The Sydney Morning Herald from Sydney, New South Wales, Australia • Page 64

APRIL 34, 1950 1 $Jay rares FACE FIVE IN SYDNEY I I IVY-TIYif wiTlriTiirri 11 AH REVEWS Vf -BV ,1 "ALL THE KING'S MEN" (Stale): Am Mttssmtfiag Urn aboat the Bf of aa Ajttericaa political boss; toack, par posefal aavd Wataeat trimmings, yet mot wttboat subtlety. Brod-Cfick Crawford aad Mercedes McCam bridge ia award-wianiBg roles. THREE CAME HOME" (Ceatary): Am accoaat, based aa fact, of life ia a wartime Japanese prisoa cmp for wosaea. Chadctte Colbert's aad the factaat basis fire it a paach it might otherwise have lacked. THE RED DANUBE" (St Jaaaes): M.CM.'i sola, tioa to problcats of biter-Allied co-operatioe.

i Vienna. Soc-cessfal eatertalament, less sacccssful M' potaticv-reBgioss pro pagaada. Walter Pidteon, Ethel lUrryaMtre aad others. TWO TEXAS KNIGHTS" (Esqalre): A aUldly eBter- taittiac Tectaiacolor wasical with a westera settiag. Deania Morgaa aad Jack Carsoa as a aigbtdab team stnaded a A high-raaluag Aartrafiaa "FLIGHT PLAN" (State): docaaaeatary oa dvB aviation.

background, and the brief scenes of misera, though they have pathos of a art too posed and picturesque to be entirely convincing. Outstanding in a good cast is Ethel Barrymore, whose' shrewd -portrait of the Mother Superior save the religious link in the chain from being even weaker than it is. Walter Pidgeon, as Nicobar, and Louis Calhern as the Russian colonel, are both credible for as long as the' script allows them that is until one is required to indulge in heroics and deliver set speeches into the camera, and the other to be- come a stage villain. Janet Leigh has little to do as the refugee whose romance with Peter Lawford's Major McPhimister forms most of the plot material, but her fragile beauty is skilfully cm- phasised by the camera. One of the most refreshing surprises is Angela Lansbury's per- formance as a cheerfuHy lovelorn Service girl.

And that inveterate scene-steater, Francis L. Sullivan, turns up in the end to represent the kind of callous, blimpish official- dom which the film ostensibly 'attacks. As simple entertainment it's successful; as a serious commentary on the contemporary political scene well, perhaps next time. (St. James) "Two Texat Knights" Screenplay by I.

A. L. Diamond and Allen Boren; a Warner Brothers production, directed by Da rid BMler; asusic. by Julc Styne: Technicolor. Dermis Morran, as Stem Carroll Jack Caraon Danny Poster Dorothy Maloae loan Winston enny Edwards Marfte ft red "Tex'' Bennett Fred Clark Dr.

Straeeer fierald Men Link JessUp John Alrin Jim Crocker AMERICANS, who have a national pastime of making fun of Texas, would no doubt get a lot of laughs from the "ragging" of Texas pride that makes up much of the humour of this Technicolor musical. To audiences here that sort of thing gets a bit mystifying, but there is still enough in this mildly original and innocuous piece to make it more likable than some of the lusher examples of its class. It has a plot, some bright touches such as a cartoon dream sequence starring "Bugs" Bunny, and a satire on "westerns" and four principals (Dennis Morgan, Jack Carson, Dorothy Malone and Penny Edwards), whose appeal lies in the fact that they cant sing much better than any Jack or Jill in the audience. (Estiuire.) "Flight Plan" Produced by the Australian National Film thi.D5prtc"' Civil Ariatton: "Reeled by Stanley Hawes; associate director Lee RobtaoOK phototrapby by Frank Baa-nalli musk by Clira Douglas. 'T'HE National Film Board's 1 three-reel er on Australian civil aviation is a crisp, efficient, and imaginative film that would command respect and attention -anywhere.

