The Philadelphia Inquirer from Philadelphia, Pennsylvania • Page 91

pmiuumvm-i'wimmi minyif" vsnwmu mmnm. 1 wimiii Mum umf 1 mi 11 11 1 mil -w 1 SCREEN AND ST AGE5 3ifb Jpfiilabelpfita Inquirer MUSIC 1949 27 ANGLES It i X. MORNING. APRIL 24, CAMERA Exotic Film Compelling in From France Its Pathos By Mildred Martin It may not work for everybody. Bui for us, one of the most reliable yardsticks for measuring the appeal of a motion picture whether we have the urge and inclination to see it again.

On occasion, once is not only enough but the mere thought returning dragged by the proverbial wild horses or simply to be polite to a friend is sheer torture. On the other hand, there are films of such extraordinary strength, charm, emotional appeal DAUGHTER URGES FATHER TO PLEAD INNOCENT Geraldine Brooks tries to persuade Fredric March to change his mind in "An Act of Murder," booked for the Aldine on Wednesday. THE CALL BOY'S CHAT Horton in Coward Comedy Individual in His Acting By Linton Martin Edward Everett Horton's many admirers undoubtedly would relish any reasonably rewarding role which would give this popular player an amply earned respite and relief from his perennial part in "Springtime for Henry," in which he last appeared here six years ago. For "Springtime" has become pretty autumnal, if not rather wintery. in the length of time he has been trouping in it, up hill and down dale, around and across the country, sum A HOOTCHIE-KOOTCHIE DANCER IN FULL REGALIA Joan Crawford appears as a camiva I beauty in the garb of harem queen "Flamingo Road," scheduled for the Mastbaum on Saturday.

HollywooD In Review By Edith Gwynn HOLLYWOOD, April 23. Darryl Zanuck okayed Cecil Aubry for the lead opposite Tyrone Power in "The Black Rose" which he starts abroad. Cecile is 18-year-old French beauty and 20th-Fox considers her the big-rest find since Glenn McCarthy struck oil! What's more, this luscious blonde has been given a seven-year contract, and she'll be brought to Hollywood as soon as "Rose" is finished Ginger Rogers gifted Director Chuck Walters with a fancy set of gold cuff-links arresting Deauty mat tney exert a strange magnetic quality, drawing audiences back time after time. Although there are ma ny good pictures which, without the slightest hardship, one might easily sample twice, there are comparatively few arouse the peculiar enthusiasm that creates virtually a cult among their admirers. One such film and has had precisely the same effect wherever it has been shown both In this country and abroad is "The Red Shoes." Proof of Appeal Running on at the Trans -Lux since Christmas Day, this enchant ing and enchanted blend of drama and ballet has hosts of repeaters at every performance, many of them proudly admitting having already seen the film a dozen or more times, determinedly declaring they'll be back again before the end of its engagement.

Another picture to chalk up a long-run record, bolstered by fans so fas cinated they could not resist returning over and over again, was Roberto Rossellini's "Paisan" which only re cently concluded a 16 weeks stay at the Princess. A war drama, played a cast of unknowns, its dialogue mixture of Italian and English, it was, seemingly, "Paisan's" broad humanity and stark realism as well as its earthy, artful direction, that won so devoted a following. Delving into the past, "Mayer-ling," with Charles Boyer as the Archduke Rudolph, and Danielle Darrieux as Countess Vetsera, found fans making innumerable return trips to bask in the glow of this Ill-fated historical romance. And "The Blue Light." a tragic legend of the Bavarian Alps, brought customers trooping back again and again in the days before Leni Riefenstahl, the picture's star, producer and director, was eyed with stern disapproval as Hitler's alleged "girl friend." Haunting and Harrowing Oddly, or perhaps not so oddly, nearly always seems to be foreign rather than American-made pictures that arouse the special sort of affection and admiration which make more than a single glimpse a virtual necessity. Why this should be is anybody's guess.

