The Gazette from Montreal, Quebec, Canada • 21

THE GAZETTE, SATURDAY, JANUARY IX 1949 21 IFilnis the credit, although Charles Brack-ett is listed as producer. He has chosen well among his fellow-actors, with John Lund and Wanda ft 5, I TV. 1 nm (iiiiii---iiit--i luiiiMiari hi imiiimiwnaimrf 45564j' THE SIEGG OF ORLEANS is caught by a Hollywood camera for the production which stars Ingrid Bergman as Joan of Arc. That's Miss Bergman carrying the Maid of Lorraine white flag to victory. This is at the Palace.

MRAIMIIN I.OV1.R: The film version of Un Homme Et Son Frthe finds lis central character in an unaccustomed role, when Jt hff hi rourtship of nrmmlHa. Hector Charland is Seraphin, Nirnie Getmain i Donalda and the tlm Is at the St. Denis. tainmenl is still a question, however. Well-handled as this one is, it remains an attraction for the opera-lovers only, a long-drawn out affair for the plainer types of audience.

(A knowledge of Italian would help in cither case- although there is an ingenious and tactful use of English narration to keep us in touch witn the story). The opera-goers will find it probably the most beautiful performance of La Traviata they have ever wit- TRUE QUEBEC PRODUCTION 'Un Homme et Son Pcche' Could Have Been Made Nowhere Else So Successfully By HERBERT WHITTAKER Vn Ft Sn ferhe achieves a paradox. It achieved a new high In Cndin film-making hv staying close to Die earth. In r-m Quebec Productions film. Paul L'Anglais shows that re ha Jea-ned a groat deal from the experience he Rained with his rst, Wf.

City. In choosing a native drama, he has wisely with-f from dnect competition with Hollywood. In choosing Un i "r.rr.e. and making It only in French, he has indicated that for the present at any rate he will make sure of his immediate audience and idke his chances with the success of his product abroad. In filming Irene Canada's most popular radio subject he has found tried and true c.ittriai which could be filmed truthfully nowhere else but here.

At 4 5 "IN HOMME ET SON PEC1IE" AT THE ST. DENIS Quehec Production film. Paul L'Ang-lais producer, Paul Ciury director. Ceieenplav by Calude-Hrnru GaRnon and Mr rtury. Photography by Drum-mond Drurv.

Characters. Players. Seiaphim Hector Charland Donalda Nicole Germain Alexin Guy Provost Jambe-de-bols Henri Poitias Artemise Suanne Avon rasping his way through the part of Seraphin on the radio for a rie- C'nnr now, uniii nr rennrj inr nii- mniiity of an old file, is equally successful in his pictorial of the miser here, Vhile but may recall some far two entirely different stories by a technique which is more persistent than $ubtle. The two stories are those of the matron of a home for wayward girls and one of her charges. In an interview between them, each unburdens the story in which she herself is the misunderstood heroine.

First the delinquent (Joan Greenwood starts off to tell how she fell. She gets as far as her early squalid background, when the matron (Miss Lockwood) breaks in. Ah, she, too. has suffered! Born to wealth, she married well, but finds that there is no passion in her well ordered life. "But at least you were not suffering alone," cries Miss Greenwood, wrenching the flashback machine in her direction.

Miss Lockwood listens, but you can tell her heart isn't in it. She wastes little time in getting back to her troubles, although, truth to tell, they look pretty inconsequential besides Miss Greenwood's unhappy story, of an innocent scouced by a jHendrix in every way equal to the various demands made upon them. Monty Wooley, Barry Fitzgerald, Elizabeth Patterson, Dorothy Stick-ney and Mr. Haydn himself assist in tailor-made roles but it is Ilka Chase as a gaily coniving aunt and Robert Stack as her spoiled son who make the second-best showing. "JOAN OF ARC" AT THE PALACE RKO release of Sierra Pictures production, produced by Walter Wanger, directed by Victor Fleming.

