The Pittsburgh Press (January 13, 1946)
I DARE SAY —
Parry picks best 10 of 1945, raps critics for lauding ‘Southerner’
By Florence Fisher Parry
The returns are all in on the poll of the best ten of 1945 in plays, movies, books, what-have-you, and who am I to add my own small voice to those of the august critic circles of Hollywood and Manhattan, to say nothing of their peers, the Pittsburgh triumvirate, Monahan, Cohen and Krug?
While I was absent from this space these past few weeks, I read with mingled feelings of dismay and puzzlement, the reports of my confreres on a motion picture which has since appeared in many of the best 10 lists including “Time” magazine. The picture is “The Southerner” which showed here not long ago and elicited from our local critics reverent homage and hosannas.
I attribute Harold V. Cohen’s rhapsody to the fact that he had just emerged from the tender ministrations of the lovely nuns at the Mercy Hospital, and thus purified, was susceptible to cinematic sentiments which normally would elicit from him a good hearty horse laugh.
But for mv stalwart partner, Kaspar Monahan, to be bowled over by “The Southerner” shook my very foundations.” I would have bet my last silver dollar that Kap would have reacted to this picture as I did.
I walked out on the picture as it neared its end, and promptly accorded it first place in my list of the 10 worst pictures of the year. Which just goes to show, dear reader, that you simply can’t depend upon the corner of the theater page to choose your movie fare for you! The thing to do is to see for yourself – a recourse which I am sure motion picture exhibitors would highly endorse.
However, in the desperate hope that I may not be the only ne out of step, is there, perchance, among you, dear readers, one who shard my opinion that “The Southerner” was a corny and phoney, slow-paced, badly-acted movie! Its French director, Jean Renoir, about as cognizant of sharecroppers as I am of technocracy, and its stars, Zachary Scott and Betty Field, as equipped to play their Joad roles as, say, John Barrymore and Katharine Hepburn.
I was very relieved, however, to find that one or two of the lists of the best 10 coincided with my own. Even before seeing “The Lost Weekend” I am prepared to have it head my list, for it is conceded (by all those I rely upon and who have seen it), to realize and even transcend the full poignancy of the original novel; and I can hardly wait to see this cinematic masterpiece. It is said that it resembled in treatment that other critics’ best, “The Informer.” But with this difference: “The Informer” was not a box-office success when originally exhibited, whereas “The Lost Weekend” is a phenomenal hit.
I suspect, however, that quite aside from its artistic merit, “The Lost Weekend” is a box-office triumph because of its theme. It is the best presentation of alcoholism ever achieved. The novel was a revelation of alcoholic behavior, almost a clinical report; and as you know achieved a phenomenal sale in spite of its morbid and depressing contents. The motion picture bids fair to becoming even a far more valuable piece of merchandise. This is undoubtedly due to the fact that alcoholism is becoming one of the most serious problems of American life.
Other pictures on the list of the best 10 are: “The Story of G.I. Joe,” a faithful presentation of Ernie Pyle’s own G.I.
(This picture’s major claim to my vote is its sparse use of Burgess Meredith.)
“The Bells of St. Mary’s,” “Saratoga Trunk” and “Spellbound” are still ours to see, so Pittsburgh critics are at a disadvantage in assembling their 10 best.
Here is my list of those motion pictures made in 1945 which I have seen thus far:
- “The True Glory”
- “A Tree Grows in Brooklyn”
- “The Fighting Lady”
- “Colonel Blimp”
- “The Clock”
- “The House on 92nd Street”
- “Anchors Aweigh”
- “Wonder Man”
And I strongly suspect that “The Lost Weekend,” “Spellbound,” and “The Last Chance” when seen, will jump into first place on this list.
As for performance – definitely Roger Livesey in “Colonel Blimp,” Gene Kelly in “Anchors Aweigh,” Peggy Ann Garner in “A Tree Grows in Brooklyn,” James Cagney in “Blood on the Sun,” Dick Powell in “Murder, My Sweet,” Margaret O’Brien in “Our Vines Have Tender Grapes,” John Garfield in “Pride of the Marines,” with space reserved for Ray Milland and Ingrid Bergman.
For the New Year I offer an inconsequential prayer that Rosalind Russell will stop playing cute roles; that Gene Tierney will not spoil parts which would give such a wonderful opportunity to a more gifted actress (such as was, hers to botch in “Leave Her to Heaven”); that Joan Crawford’s comeback in “Mildred Pierce” will not inflict us with a flock of cinema martyred mothers; that Danny Kaye, by far the most original of the younger comics, will be given even richer opportunities to display his unique talents; that Tallulah Bankhead will be found a role and picture to match her talents; that “Going My Way” will not set a pattern for many more long, religious pictures; that some producer and scenarist will be inspired to give us a really great post-war picture concerning the problems of returned G.I.’s; that Robert Montgomery, Clark Gable, Jimmy Stewart, John Howard – motion picture actors who have proved themselves in this war, will be provided screen roles worthy their war performances; that public tastes will improve to the point where trashy pictures like “Mildred Pierce” and “Double Indemnity” will not be rated masterpieces; and that the few war pictures produced with great faithfulness and still to be exhibited – war pictures such as “They Were Expendable” and “A Walk in the Sun” – will receive the box office they deserve.