Word: metro
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Last week thousands of war-worried U.S. citizens strolled from their neighborhood cinemas with a lighter step. These heartened cinemagoers had seen a Metro-Goldwyn-Mayer short subject, More About Nostradamus, now playing in some 200 U.S. cinema houses. According to the fabled Renaissance Prophet Nostradamus, Hitler would be licked and everything was going to come out all right...
...Metro-Goldwyn-Mayer) is Pancho Lopez (Wallace Beery), a rootin'-tootin' Mexican bandit, a dead ringer for Pancho Villa, whom Actor Beery portrayed with the same mops and mows back in 1934. Nothing like Holbrook Blinn's stage Pancho of 21 years ago, whose function was to satirize the average American, is the Beery portrait. The Arizona ranch which Pancho raids is owned by a gruff old character in a wheel chair (Lionel Barrymore). Both dialogue and action are thus resolved into a prolonged contest between the stallion snorts of Actor Beery and the crosspatch snuffles...
...sepia-toned film and handsome exteriors with which Metro has dressed this old Porter Emerson Browne western do not even partly submerge the musty dramatics of the script. Spitting such lines as "Find horses for ze women, and zese two men we take for ransom. Kill ze ozzers," Actor Beery plays his part as if he were kidding the quickie horse opera. His ability and experience partly inoculate Actor Barrymore against his ridiculous role, enable him to scatter a few flickers of reality. The others (Laraine Day, Ronald Reagan, Henry Travers) seem to walk through their parts in a mechanical...
...Boys Town (Metro-Goldwyn-Mayer). When Director Norman Taurog made Boys Town (TIME, Sept. 12, 1938) three years ago, he managed to present a commendable picture of the Nebraska home for waifs founded by Father Edward J. Flanagan. Part of its success may have been due to the fact that the founder was the film's technical adviser. Success, as it often does in idea-poor Hollywood, demanded a sequel...
Rage in Heaven (Metro-Goldwyn-Mayer). Taken from an eight-year-old novel by James Hilton, the film puts Robert Montgomery back in his English squire's tweeds as the respectable owner of a humming steel mill. Soon married to his mother's charming young companion (Ingrid Bergman), he begins to exhibit slight traces of eccentricity- an inordinate jealousy of his best friend (George Sanders), a shivering horror of the moon, a tormenting fear complex. But it is never brash. As he hesitatingly proposes to Miss Bergman in the warm evening under the oaks of his estate...