guenzeld

To me, the saddest thing about this dreadful film is the presence of genuinely fine actors like Paul Scofield and Peter Ustinov. What these artists saw in the script that would make them want to accept it is something I simply cannot understand. It is understandable that non-talents like Grammar and Stewart would wish to be in anything, but Messrs Socfield and Ustinov?

Everything went wrong with this, from its surprisingly poor script, to charmless direction, the uninteresting and unhelpful music and camera-work that may work all right on a TV commercial for mouthwash but not in what is supposed to be a serious production.

A woebegotten attempt and a farrago. I could not recommend it at all.

It's hard to dislike a Mr Moto film, not only because of the stylishness with which they were all made but because, of course, Peter Lorre is so ingratiating in a role tailor-made for him. He is just excellent in the part and it is a pity there were only eight entries in this charming series. As for MR MOTO TAKES A VACATION, I can recommend it quite highly.

Like others I will offer the one caveat: the rather irritating "comic relief" character. Hollywood had such marvelous actors available to play the typical "silly-ass" Englishman that it is a wonder why they allowed this gentleman to take the role and to overplay it so gratingly. The writing here could have been tightened up a bit, and the reliable Norman Foster could have toned him down a few pegs.

But much of this is balanced by other delights in the film, starting with dear, old Willie Best in a wonderfully funny (and beautifully directed) cameo. Bob Hope called Best one of the best actors he'd ever worked with. It's easy to see why here. He is as lovable as everyone's favorite bumbling Uncle, a sort of compendium of both Laurel and Hardy. Also distinguishing its interesting cast is the great Joesph Schildkraut, an actor incapable of giving a bad performance. He was one of the masters of his profession.

Charming, fun, and magnificently photographed in rich, lustrous black and white, I really don't think you could go wrong with this one.

If it was only for the celebrated bar room brawl sequence in this delightful picture and nothing else it would still be remembered as one of the great comedies of the 1940s. But, of course, there's much more.

Produced by star Jean Arthur, whose performance in it is nothing short of excellent, A LADY TAKES A CHANCE is a real pip of a movie. The writing is first rate and the direction by that old master, William A Seiter (who goes back to the silent days) couldn't be better. The supporting players are all from the top drawer, too. Really, this is perhaps one of those rare, near-perfect films where everything works.

Seiter's jokes are mostly visual here, as in the aforementioned brawl scene, which in this writer's view is about the funniest one ever put on film, but also in many other moments. He was an extremely witty man and his flair for screen comedy can be well-observed here.

John Wayne is great as the somewhat dense but lovable lout who is "tamed" by the spunky Miss Arthur. He here displays a knack for comedy which, when under careful direction, could really shine.

I could go on and on but just sit down and watch it. Get yourself a big bowl of popcorn or some other favorite snack and enjoy this one with everybody in the family. You're in for a treat.