Screenplay by Maxwell Anderson. Characters Players Joan Ingrid Bergman The Dauphin Jose Ferrer Chauchon Francis L. Sullivan John of Luxembourg J. Carrol La Hire Ward Bond Father Masieu Strudwlck De La Tremouille John Emery Due D'Alecon Gene Lockhart Dunois Leif Erickson Jean Le Maistre Kellaway Robert de Baudricourt George Coulouris Durand Laxart Roman Bohnen Isabeile d'Arc Selena Royle Due de Clermont Richard Ney Catherine de Rover Irene Rich Father Pasquerel Hurd Hatfield Joan Of Arc was canonized in 1920. Hollywood, in 1949, has nothing to add to the judgment of the church but doos make an earnest and, I think, honest attempt to recapitulate the evidence in her favor.

And there is a great deal of evidence. Because her tiial was an extensive one, and because a reexamination to clear her name was set in motion during the life time of many of the principal figures in her story, more is known about this Maid of Orleans than about any other figure or her nay. nis film, jointly produced by its star1, the admirable Ingrid Bergman, its director, the late Victor Fleming and producer Walter Wanger, is a most conscientious effort to set down that material, or a great bulk of it. in motion picture terms. Although there is so known about her, and the Roman Catholic Church has rendered the highest possible dictum, it is still possible to say something new about Joan of Lorraine.

Many writers have found new applications of faith in her story. In ur century, George Bernard Shaw gave us another -view of her, dwelling on the unsuitability pf this world for God's saints Maxwell Anderson, from whose 1 play this new version is taken, has, it appears, nothing to contribute to the legend of Joan. But it is a story which bears retelling again and again, whether by a priest, a child, a cynical Frenchman or a cynical Irishman, or an uninspired playwright. Miss Bergman and her associates have lacked nothing to make this film, save inspiration. The result, i.i a big, literal, almost plodding picture which is saved time and time again from dullness by the truth of Joan, and sometimes is not.

Peopling its tidy, bourgeois France, bearing without prida the plays the Dauphin, becomes anything but a stuffed or armour-plated figure. Of Miss Bergman's Joan it is impossible to say harsh things. I would believe Miss Bergman if she said she was Eleanora Duse, in such esteem do I hold her sincerity. There are some lovely touches to her -Maid, touches of modesty, child-like grace and embarrassment. Of Joan as the inspired vessel, the leader of armies and the upsetter of politicians there is little proof.

Joan Of Arc is a big film, quite elaborate, in Technicolor, an honest one and one which has kept its eyes closely on the book. There are lapses of taste occasionally, false characterizations too, but the worst that can be said of it is that it lacks the kind of wit and inspiration which distinguished Olivier's Henry with which it will inevitably be compared. But the story of Saint Joan is a great one, and must be told. Coming out of the crowded theatre which greeted its first showing here yesterday, one g-jt the im prest-ion that the audience had participated in the film to an extraordinary degree. This retelling has, then, served its purpose.

"THE LOST AT THE AVENUE Columbia release of Grecor Rabino- vitoh production. Directed bv Carmine Gallone, Screenplay by Hamilton Benz, based on opera, La Traviata. Characters Players Alexander Dumas, Jr. Serato Giuseppi Verdi Nerio Bernard! Violetta Valery Nelly Corradi Alfredo Germont Gino Mattera George Germont. Polverosi riora Bervoix Flora Marino Baron Douphol Carlo Lombardi This is easily the best of the film operas yet made.

It is beautifully produced, tells the famous old story of La Traviata simply and well and is as well-acted as it is sung. Here you get famous arias by a couple of lovers as handsome as anything Hollywood can produce, and through skillful dubbing, you get it without the grimace of the vocalist. Whether opera rVm ever be successfully presented as screen enter- muchinessed, more shoddy, even ridiculous per formances on the stage which have moved them to tears. This one moves them only to admiration. In that sense.

