routine, Cagney being an orchestra leader who gets to Hollywood and sweeps the world under his feet with one picture. It has, however, the rather novel aspect that fame does not immediately increase the size he takes in hats( for a Cagney part that is unusual) and that, although the producer knows that "the boy’s terrific," he doesn’t know it nimself-in fact, is led to believe that he’s an awful flop. As a result, he walks out of Hollywood in disgust, marries his sweetheart from New York, and goes off on a long honeymoon cruise while everyone frantically searches for the studio’s young white hope. On his return, finding himself the idol of America, he suffers the customary afflictions of swollen head and divided heart-the latter trouble being brought about by Mona Barrie, the Australian actress, who gives a clever caricature of a temperamental foreign star. "Young Dynamo" Two other comical, if familiar, caricatures are provided by William Frawley and Gene Lockhart-the former as a zealous publicity man, the latter as the go-getting head of the studio who bears the delightful name of "B.0." Regan. Even his best friends eall him that, These performances, together with many bright touches of direction and the enormous energy of Cagney (although more under control he "still pounds round the screen like a young dynamo") count for more than the plot in "Something to Sing About." It’s a pity, though, that greater attention was not paid to pruning some of the situations and tightening up the continuity. The beginning is outstanding, and the ending satisfactory; but there’s a fairly large patch in the middle where the interest lies fallow. Slug-Fest EST scenes: The studio voice-train-er (a foreigner) trying to teach Cagney to produce "pear-shaped vowels’; and Cagney, having been hectored and bullied through his first picture, getting his own back by turning a faked fight scene into what the Americans so picturesquely describe as a "slug-fest.". When the dynamo has finished pounding, the whole studio is a wreck, That fight scene is magnificent-anad most ingenions. It gives you the old smack’em-up Cagney without letting him slip out of his new, more gentle manly character. "Something to Sing About" is excellent, though slightly uneven, entertain-ment-and the advertisement for ‘it appearing in this issue has nothing to do with that judgment. (It's not a very big advertisement, anyway.) ["Something to Sing About." Grand National, Directed by Vietor Schertzinger. Starring James Cagnoy. Virst release: Christehurech, May 20.]

SUCCTUE UST EE CDEC ee Sandy’s Third HOX-OFFICIALLY speaking, Sandy Powell’s third picture, "Leave It To Me," should be about as popular as his two previous efforts-that is, unless his host of admirers have cooled off. But judged on its merits as a film production rather than as a vehicle to exploit a famous personality, it falls about half-way between "Can You

Hear Me Mother?" and "It’s a Grand Old World"’--~a lot better than the first, not nearly as good as the second. Personally I enjoy Sandy Powell ,without, however, being so enamoured of him that I am willing to overlook all the faults in "Leave It To Me." Those faults are common to many another British picture. ‘The story is just a series of typical Powellian episodes hastily flung together. The plot has about as much cohesion as a jelly that has failed to jell, Between each episode there’s almost a perceptible pause as if the director had said: "Well, boys, that’s that. Now what shall we do next?" Versatile ET, if you’re prepared to accept "Leave It To Me" in the gpirit in which you might accept a programme of Sandy’s recordings on the air, all this may not matter very much. The star’s new role as a policeman gives him the chance to get into many ludicrously amusing situations, in which he falls foul of a long-suffering sergeant (Garry Marsh), Chinese crooks, and High Society. The episode of Sandy’s search for a murderer named Smith you may have heard already on the radio, but it’s funnier on the screen. One thing particularly impressed mé about "Leave It To Me." That was the brisk and breezy opening which should go a long way toward putting you in the proper mood for what follows. No doubt about it, Sandy’s a very versatile and talented entertainer. He takes part in a dancing sequence with a great deal more grace than you might (Continued on next page.)