Unless we're very much mistaken, "Symphonie Pastorale," scheduled for its Philadelphia premiere nt the Princess on Wednesday, belongs with the rare little group of films that haunt the imagination to an unprecedented degree. Whether it dupli- SUNDAY in FILM TIMES TODAY What Picture Houses Offer; Coming Bills ALDINE "So Dear to My Heart." Disney drama with cartoons and music, with Bobby Driscoll. Burl Ives, Beulah Bondi. Luana Patten. 2:35.

4:25, 6:15. 8:05. 10. ARCADIA "The Bribe." melodrama, with Robert Taylor, Ava Gardner, Charles Laughton, Vincent' Price. John Hodiak.

2:20, 4:15. 6:10. 8:05, 10. BOYD 'Portrait of Jennie," fantasy, with Jennifer Jones, Joseph Cotten. Ethel Barrymore, Cecil Kellaway.

2:35, 4:25, 6:20, 8:10, 10:10. CAPITOL "Jungle Patrol," war drama, with Arthur Franz and Kristine Miller. 2:05 ,4:25. 6:45, 9:05. "Duke of Chicago." prizerinK drama, with Tom Brown and Audrey Long.

3:20, 5:40. 8, 10:15. EARLE (Today only) "Knock on Any Door," 2:25, 4:20. 6:10, 8:05, 10. "Siren of Atlantis." adventure, with Maria Montez.

Jean Pierre Aumont. Dennis CKeefe. Peter Lorre. Three Rtooftes on stage. FOX "Mr.

Belvedere Goes to College," comedy, with Clifton Webb, Shirley Temple, Tom Drake, Alan Young. 4:15, 4, 5:45, 7:25, 9:10, 10:50. GOLDMAN "Take Me Out to the Ball Game." musical, with Gene Kelly, Esther Williams, Frank Sinatra. Betty Garrett. 2:05, 3:40, 5:20.7.8:35, 10:15, 11:50,1:30 A.M.

KARLTON "Little Women," Alcott story, with June Allyson. Elizabeth Taylor, Margaret O'Briep. Janet Ieith. Peter Lawford. 2, 4:05.

6:10, 8:15. 10:20. KEITH "A Connecticut Yankee in King Arthur's Court." Mark Twain classic, with Btng Crosby, Rhonda Fleming, William Bendix, Sir Ced- ric Hardwicke. 2:15, 4:10, 6:05, 8:05. 10.

MASTBAUM "My Dream Is Yours," musical, with Doris Day, Jack Carson. Eve Arden. Lee Bowman 2:15, 4:15. 6:05. 8, 10.

NEWS "If I Had My Way." re-rival, with Bind Crosby, Gloria Jean, Charles Winninger. 2.3:30, 5:15, 6:55, 8:35. 10:15. all night. PIX "The Red Pony," Steinbeck story, with Myma Loy, Robert Mitchum, Peter Miles, Louis Cal- hern.

Shepperd Strudwick. 2:30, 4:30. 6:15. 8:15. 10:10.

rRTNCESS "Marriage in the Shad ows," German melodrama, with Use Steppat, Paul Klinser. Alfred Balthoff. 2:35. 4:35, 6:30, 8:25, 10:20. STANLEY "Knock on Any Door," drama, with Humphrey Boeart, John Derek, George Macready, Allene Roberts, Susan Perry.

2:25, 4:20.6:10,8:05,10. STANTON "The Set-Up." prize- ring drama, with Robert Ryan, Audrey Totter, George Tobias, Alan Baxter. 2, 3:35, 5:15, 6:50, 8:30. 10:10. STUDIO-'Volpone," French com edy, with Harry Bauer.

Louis Jouvet, Jacqueline Delubec. 2:30, 4:20, 6:15, 8:05. 9:55. TRANS-LUX "The Red Shoes. drama, with ballet and music, with Moira Shearer, Anton Walbrook, Marlus Gorine, Leonide Massme 2:30, 5:30.