The Lost One is rather like a handsome catalogue of perfection. One sees it and dreams of going to Italy where there are such decorative artists as Nelly Corradi and Gino Mattera to sing Violetta and Alfredo for the opera public. Miss Corradi, even if she couldn't sing, would make a perfect Violetta. so lovely is she, so graceful, so truly romantic in expression. Her partner, Mr.

Mattera, less expressive, is no less handsome. One can feel sure that the eye of Hollywood is upon him already. "THE WHITE UNICORN" AT THE SNOWDON Arthur Rank production, directed bv Bernard Knowles. Screenplay by Robert Westei hv. A.

R. Rawlin-son and Moie I'hai iett. Characters. Players. Lucv Marcaret Lockwood Lottie Joan Greenwood Philip Ian Hunter Richard Dennis Price Fobey Guv Mtddlctnn Miss Cater Cathlcen Lacey England's Queen of the Screen, sharp-featured Margaret Lockwood, turns up in this fancifully named film, which might be described as a double flash back soap-opera on celluloid.

The White Unicorn tells UNA TURNER GENE KELLY VAN HEFLIH ANGELA LANSBURY FUNK MORCAPf VINCENT PRICE KIM KTNN JOHN SUTTON (IS TOJKC 1 NitlKile Germain makes ihe patient name? made beloved or despised Donalda a gentle martyr. Guy Pro- by hiitory, are many well-known vo.t fcives an uneven performance players. But they wear their hon-of Alexis, being more attune in his'ors uneasily, to tell the truth, and man about town, an unexpected baby and a noisy gas-jet. So it goes from Greenwood to Lockwood, from Lock to Green, Green to Lock. Gradually it appears that Miss Lockwood, being the premier star, is getting the best of the footage.

Her story is served up with all Ihe trimmings, a costume ball, a romtintic lover, an automobile accident. Swiss dancers, a skiing tragedy, a child wrenched from its mother. Poor Miss Greenwood is outnumbered, although she goes on trying to get her flashbacks up to date. So busy are they flashing back and forth from one life to another that neither lady notices that the audience is becoming restless. When a final courtroom scene straightens out both stories, we greet the solu mm IDSfflffl infrequent comedy moments thanionly one player.

Jose Ferrer, who more in the idiom of restaurants. Embassy was the latest close up on a list that in the past few months includes the Harem. Carnival, La Martinique and Le Direc-toirc, all of which have been standard sites on the New York cafe scene for some although a few operated under different names. HIS MAJESTY'S NF.XT MATINEES WED. SAT.

of 2:30 Orrh, 13.3 8i U.K. lit flat. $3.38, $2.82, $2.23 Si $1.69. 2nd Hal. $1.13 $1.00.

Wed. and Sat. $2.25 $1.69. 1st Bal. $2.25 $1.69.

2nd Bal. $1.13 it 85c. Taxes included. CURTAIN 8.30 or 2.30 No on stated during tint seen SEATS NOW SELLING COMING FOR 5 DAYS ONLY BEG. TUESDAY FEB.

8 MATINEES WED. and SAT. FORTUNE GALI.O PRESENTS Tues. Keb. CARMEN (Fr.) Wed.

Feb. 9: I.A BOIIEME. Wed. Feb. 9: FA ST (French) Thurs.

Feb. 10: I.A TOSCA. Frl. Feb. 11: LA TRAVIATA.

Sat. Mat. Feb. 12: Mina Cravl In MADAME BUTTERFLY. Sat.

Eve Feb. 12: A1DA. SAN CARLO BALLET: Arlova and Prideaux. Orch. $3.38 $2.82.

1st Bal. $3.38, $2.82, $2.25 $1.69. 2nd Bal. $1.13. Wed.

Sat. Orch. $2.25 $1.69. 1st Bal. $2.25 it $1.69.

