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Salient. An Organ of Student Opinion at Victoria College, Wellington, N.Z. Vol. 8, No. 12. September 19, 1945

Film and Stage

Film and Stage

Several worth-while films are screening in Wellington at the moment. I am thinking in particular of "Western Approaches," which is technically superb and another trump for the British film industry. By the way, I see "Romeo and Juliet" is coming back, and if you missed it before, now's your chance.

*** Melodrama

The most significant thing about Tomorrow the World is that it is "based on" the Broadway play of the same name; significant because the play is an intense, well-written anti-fascist document, whereas the film has been made into an interesting story about an anti-social kid and the way he Is humanised by kind treatment. I do not think that the producers realised" what they were dealing with. There is no tense feeling that both audience and actors are discussing an urgent and vital problem; I do not believe the audience leaves the theatre wondering what's to be done; rather there is the view that Email was a little devil, but you knew he'd be all right in the long run. I am really unable to see what suggestion for the solution of this problem is made by this film. Any reclaiming of the fascist soul is done here by personal contact, and takes a long time, exhausting several people en route. How can the personal touch be applied to the German nation? No, I don't think Hollywood was particularly interested in a "What to do with Germany" thesis; they realised that here was a box-office draw—all the makings of a lovely drama. If you don't agree with what I've said so far, what about the advertising? I failed to find much emphasis on the problem; the ads. were chiefly based on the use by Emil of "the most insulting term known to woman." (After-listening carefully. I am able to reveal that this term is evidently "Jewish whore," although nobody, of course, dares to say It right out loud. Nearest approach is ". . . you Jewish . . (dramatic pause) . . . tramp!"

The acting of Skippy Homeier is quite remarkable; his performance is intelligent and brilliant. His best scenes are those of his passionate speech in the classroom and his skilful driving of a wedge, in the best Nazi manner, between his guardian's fiancee and sister. Betty Field is good as ever, but her part is rather colourless.

The film is worth seeing. It has a number of moments which will provoke some thought, and several times displays in little the fascist method of divide and conquer. But it is not big enough. It should have been powerful and telling and compelling. Instead it is rather good, rather unreal drama.

**** Fantasy

They Came to a City is very difficult to classify. It is very possibly rather dull, too, if you don't know what you're in for before the film starts. The chief point of interest is that for the first time (to my knowledge, at least) a play has been transferred into to the screen, and has been filmed exactly as it could and no doubt did appear on the stage. It is only too often that a stage play screened has unnecessary embellishments that detract from its original self-sufficiency. They Came to a City is not only literally word for word the play, but has dared not to clutter itself up with action. There is just simply no action The characters talk ceaselessly, presenting a political philosophy of Priestley's, and there you have the film. Your verdict on whether It is a good film or not will rest on the measure of your agreement with that philosophy and I might say right now that not only do I so agree, but I am staggered that the statement should be made in such plain words, and be permitted to pass the British censorship. In some ways They Came to a City is a direct incitement to revolution. It far exceeds any of the previous timid liberal films which tentatively suggest that it might be a good thing if—but without any socialism, you know—we could tidy things up a bit. It's quite obvious that the author has watched every foot of film, and has allowed no compromise with his original preachment.

The play was performed in Wellington last year by Unity Theatre, and while the film characters, who come from the London production, have the professional polish, I think that one or two in the local production had the edge on them; particularly do I refer to the charwoman.

I recommend this film, and give it a high grading because it succeeds in an experiment In production, and because it makes concord with social views of my own. I foresee three groups seeing the film: those who are against it, and think therefore the acting is poor and the whole thing a bolshevik plot; those who will wholeheartedly agree, and think that the characters are well-drawn and the statement admirably presented; and the extreme left, who will think it wishy-washy, and a typical manifestation of sentimental liberalism. To these last, let me suggest that they give thanks that this much has not only been filmed, but is being screened.

**** Documentary

Western Approaches is quite superb, and that's really all that need be said about it. All the same, it is perhaps a good thing to point out that this is another in the long line of masterly films that England has made during the war. None of the American films, not even The Fighting Lady, can approach this, and San Demetrio, London, and In which we Serve as documents recording quietly the highest flights of human endeavour and heroism, at the same time presenting accurately the undramatic doings of ordinary people. There is an obvious commentary here on the American system of parading stars, many of them highly unsuitable, through miles of film so that they may be spread on the top of a billboard. How much more genuine and thrilling are the happenings in the lifeboat than the most extravagant and technicoloured excesses of Mr. Spencer Tracy or any of the other glamour boys of Hollywood. The plain fact is that the British films of the war have not been [unclear: phony]. There can be little doubt that they are propaganda, but they are skilful self-deprecatory and unjingoistic, as against the general American blatancy, advertisement, self-satisfaction and howling patriotism. (Did you know, by the way, that an American flying film Is coming called God is my Co-Pilot? Talk about sauce!)

Western Approaches is a life-boat-rescue-U-boat film, with the merit that it wasn't shot in a tank at the studio. The boats and ships are obviously real ones, the men without doubt actual members of the Merchant Marine, the situations. I am sure, those encountered frequently. It is in colour, and the sea shots are the grandest I've ever seen. As in San Demetrio, the beauty of this film lies in its understatement. There aren't any dying speeches about England; the whole affair seems credible. It is an experience not to be missed.

Footnote

I want to protest against a very bad case of sheer misrepresentation on the part of the film world. I refer, of course, to Mr. Abbott and Mr. Costello being Lost in a Harem. Now, what does that conjure up for you? For me, there is a delicious vision of those two gentlemen actually being lost in a harem, with all the attendant situations incorporating girls, and beds, and girls, and custard pie chases, and the associated frou-frou and patchoulli, everything within the four walls of a lavish harem. Hut what have we? We have Mr. Abbott and Mr. Costello only once, and that almost by accident, setting foot in a harem, and then—o. crowning disillusion!—leaving it of their own accord. I feel deeply injured about all this. Far from being lost in a harem, the only thing these two were lost in was the peculiarity of the plot.