8:30. TOMORROW NEWS "Shadow of a Doubt," re vival, with Joseph Cotten, Teresa Wright, McDonald Carey, Wallace Ford. WEDNESDAY ALDINE "An Act of Murder." drama, with Fredrlc March, Flor ence Eldridge, Edmond O'Brien, Geraldine Brooks. PRINCESS "Symphonic Pastorale," French tragedy, with Michele Morgan, Pierre Blanchar, Jean Desailly. Line Noro.

ARCADIA "Down to the Sea in Ships," sea drama, with Richard Widmark, Lionel Barrymore, Dean Stockwell. FRIDAY EARLE "Song of India," adventure. Continued en Fag 28 Colunua is of or to it by a it it cates its New York success it has been playing there since early last September is problematical. But it is certain this French production of the first Andre Gide story to reach the screen will win the wholehearted support of film-goers who care for sensitive, introspective drama, beau tifully illuminated by fine acting and superlative direction. Complex Qualities Emotionally complex, yet almost classically simple in its telling, "Symphonie Pastorale" is the touching, tragic story of a blind waif taken into his home by an Alpine pastor who, spiritually blind himself, fails to recognize his affection for and dependence on the girl his care changes from a wretched little animal to a lovely young woman.

Calamity is precipitated not alone by the growing hatred of the pastor's wife for the girl, or the son's falling in love with his father's wistful ward. An operation which gives Gertrude her sight also gives her a cruelly clear picture of the misery she has unwittingly caused, shows her the selfishness of the man who has destroyed without ever realizing it his own happiness as well as that of all those about him. There is. of course, only one solution and Gertrude finds it; her great, gray eyes wide and accusing, blind again with the blindness of death. Eyesight Symbolical Few performances have the power and the pity, the grace and the poignant beauty of Michele Morgan's as Gertrude.

With an artistry that cloaks technical Iricks of acting. Mile. Morgan becomes the blind girl terrifyingly lost in a world of darkness, mercilessly destroyed by the return of the gift of sight. In a film so perfectly integrated, it, is difficult 1o differentiate? between the players' and director's contributions. Nor.

in this Instance, is it necessary. For Jean Delannoy. who guided the cast and helped write the screenplay, has had inspired cooperation on every score. As remarkable as Mile. Morgan, and in a possibly even more difficult roie, Pierre Blanchar has drawn an unforgettable portrait of the saintly, humanly fallible pastor; while every one of the important supporting parts has been played with subtlety and deep insight.

Not least of "Symphonie Pastorale's" many assets are the frosty Alpine backgrounds against which it has almost wholly been photographed, the moving, atmospherically apt musical score composed by Georges Auric. 7 fit- "W- Wl 7W 4 BACKSTAGE TsAarta Linden Says Work Is Panacea By Marion Kelley The ability to think a problem through to a decision and an understanding of human faults, provides, a "sounder background for enjoying life than money in the bank. At least that is the way Marta Linden feels about it. She is the Joanna Lyppiatt in "Present Laughter" now playing at the Forrest. And Marta is well qualified to express her opinion along these lines, for she has had lots of opportunity to test these qualifications in the past 20 odd years.

According to Marta they not only gave her a strong bulwark to lean on when the tide of adversity was strong, but provided a stimulus to her career and pointed out short cuts to achievement. Most of us. if given a choice, doubtless would select the security money promises regardless of its ehisiveness and the way it has of slipping out from under the most careful investing methods. Marta believes you have a much fuller life and far more security in the knowledge that you are equipped to earn a living and do it. Education Not Practical "With all the money my father spent on my education, I had no practical knowledge on how to go about making a dollar," said Marta over an early cup of coffee in the Algonquin.