2nd Bal. $1.13 75c. Tax included. SEATS SALE OPENS THURSDAY tmttik IIATWUSIIM wFORD NOW SHOWING 7a utile Blonde Texan Penny CaulficTd heads up a fast-moving revue at the popular Esquire, whion also features the madcap artici of Ross Wyse, and his part ner Pegjry Womack. who doubl as mistress of ceremnses.

A shrewd entertainer Cau'field makes the most of such amusing ballads as Years and I'm Still Doing Time." and There's a Little Bit of Wolf in Every Gord Little By." Held river from last week's ihow. Wyse and Womack work together for a number of solid slapstick routines. Tapper Ann Nichols makes for pleasant watching with her whirlwind dancing and piano playing, which she manages to do at trie same time. Laverne and Jon vary usual straight ball room dancirjr with a modernized minuet and a jumpy French Can-Can number. ML 0ROQO" That Clown Prince of Comedy.

Artie Dann, heads un the lavish revue at el Morocco, the town's best known theatre-restaurant. His bubbling and infectious humor, shrewd timing and ense of comedy combine to make Dann an outstanding artist. Co- starring with is Sunr.y Skylar, who has sung witn manv or ine name Danos on tne continent, and i. equally famous as the writer or a s-core or hits that include and many others. Phyl lis Claire, an nttractive blonde tap dancer, is brtk for another engagement, a fact which is keeping the customers happy The Wally Wanger girb rffer new production numbers.

lavishly costumed; the da.ice b.ind of Wally Newman, the rhumba trio of Hal White, all serve to back ground the revue. El Morocco has two shows nightly, three on Saturdays; dinner is served from 6.30, and there is no cover charge. Cafe St. Michel One of Montreal's moit popu lar Sunday Shows is the weekly Jam Session at Cafe ht. Michel.

the popular club located at "70 Mountain Street, in the heart of Montreal's Harlem district, just below St. Antoinc Street. The Jam Session is a full three hour show from 3.10 pm and eff to good lrt with hour of concert imnir when Loui Metcalfe' Rand de the The Jam Sfvion fo51oed hy a full hour floor show. Immediately following the floor hnw. Louis Metcalfe bnri provides an hour of dance rrii-iC.

pcy Russell, thit rTur colored star who speaks French and English fluently is now in his fifth week at Cafe St. Michel as Master of Cercmor.ies and appears to be well on hi way to establishing another record ran as he did last year when fc was held over for 13 eensecutive weeks. Jerry TaylorsTle T. otherwise known as Montreal's favourite rendezvous, tccres an other first this week-end when it presents the Deep River Boys. famous Victor recording artists.

Singing favour.es of millions of radio listeners, the Deep River Boys are considered one cf the top singing groups on the con tincnt. Thev brms a uro gram of jive and some c'ajsic spirituals, including their n.oL. version of the "Mumbles Appearing with tne group at trie Tic Toe will be. lovriy Toby Deane. the lovely singing come dienne, who comes here fresh from triumphs in better spots in the States.

Nick Martin's smooth band and the Rhumba Trio provide the music for dancing between acts. There's never a cover charge at the Tic Toe. and it's located at 1253 Stanley Street For reservation phone PLateau 8000. THE BUCHAREST Carol has scored another artistic triumph in his sparkling new revue at the Bucharest continental-style Tiitane Room. Headed by famed Gypsy sir.ger Adia Kuznetsoff.

the presenta tion features light opera singer Clothilda Sale and ballet dancers James and Evelyn Kenney. Well in the foreiront of singers of his type. KuznetsofTs wonderfully vibrant bass-baritone is heard in such rollicking numbers as Gol den tarings and a brilliant satire on jazz. Babouchka. A strong personality as well as an out standing singer, the star has gay and amusing explanation for his various songs.

The possessor of a soprano voice of remarkable range, lovelv Clothilda Sale proves an out standing attraction. A youthful and charming team, James and fcvelyn Kenney are arresting in their precision and grace, danc ing with style ana polish. Cafe de 1'Est Top level after dark spot in the French Quarter. Cafe de l'Est has an established policy of booking Name French stars. One of the best to appear at popular rendezvous is tne cur rent star, famed 1'ansien singer Charles Trent t.

