Word: technicoloration
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Dates: during 1940-1949
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Samson and Delilah (Paramount) bedizens the Biblical story with all that $3,000,000 can buy: Hedy Lamarr, Victor Mature, 600 extras and eye-crashing Technicolor, mixed by the lavish, lily-gilding hand of Cecil B. DeMille. The result may not be quite Old Testament, but it is Bible story shrewdly blended with sex, spectacle, and the merest suggestion of social comment to keep it abreast of current Hollywood trends. It is unlikely to tarnish Producer-Director DeMille's reputation for consistently making (as well as spending) more money on pictures than anybody else...
...Wonder Who's Kissing Her Now, When My Baby Smiles at Me) which at best gives them the pleasant frenzy of a circus calliope. But this one seems to take all the wrong paths. Even the Technicolor scenes are draped with heavy shadows that obscure the more interesting characters. The best that can be said of the show is that Gale Robbins and June Haver, both pleasant to look at, do some nice singing and dancing, whenever they get the chance...
...Ford has used what is probably a record amount of experience to fill this movie with fine, familiar technicolor scenes. His cavalry troop, its shiny horses steaming in the cold, jogs out on morning patrol; it moves patiently along a ridge against the jostling clouds of a thunderstorm. It deploys behind its red-and-gold guidon for a charge, plays taps when it buries its dead, and sings a lot of good cavalry songs. Ford's officers sit straight in the saddle, and their gold fore-and-aft shoulder bars gleam in the sun. His two lieutenants (one a wealthy...
This serving of true love on a technicolor platter, is just a little more than routine. Ingrid Bergman and Joseph Cotten, though uninspired, still show a high degree of polish and workmanship. And the same can be said of Alfred Hitchcock, who directed the picture. The latter is responsible for a few deft touches, but did little else to add artistic interest...
Charles Frend, the director, has the good taste and intelligence to use the vast, barren Antarctic as his leading actor. His cameras record, by the thoughtful, subdued use of Technicolor, snow and ice in an amazing variety of hues, from green to an ominous grey. As the party moves painfully from the coastal ice wall to the great glacier, and then to the inland plateau, every change in terrain and sky is effectively caught...