"At the time it was considered I would not need it. But my Swedish parents did provide me with a priceless heritage," continued the actress. "They instilled into me at an early age that whatever social status I achieved, it never could be lowered by performing any kind of honorable work. I never was to be ashamed of honest labor." During those roaring twenties, Marta married Albert Schmid whose tobacco business took him to Europe often and Marta wintered on the Riviera and summered wherever fancy directed. And when the crash came the Schmlds were in one of those bigger bubbles that burst.

That was when Marta had to draw on her heritage. But the more she thought things out the more she realized how ill-prepared she was to earn her living. At Pierre's in New York where she had entertained lavishly and often, she spoke to the management about a job. After assuring them she was in earnest she was offered a salesgirl's position in the candy shop at $25 a week and commission. Money Took On Value While this probably did not pay her taxi fare in the old days, it looked like a fortune now.

And Marta made good. Then her husband decided to move to the West Const where people seemed to make more money and live on less. That is where Marta's acting Continued on Page 29, Column 3 THE PLAYBILL Show of Week Is a Comedy The theatrical season is tapering off with only one show holding over this week to provide a bit of comedy for theater fans. "PRESENT LAUGHTER," Noel Coward's comedy starring Edward Everett Horton, goes into its second week at the Forrest. Featured in the play are Marta Linden, who recreates the role she originated in the Broadway production; Katherine Meskill, who plays the star's wife, and Jane Seymour, his secretary.

Others to the cast include Herschel Bentley. Phil Todd, Peter Boyne, Adnia Rice, Phyllis Kirkland and Marie Paxton. The comedy is about an egocentric actor reluctantly passing into middle age whose close friends manage his life but find it difficult to ward off the amorous advances of a constantly appearing swarm of predatory women. It is presented by C. Edwin Knill and Martin Manulis, who also directs.

As a late theatrical treat it has been announced that the Irving Berlin-Robert E. Sherwood musics li "Miss Liberty," will come to the Forrest June 30 prior to its Broadway debut. giving it a decidedly Individual foot-light flavor. Perhaps neither the author nor the actor may have meant it just that way, which could account for the sense of spontaneity which invests Horton's performance of an artificial role. More Marital Muddles "Ham" is not the only kind of snl-mal kingdom comparison suggested by the characters in this comedy.

For, with possibly a minor exception or so, these vain and vapid Individuals have the morals of a bunch of bunnies, but without the breeding. And if that crack sounds a bit ambiguous, let it stand. Stet! It's a little difficult, and also dreary, to keep up with the Illicit love life of this collection of cuckoos, in which a lady is never at a losa for a flimsy reason for spending the night in the actor's apartment. None, that is, except his estranged wife, who is the only really decent dame in the lot. And it is obvious, slrrost from the opening, that she will be around to aid him at the end.

returning in time for the final curtain. If all of that sounds fairly familiar, it is. And rather repetitious, too. which seems surprising, considering the resourcefulness previously displayed by Coward In making marital and extra-marital muddle amusing, aa wltneas the way Tallulah Bankhead, for instance, is rampaging along right now in the revival of "Private Lives" in New York. Cynical, Sophisticated In "Present Laughter," the smart sophistication and cynicism which have generally been characterise and captivating qualities of Coward comedies, seem mostly on the peu1i side.

The playwright has not lot his flair for the felicitous phrase and impish observation. But hi putter has become more palpably patterned than in the past, and hi satirical shaft have taken on the qualify of caricature. Arriving In the waning weeks nt the season, the current comedy is handicapped by the fact that tt hs been preceded by a plethora of plav dealing, in one way or another, with actors, on stage and off stage. That might not matter much, so fr aa "Present Laughter" is concerned, if Coward had managed to make his characters interesting as individuals and their adventures and affairs sufficiently absorbing and exciting. But it is hard for the customer in quest of an evening's entertainment, in care a hoot or a hang about such artificial and superficial folk as tho presented in this play, wtth the possible exception the estranged wife previously mentioned.