Mons. appears only in the last show charming disc use Mane B.zct taking the spot in the opening revue. Trenet needs r.o introduction to Montreal auLer.ces, having already strongly eta blished himself as a top artist in this city, li.s rr.ac-.i ficer.t vocalizing is of a k.r.d too seldom heard In addition to Irerrt. Cafe de l'Est offers Ed'! Sanborn and his Bark Orchestra, viho fT ho and dancing. Largest ar.i rv elaborate of t-e sr-" the Frenci Quarter, the has a long established for ei and xceUent service.

f.e for: beverages. There is evidence that An- has learned other things. too. He haa learned the Important cf well-knit, clearly-told The by Claude-Henri GnprK-n, who created the radio enal. a simple one, but It answer to ihe banc requirements of film-making, Mr.

L'Ang-3a has also learned the importance cf ntvjnd direction, and in Paul Gury ha a director who can fi that, Mr. fiury has caught tf earthy simplicity of thi tery rrer'h I nn ami endowed i'h a irl heautv and fr-rlniK flt. I tte hroadly-rirawn characters r'n ib tory with decep-t: if Hff. TTe of Homme Et nn re-he takes flare some yrars hffore 'hat of the rdio seridl. It tells the nisrr.

Seraphin. won Dd'islria hi.v ife because her father owrd hsm mi ney. Later Alexis, whom Dnnalda h.id loved, to fie village and falls into the pocr of Seraphin. the mrny-lendef. when his job as road-builder falls through.

There Is a plot by Jambe-dc-bois and the Indian. Wabo. to steal Sera-phin's money and save Alexis' home. This tails but the story ends en a harpy note for Alexis, en-fazed to the lnvinj Artemise. Don-alda romrs a clce as she may to a defiance of Seraphin, and atalks while Seraphin counts his money.

This umple action is set against backgrounds of Quebec country-ile. remarkably well-caught by aorne sensitive camerawork, and played by a group of character actors that I swear you could not match on the continent. These are true Canadiens. but there are echoes cf another great heritage, of Mo-Le of Balzac, of Zola. Charland, who ha been 1 fC tion with great calm.

Miss Lockwood runs her usual gamut of grimace: Miss Greenwood plays far more simply and sympathetically. Miss Lockwood has the support of two of England's duller leading men. Dennis Price and Ian Hunter: Miss Greenwood gets Montreal's Paul Dupuis as her seducer. Mr. Dupuis play.s a love scene so warmly that he earned promotion.

In Miss Lockwood's next picture, Mr. Dupuis will be her leading man. New York Cabarets Reported in Bad Way With the closing of the Embassy, N.Y., last week, the number of Manhattan night clubs are at their lowest point since the depression of the early '30s. The amount of large rooms has dwindled down to a fistful. Major cafes remaining are the Latin Quarter, Diamond Horseshoe, Copacabana, Havana-Madrid and Leon Eddie's.

These are separate and distinct from such spots at the Stork Club, Versailles, El Morocco, and the like, which are not clubs per se, but JsT ,.7 4 NOW SHOWING 2 JANE LEW WllAMMS WAMf" B0 DRAMATIC TRIUMPH Aljf (0! in his romantic ones. George is briefly perfect as Wabo and there is far too short a flirnpsc of the absurd Juliette Be-livau. But the outstanding performances for me were those of Henri Foitras as Jambe-de-bois. true friend of Alexis, and Suzanne Avon, as the ever-loving peasant girl, Artemise. Technically the film is not perfect but i imperfections are not irritating, save perhaps, for the occasional shadow out of place and the failure to match the intensity of light in certain scenes.

Cutting, too, might be improved further. But the film'a pictorial values, its windswept exteriors and its sturdy interiors the work of Jacques Pelle-tien are all of sufficient calibre to rank the Un Homme Et Son Peche as an art-film in certain markets. Finally. Mr. L'Anglais has recognized a good thing when he's made it.

