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Main problem of this picture, which Robert Sherwood scripted from his Pulitzer Prize-winning play, is the same as the play's: how to create a tragic mood when almost nothing tragic happens. As in the play, Scripter Sherwood tries to turn the trick with a series of biographical episodes, Lincoln's easygoing frontier life, the death of Ann Rutledge, his unhappy marriage, the Lincoln-Douglas debates, his election. As in the play, Actor Raymond Massey turns the trick for him. But there are also shrewd playwrighting touches: reluctant Mr. Lincoln symbolically taken in charge by the soldiers...

Author: /time Magazine | Title: Cinema: The New Pictures: Feb. 5, 1940 | 2/5/1940 | See Source »

...this chronicle of wasted crime, Producer-Director Rowland Lee and his Scripter-Brother Robert N. Lee claim they boned through 350 volumes of British history. The picture suggests that they might have achieved the same result with less labor by referring to Charles Dickens' A Child's History of England, since, as history, this period thriller is considerably less authentic than its elaborately spooky reproductions of London's Tower. But the battles of Tewkesbury and Bosworth with nickering horses and the knightly clang of iron against iron set a new high for realistic racket that should deafen...

Author: /time Magazine | Title: Cinema: The New Pictures: Dec. 11, 1939 | 12/11/1939 | See Source »

...COFFIN FOR DIMITRIOS-Eric Ambler -Knopf ($2). An English detectifiction writer sets out to trace the career of a shady Greek fig-packer whose stabbed body he saw in a Turkish morgue. Author Ambler, international traveler, scripter for Alexander Korda, artfully interweaves spidery intrigue and murder mystery...

Author: /time Magazine | Title: Books: Murder in October | 11/6/1939 | See Source »

...Fight for Peace (Warwick). When first issued for a short run in 1938, this brutal, literal, newsrealistic record of the war-torn peacetime between World Wars I and II looked like 63 minutes of unnecessary nightmare. Scripter Hendrik Willem van Loon, having cleverly piled up the horrors of four revolutions and four wars, rammed home his main point -that war is beastly-with more armless, legless, headless corpses than had ever appeared on a screen before. The mechanical, impersonal accuracy of lens and film was sickening. Though critics praised the picture, audiences stayed away. But for fascinated fans...

Author: /time Magazine | Title: Cinema: Revival: Oct. 9, 1939 | 10/9/1939 | See Source »

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