Word: versions
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Dates: during 1940-1949
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...Boston Repertory Association has paid off another handsome dividend to the citizenry in "Richard III." Though produced under the name of the Association, it is actually the baby of Richard Whorf and Richard Barr, who hope to present this version on Broadway in the near future. As a Repertory offering it rates an unhesitating recommendation, but it is not a very good play, and the Messrs. Whorf and Barr could do well to devote their talents elsewhere in the Bard's works...
...then it met with no success. The plot was deadly dull: nothing but Bluebeard and fourth wife Judith walking from one door of the castle's great hall to another, until all its seven doors are unlocked. But neither radio listeners nor Dallas concertgoers (who saw a concert version) had to worry about that. Bluebeard's doors gave Bartok plenty of chance for variety, e.g., a broad, majestic theme in full brass when Judith opens the door looking out upon Bluebeard's rich manorial lands; harp arpeggios when Judith comes upon door No. 6 and the pool...
...James Hagan play opened on Broadway in 1933. Paramount filmed the story the same year with Gary Cooper. In 1941 the first Warner Bros, version, called The Strawberry Blonde, starred James Cagney, Rita Hayworth and Olivia de Havilland...
...story is a modern Hamlet with a happy ending. A 17-year old English youth, played by Dick Van Patten, who had the same role in the Broadway version, returns to London in 1944 after spending the blitz period safely in Canada. While he was gone, his newly-widowed mother had fallen in love with Sir John Fletcher, a rich, handsome, married cabinet minister. He finds them living together in luxiuriant--and informal--domesticity...
Originally a play, and once before produced as a movie,* the new version of the story resembles a photographed stage show. Most of the action takes place on a single set, and the chief plot development takes place in the gunman's mind. Director Rudolph Maté (famed as a cameraman for such pictures as Carl Dreyer's Passion of Joan of Arc, René Glair's The Last Millionaire, Hitchcock's Foreign Correspondent) keeps his camera on the move through the rooms of Cobb's cottage, and occasionally overcomes the static effect...