It is, naturally, a statement of the case for the Civil Aviation Department (for which it was made) rather than a fully rounded survey, but as such it provides as effective a cover as the time allows, and nowhere lacks simple audience appeal. In the sequences dealing with the expansion of airlines and the breaking down of barriers of distance and loneliness the film makes good use of sure-fire material. Frank Bagnall's camera-work is consistently fine, and Clive Douglas's music adds much' to the emotional impact of these scenes. But a large part of the film is devoted to a description of the safety measures used in the department's supervision of civil flying, and it is the exciting treatment of this unpromising routine material that calls for most admiration. There are faults in the commentary, Reginald Goldsworthy's speaking of it is a little too flat at the beginning, and there are some rather perilous flights of poesy near the end.

As a whole, though, the film stands above other Australian documentaries for its clear structure and its just balance of restraint and imagination. (State) violent brutalities and sufferings, gives the, film most of its pathos, ri v. Yet one cannot help feeling that director Jean Negulesco, who made a very near ffiist of "Johnny has just missed again here, and for much the same reason. Once again he has gone far enough from the beaten track to make one feel the mora strongly the element of calculation that For instance, there Is the all too studied pathos and suspense, in the final scene of the re-uniting of the men and -women prisoners. i -The film is surprisingly and wisely so, for we are most Of us more capable Of absorbing small tragedies than overpowering horrors when they are presented through so forcible medium -as the screen.

At the same time it does give most of its attention to two of. the more tnci-' dents in the narrativesfirstly, Mrs. Keith's escape from the camp for the sake of a brief meeting with her husband in the jungle, secondly, the attempted attack upon her by one of the guards, and the brutal retaliations that follow her misguided complaint. The empha-. sis on these two "colourful" events does tend to conflict with the impression of the drab years of wait-ing and hoping against hope that the film should convey.

Claudette Colbert gives a sincere and memorable performance as Mrs. Keith. She is courageous in stripping herself of glamour (more so than her make-up expert, who gives her carefully mascara-ed eyelashes and pencilled eyebrows throughout the film); her sufferings and indignities are never picturesque. As to the film's truth in details, one can only guess; but if the appearance of the "Australian" soldiers in the last scenes is anything to go by. one can also doubt.

The Japanese guards, except for the humane Colonel Suga (excellently portrayed by Sessue Hayak-awa) are pretty much the same standard villains that swaggered through wartime films. (Ceatary.) "The Red Danube" ScretnpUy by Gin Kraua and Arthur Wlm-nerls. from the norel by (nice Marshall: pro. Carer Wilson; directed vf UMfRC Stone. Waller Mm aa Col.

Nicobar. Ethel Barrr more Mother Superior Peter Lawlord Mai. McPMniteer Angela Audrey Quail "i1? Maria Buhkn Co. Francis L. Sulllyan CoL Omicron Robert Coo Brit.

Callock 'PHIS latest slice from M.G.MVs 1 fruity plum pudding is a com-pound of suspense-melodrama, romance, political pamphlet and religious tract, with a dash of comedy besides. Based on Bruce Marshall's novel, but fairly remote from in spirit, it is set in Vienna in the immediate post-war period, and describes the impact of the evidences of Soviet persecution on two. British officers sent to co-operate in the handing over of refugee Russian nationals. The tough veteran (World War I vintage), Colonel Nicobar, is converted from his ruggedly detached "got-a-job-to-do" attitude to a cru- lading zeal- that lands him ultimately on United Nations committee, for the abolishment of forcible refutation. 'Along with this change of heart, and even less convincing, is his conversion from an uncomplicated kind of atheism to Catholicism, through the influence o( Ethel Barry mo re's Mother Metro, apparently a little dubious about the politico-religious angle, has braced the film with a formid-' able line-up of stars most of them competent actors as well and has oiade a smooth technical job of h.