Cannibalistic Comedy An author of the carmines, cleverness and accomplishments of Noel Coward must realir-e that it may dangerously disillusioning for tha playgoer to peep behind or beyond the scenes and meet the actor in hts proper person even if that person raay prove to be provocatively improper. Also, if a playwright happens to be a bit superstitious or concerned about precedent, he might consider this a subject to sides'ep. For, as was pointed out in this place some months ago, the records reveal that most plays about footlight folk have seldom been sensational successes on the stage. It was suggested, in that dirus-sion, that this may be partly becaus the playgoer goes to the theater to lift him out of the theater, not to remind him, by every bit of detail and dialogue that he is in the theater, observing actors enacting actors, indulging in their own emotions, which may be far less arresting and absorbing than those presented in the parts they play. It is a kind of cannibalism, the tun mer and winter.

Consequently, It is disappointing to a degree that he has not managed to find a part of greater dramatic depth and dimension than the aging but amorously incorrigible actor he is currently playing in Noel Coward's comedy, optimistically titled "Present Laughter." But even so, it may be surmised that the actor gets more out of the part in playing it than the author put into writing it. For Horton's humor can happily highlight some of Coward's lines in which the laughs are labored, showing the creative qualities that a well-equipped comedian can contribute to the footlight effect of a play in performance. Yet Horton yields to no man or woman in his admiration for Coward's cleverness. For, as he confided to Marion Kelley, in the interview which appeared in this department last Sunday, he felt it would be impossible to improve upon the playwright's lines, just as they are written. Question of Comparisons Perhaps it is just as well and better that Horton feels that way.

For undoubtedly it explains the sense of spontaneity which animates his acting, as though he almost actually believes in the corny character he portrays a matinee idol whose romantic appeal ia apparently Irresistible in this satirical comedy about the theater and its flotsam footlight folk. Since Coward concocted this comedy for his own personal appearance in London, it is presumably fairly authentic. In its observations anJ it individuals. Of course, no comparison can be made between the playwright's performance and the current characterization by Horton. Or, for that matter, between either and Clifton Webb in the Broadway production of two and a half years ago, with whatever illumination such comparisons might provide.

But it may be doubted whether either Coward or Webb could equal or surpass Horton in putting just the right aroma of "ham" into the part of this complacent lady-killer, PREDATORY GIRL Marta Linden featured in "Present Laughter," now playirAjg at the Forrest. 'f i )' (r Mi i shaped like Oscars) on account of the raves that "Barclays of Broadway" (the Rogers-Astalre picture) is getting Paramount hxs signed Mack Sennett to work the story of his life, soon to be filmed and still untitled. He'll collaborate with Doris Anderson and later will act in an advisory capacity during the shooting Pert and pretty Sheila Ryan will be the femme lead with Don "Red" Barry and Tom Brown in the next of the prizefight yarns, Ttinpside." Sounds more like the title for a night-club story! Speaking of title some of the thtafs the marqaee lights will soon 911 nt should confute 70a, to the IraM. Comlnr op are, "My Love ia a Kangaroo," "My Love RI4ea a Blryrle" and a little number railed. "Confessions of a Diaper Salesman, which Columbia win Bake from a magazine ocy.

Young Dean 8 toe well did so beautifully In "The Secret Garden" that Metro has already assigned him to two btg roles which follow pronto. First is in "Stars in My Crown," and the second "A Matter of Pact" in which Ethel Barrymore plays a leading role. Ava Oardner is still being considered for the starring part George Raft says he's going to spend half a year in Hollywood and the other six months in Europe from Bow on. Well believe when we see It. You haven't seen Dean Jaeger on arreen for some time, but hell be back In a big way in "Twelve O'clock Hih.

