Battle For Music

This film was not what it was cracked up to be, a great pity for the idea was excellent, that many people could and would appreciate good classical music. Grieg, Beethoven, etc. The final success of the London Philharmonic Orchestra has proved this theory true. Unfortunately the lack of acting knowledge on the part of members of the orchestra gave one the impression of over simplicity and un-naturalness: This vanished as they took up their instruments, then the film became a reality, and here one saw its great possibilities.

The scenic background curiously provoked images of a Greek Tragedy, with lofty pillars giving way to open skies, with curiously contorted clouds. No doubt a genuine artistic attempt to portray the thoughts imagined when listening to classical music! The composers. I am certain, would be flattered! At this stage perhaps I should mention that the film must be regarded as documentary. It has no dramatic appeal, no passionate love scenes, but having only the bare and essential facts. Unless a film fan has a decided liking for classical composers, he or she (or combination) should stay at home (unless the stars have a greater attraction) for disappointment will reign.

The central interest to music lovers in New Zealand will undoubtedly be the conducting of Warwick Braithwaite. His recent appointment is another "feather in his cap" and further proof to faint-hearts that NZ is capable of producing the very best.

Teheran

J. Arthur Rank Presents—One Dramatic Play, One Obscure Plot, and One Classical Ending. The result—One Mess.

But, ladies and gentlemen, let me say this, that the most dramatic scene was the singing of the "Vulgar Boatmen," by a chorus of distinguished Britons! The traditional smashing of glasses was executed with the precision of a Russian steam-roller and the broken fragments represent the plot, hence the mess.

The plot revolves around man's inherent weakness for the opposite sex, and the almost impossible scrapes he manages to get into (and out of) are a tribute to ingenuity. Yes, the ingenuity of Derek Farr in his character sketch. His acting, is very good and must not be sacrificed for a comical plot. Marta Labarr also gave a credible performance.

By the way, the plot begins in Rome, in the mighty Opera House. A BBC War Correspondent wanders into that empty house, hoping to provoke memories of a long-lost love whom he took a liking to in pre-war days. Then the fun begins; we are taken back to see what has gone before.

The history is divided into two separate parts (the meeting, in Rome, the second meeting in Teheran). The Teheran episode is dreadfully complicated, it ends with an attempted murder of President Roosevelt and the last-minute save by members of the Russian (all apologies—Soviet) guard, a very dramatic ending—but it hasn't finished yet

The finale is so obvious that it simply leaves you cold. (That large empty space—Brrr—Brr.) Suddenly stalking across the emptiness of the hall is seen a woman. She doesn't say, "I've been here before," but follows the action of Mrs. Ormond and Oliver Farewell (there I go again, always get excited at such soul-stirring scenes) Brr—Brrr, it is cold.

As a parting shot. Have you ever tried to go through a locked door? Believe me, it's easy done the Rank way.

The October Man

J. Arthur Rank presents—this time an absorbing drama in the guise of a mystery. The mystery is grand and the suspense is held throughout the film. It could be said that the plot is obvious, but this can be overruled by the fact that the audience gripped their seats to the end.

The title, "October Man," is rather misleading. It is strange that the murdered girl (she was the "June" girl played by Kay Walshe) should find out that he is the "October Man." and this is the only reference to October. Why should this come into the plot at all? I rather suspect that Eric Ambler is interested in the study of astrology and the like, but it still leaves one in the air as to the reason for its inclusion. Thinking a little further into the plot we can come to the possible solution that October is destined to become lucky as the stars foretell.

The plot simply revolves around a nervous condition produced by a severe accident. The world appears aggressive (is it not so at any time?) and Mr. Ackland several times has the urge to commit suicide by jumping in front of a train.

The small details, one of which is the knotting of the handkerchief, helps to prove effectively that perhaps Mr. Ackland did commit the murder.

The facts leading to the finding of the real murderer were a little vague though good dramatically.

The acting of John Mills was good. He never slipped at all, and was most impressive. The facial expressions combined with the photography made it seem as though Mills was really going through the agonies of a man faced by insanity.

Eric Ambler has adapted well to the screen, and his theory is put over well, even though it may be a much-worn one.