expect from ‘a comedian whose strong point is: slapstick, ¢ : He Wrestles, Too SANDY'S. display in the wrestling ring is another highlight of the film.: So is his song and dance, when he is disguised (but only just) .as a woman. This number, "I’m the Hotcha of the Harem," will doubtless create as much Rabelasian laughter as the producers obviously intended it should. The heroine is a :girl named Iris Marsh. Her performance leads me to the belief that. all the pretty and capable actresses in Britain must have been lured to America. Still, after all, if you’re going, it’s Sandy Powell you’ll be going to seeand you'll probably enjoy him. _. ("Leave it To Me." British LionAction Pictures. Directed by Herbert Smith, starring Sandy Powell. First release: Palmerston North; May 21.] Tom Sawyer’s Success HAVING been so much impressed with the performances of 12-year-old Tommy Kelly and 11-year-old Ann Gillis in the Selznick-United Artists’ film, "The Adventures of Tom Sawyer," I’m pleased to note that Selznick is taking immediate steps to follow up the success of his young dis-

coveries. Tommy and Ann are to be co-starred in ‘Heartbreak Town," the story of a child star in Hollywood. Thus a phase of the cinema capital’s life heretofore untouched may be brought to the screen by Selznick, with the same frank, honest and faithful approach that made his "A Star is Born" story of Hollywood a leading contender for the Academy award. No director for "Heartbreak Town" has been chosen as yet. Tommy, the lad from New York’s Bronx who was discovered for the role of Tom Sawyer

after a year-long "talent search," is making. personal appearances in New York with Ann. Iie ‘has been! hailed by critics as the most. important young sereen find since Selznick introduced Freddie Bartholomew in "David Copperfield." Both.youngsters are due io start for Hollywood soon, and will make personal appearances in important cities on the way back, What Price Glamour? 2Try CRAYDON, comedienne of "Let George Do It" (now. in production at Cinesound Studios), who has been longing to be glamorous, at last has her wish. In the final sequenee of the film, Letty is to appear beautifully gowned and groomed before the astonished George Wallace, A special coiffure, a set of inch-long artificial eyelashes, and a glamorous make-up are to be hers, but Letty is not to enjoy the effect for long. As soon as she appears before George, he is so overcome that he falls backward into the swimming pool, carrying her with him. But for her minute of glamour, Letty Craydon is quite willing to play this sequence-"‘I = don’t mind the drenching," she declared, "but I will be broken-hearted if I lose my eyelashes !" Aa Universal’s Five HE addition of 1,000,000 dollars to Universal’s production budget for the remainder of the 1987-88 schedule has been announced by Nate J. Blumberg, president, and Charles R. Rogers. executive vice-president, in charge of production. At the same time, Blumberg and Rogers announced thai they had lined up the productions required to complete the current schedule. The schedule includes four special offerings. These are "Sinners in Paradise,"’ with John Boles, Madge Evans and Bruce Cabot: "The Rage of Paris," Daniele Darrieux's first American vehicle, with Dong. Fairbanks, jum. and Mischa Auer supporting; "My Letter of Introduction,’ starring Ndgar sergen and his dummy ("Charlie MeCarthy’), Andrea Leeds and Adolphe Menjou: and Dernnna Durhin's next picture, "That Certain Age.’ which is now being prepared, Universal's next major film for New Zeuand is "Good-bye, Broadway." stare ring Alice Brady and Charles Winninger, ""Cloistered"’ Me. TANO FAMA has advised the "Record" that he has obtained the sereening rights in New Zealand for the much-discussed film, "Cloistered," the only motion picture ever taken inside a "closed" convent. If was made in France, and was not "acted." but is an actual] cumera record of the daily routine of the Sisters of the Order of the Good Shepherd. Much of the interest is centred on the ritual of the ceremony of profession of a number of novices. "Cloistered" has attracted attention among Catholie and nonCatholic audiences abroad, It will be presented for the first time in New Zealand at the St. James Theatre, Wellington. on Friday, June 10,