Fox is rushing all scenes in which Gregory Peck appears in this rne. no that Peck can leap to Rome for his chores in "Quo Vadis. This spectacle is the final film, under Greg's Metro contract. After that, only David Selznlck and Warners split him up! Janis Paige, recently starred at Warners, has signed to go on tour as the singer with The Theaters 25 Years Ago (Easter Week) ADELPH1 Jane Cowl in "Romeo and Juliet," with Rollo Peters, Louis Hector, Dennis King, Jessie Ralph. FORREST "That's That." 36th annual Mark and Wig Club production, songs by Charles Gilpin, with James H.

Prothero, Paul Thomas. Eugene Felt. OARR1CK "Keep revue by Paul Gerard Smith, with Hazel Dawn. James Donnelly, Edward Tierney. William Frawley.

LYRIC "Sally. Irene and Mary," musical comedy, with Eddie Dowl- ing. Marguerite Zender. Louis Brown. Katherlna Mulqueen, Josle Intropidi, Maude Odell.

HUBERT Topics of 1923," re vue by Harold Atte ridge and Harry W. Qribble. with Alice Delysla. Roy Cummings. Bill Shaw.

Herbert Corthell, Baroett Parker. Ethel Shutta. WALNUT Bertha alien in The Kreutier Sonata," revival of Jacob Gordin's tragedy, with Mannart Klppen and Clelia Benjamin. DESMOND The Humming Bird." KEITH'S U. S.

8. Leviathan Orchestra, with Morton Downey; Sybil Vane; Moran and Mack. WELCH MINSTRELS "Learning to Play Mah Jong." All-star show Friday evening at Arena for National Vaudevile Art- feta. Freddy Martins band. Her weekly paycheck is over a thousand smack-era and it's the first time In almost twenty years that Martin has used a girl chirper.

Cary Grant Is back and Betsy Drake's got him. Now they (plus Anne Sheridan) can finish work on the ill-fated "I Was a Male War Bride" during which every mem-bed of the cast became ill during: filmlnr. When Arthur Blake heard that Grant had arrived here, he flipped, "Well, Heaven to Betsy!" Orson Welles has had a lot of turn-downs on his offer to Hollywood players to come on over to Europe and act In his production of "Othello." One rejection was from John Hoyt (one of Orson's former Mercury Players) who wired him "the unkindest cut of all." When Welles offered him the role of lago in his forthcoming epic, John replied. "It may be 'As You Like If but it sounds to me like 'Much Ado About Jean Wallace will be a topper In "Ireland Girl" which director Wm. Dieterle is soon to do in Italy.

She'll be virtually co-starring with the famous Anna Magnani the fiery Latin who had all Rome in a dither when she protested the signing of Ingrld Bergman to do her etirrent picture there. Magnani considered Roberto Rosellini. who is directing Ingrld. as her own personal property, so to speak! Joe Kirk wood's recent virus attack has left him too wobbly to work at his comedy role with B. Crosby in "Riding High." Yesterday Paramount replaced him with Raymond Walfrren Jessica Dragonette, singing at the Overseas Press Club dinner, asked General Marshall his favorite song, wishing to sing it for him.

She thought he'd say "God Bless America" or something like it. The General Instead promptly requested, "Buttons and Bows!" Lila Leeds, who figured In all that unsavory front-page publicity lately, has been alrnerf to star In a film dealing with the evils of Continued on Page 28. Column 1 1 BLIND WAIF Michel Morgan "Symphie Pastorale," Princess, Wednesday. in at A A J-- pr- v': yv Kt' 1 feeding upon itself, and it Isnt al-1 ways the most salutary or seductive spectacle. However, In spite of these anim-I adversions.

the combination of Ed ward Everett Horton. returning to town after entirely too long a time away, and a Noel Coward comedy that is still superior to many we every season, most certs inly presents points of appeal. It Is on to be added to the book for background, if nothing else. A LADY WHO CAN HANDLE HER BOW Evelyn and her magic violin appears with Phil Spit-elny's all-girl orchestra at Earle, Friday..