Also, it has emphasised the dramatic -(not to say melodramatic) aspects of the plot, so that the film can at least look the box-office squarely in the eye as a straight ad- venture-romance. There is little of 'tto Viennese AMUSEMENTS "All The King a Men" Screenplay by Robert Roseen from Hie novel by Robert Penn Warren: proddced and directed for Columbia by Robert Roaaea; photography by Burnett Gwffey. Broderkk Crawford, aa WlUle Stark Merced ea McCanabridn Sadie Burke Joanne Oru Anne Stanaon Joho Ireland Jack Burden John Derek Tom Stark Sncppcrd Strudwlck Adam Stanton Ralph Dumke Tiny Duffy Anne Seymour Lucy Stark Kaiherine Warren Mrs. Burden HERE is a fine, strong film, purposeful and compellingly truthful, about the career of an American political boss. It is also a film about people-honest people and crooked, stupid and clever, complicated and simple, people as individuals and people as a crowd, in all the people whose self-interest, well-meaning errors and gullibility can twist together to make an absurdity of free institutions." Alleged, though not officially, to be based on the rife of the late Huey Long, it recounts the progress of Willie Stark, who starts as an honest, uneducated, and unprepossessing small-town political tryer and winds up a ruthless State governor, with all the equipment of a totalitarian ruler, plus the native re-'fioementa- of off-colour American But the film doesn't hammer any standard of the people Stark's career touches and destroys are mistaken, but few- of them, change their minds when -their' mistakes are made, evident.

In the, -end Stark is stilt acclaimed by those simple "dirt who carried htm into power, in the first place, white it is mainly the. career 'politicians who turn against him. Director Rossen's technique is as hard, direct and forceful as the dictator describes. Yet a lot of care and subtlety has' gone into this swift, tough narration. Note the series of shots of Stark, asxthe tradition-trampling new Governor, with his feet sprawled on the table so that they nearly fill the screen.

Broderick Crawford's Governor Stark comes out as a full-length portrait. He appears at first as a frustrated man trying, with honest naivety, to dean up the politics of a small "hick" town. But be shows, too. the element of ambition in his make-up in defeat be learns a stubborn determinatioo to' show that he, rather than the ideas he was fighting for. was right In the same way, when he reaches power, the means and the end of- that power are hopelessly confused.

Crawford suggests strongly that there is the same con-'fusion in the mind of for all his arrogance. piBTceaes mcvamonage 13 stan- linnttr nlivak in ttatr Ararfentt mararrf- winning role of Sadie Burke, the' bitter, realist -secretary who sees more of Stark's' true nature- than, anyone, and is yet the most passion-'ately -loyal-of his John Ireland, in the role of observer and narrator, has an ugly, loose-limbed individuality, though trwit ft "It 4 r- St BRODERICK CRAWFORD "All The King's his acting lacks variety, and can even become irritating. Most of the other characters are less complete, in particular the wealthy conservative group of Burdens and Stantons, whose- place in the film is not, always made altogether clear. For all its economy, the film seems still to carry some of the excess baggage almost unavoidable in adaptations from novels. It is rather the numerous, instantaneous portraits of the little people in Stark's empire that give the film its humanity.

(State.) "Three Came Home" Screenplay by Numally- Johnson, from the book by Acnes Newton Keith: produced for 20th Cealtart-Hse by Nnaaaaly Johnson; acted by Jean Nraaikaoo. Clandetay Colbert, as Ames Kcfta Patric Kno-tcs Harry Keith Florence Pciwaond Betty Somen. Sessue Hayakawa Colonel Suta 8lvia Andrew, Henrietta Phytisa Morris i Slater Rose Kermit WfeirneU Cl winder Prictiard Kin Spnnalhni Lieu. Marcus AGNES -NEWTON" KEITH, an American' authoress married to a British official, wrote this account of her experiences in a Japanese prison camp in Borneo, and, in filming It, -20th Century-Fox at least had the Initial advantage of -an authentic statement. There are many things in the film that reflect 'this authenticity.

"'Fot one thing. Its very lack of plan 'Teproduces' the 'dreary, pur-- poseiess life that Mrs'. Keith and her companions led. And it is the reporting of the small, human things in that life, and not the Si Jm THE SHOW OF SHOWS BULLEN BROS. AND HAGENS INTERNATIONAL 2-RING CIRCUS CLASSED AS THE BEST COMPARED WITH THE REST -T A PROGRAMME BRIMFUL OF ACTION FROM START TO FINISH.

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NIGHTLY AT MATSj SATS HOLIDAYS, 2 P.M. 1 LOCATION: OXFORD AND RILEY STREETS Olent of Btackhujhsai'a Drsoery EaaporiutnX. 1 SO PLANS AT NrCHOVSON-J, -OBOitCB STREET." i i Ncitx before baa WTRTirs PrrserKed nek a Olitfertns, DaaHlat Show. ITS TRULY MAONIFICENT1.