Word: mayers
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Dates: during 1940-1949
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Babes on Broadway (Metro-Goldwyn-Mayer). Even in Hollywood, the custom among the males is to grow up first, and then get married. Against-the-grain Mickey Rooney, 21, got married last week to 19-year-old Hollywood Newcomer Ava Gardner. That adulthood is something he has yet to attain as an actor, Babes on Broadway makes uncomfortably plain. Miss Gardner, fresh from easygoing North Carolina, may have a maturing, decelerating effect on her breathless mate; in that case the future may be worth hanging around...
Kathleen (Metro -Goldwyn -Mayer) brings back to the screen Shirley Temple, now almost 13, an inch and a half taller, ten pounds heavier since her retirement almost two years ago. The dimpled little actress, who has made about $2,000,000 for herself in her nine screen years, has become an appealing young lady of quiet charm and impressive assurance...
...Pulham, Esq. (Metro-Goldwyn-Mayer) is an amazingly good cineversion of John Phillips Marquand's best-selling novel of a New Englander going dutifully to seed. Mr. Marquand has told his story three times (the others: The Late George Apley, Wickford Point); Director King Vidor had only one shot at his. His ending is box office, his story not sharply pointed, but he does manage to convey the airless but comfortable feeling of Boston, the pitifully habit-bound horizon of his Pulham (Robert Young), and to turn out a half-dozen sequences that are superb cinema...
...Faced Woman (Metro-Goldwyn-Mayer) is a practically perfect example of how wrong Hollywood can be when it gets off the beam. A slapsticky remake of a 1925 farce (Her Sister from Paris, with Constance Talmadge), it is an absurd vehicle for Greta Garbo, the Swedish nonpareil and the screen's best tragedienne. Its embarrassing effect is not unlike seeing Sarah Bernhardt swatted with a bladder. It is almost as shocking as seeing your mother drunk...
...Metro-Goldwyn-Mayer was faced with a title change for its forthcoming musical, I'll Take Manila...