One can expect a sequel to Un Homme Et Son Peche. 1 modest pseudonym of Richard Rancyd. As a director Mr. Haydn proves himself remarkably capable for a newcomer. His skill is the more marked because he has started off with a script which seems to take an unusual variety of moods and tempos in its st.ride.

Let me explain. Miss Tatlock's Millions starts off with a dash of mystery. Fabulous house, eccentric family, the reading of the will and the handsome imposter who is posing as the imbecile heir these are ingredients. The family is beautifully eccentric, the antics of the imposter as funny as those of a village idiot and the whole thing is nobly set in an elaborate estate. (How it does the plebian heart good to see the upstairs parlourmaids filing in demurely.) We are enjoying the fawnings of the disappointed relations on the idiot heir, and comic distress of the imposter, when the story takes a serious romantic turn, with a slight touch of incest.

This runs on for a while, then we are projected back into farce once again. Finally there is a dip into romance again for the finale on the beach at Hawaii. Unsettled as it is. this film has a pleasant brightness for which, one supposes, Mr. Haydn can take -mm.

CHARLES BICraFwB i PF3D C3G GGG if ii WO The liigLepot in tke TACTICS arc tried on Monty Woolley by John Lund In a rroment of the comedy. Miss Tatlock's Millions, which currently inoles thrm on the screen rf the Capitol. career a glowing performance Ler portrayal is a masterpiece." LOOK MAGAZINE Joan of Arc IINUKIU ROMAN fatuloug Bergman kf pfcorotrkkkf JOSEPH VAUMTMI A.S.C. Directed br VICTOR FLEMING A VICTOR FLEMING PRODUCTION COLOR BY TECHNICOLOR cast of thousands i JOSE FE FRANCIS I. SUUIVAN j.

CARKOl MAISH WARD BONO SHEPPERO STRU0WICK HURO NATFIELO GENE LOCKHART I0HN EMERY GEORGE COULOURIS. JOHN IRELAND IJKl CECIL KELLAWAY km4 iison Hit Hit plar 'Jsm at Ltrnrnt' br MAXWELL ANOERSON ttrm rtoy kr MAXWfU ANHISON 4 ANDREW SCIT MISS TAT LOCK'S MILLIONS" AT THE CAriTOL r'iTioiirt rr lease of Charles PracsrH production. diiected by Hicnarrt Haydn Screenplay by Mr. P'-krU at Rtrhard Bree'n from a iv rv Jactjiie Dfval C'fia' actei Players Turke John Lund Wanda Hrndrix FiUperald Montv Wooley Ilka Robert Stack Dorothy Stick ney Elizabeth Patterson Leif Erickson Dan Tohin Hilo Hattie Richard Rancyd Nan Denno Mi.e t'aie Van Alen StcHry Van Alen r.rmly Tatlock frra tr. Mason 1 atiock K.Tiiimnui Tttttl An cften-hilarious hodge-podge marks Richard Haydn's debut as 1.1m director.

Mr. Haydn, you will recall, is the ycung actor who specializes in playing adenoidal old duffers in film. You will recognize him in this film playing a typical Haytin role under the WINDMILL Theatre Piccadilly Circus WOW IN 18'." YEAR Conr.l2-iSfolO-J5pm. I tflridita ky IICHAIO DAY rcMr Produced by WALTER WANGER naiM kr SttA PlCruiES.lM., "ftX. ntt4 kr RKO RADIO PKTUttk CONTINUOUS i I NTSEAtXRESERVED MOR.

75c MATS. 90e rv-. i 1 showing rHLJIIjiu s'HiH'ftl i 3.15-6.05-8.55 P.M. EEK-DAYS: 10 A.M. no-6.

15-8. 55 p.m. UNDAYS: 12.25 P.M. 3.15-6.05-R.55 P.M. IMP.